The pattachitras of Puri are known for their distinct Vaishnava themes. Pattachitra is the name given to the regional folk art: images (‘chitra’) made on an endemic, handmade canvas (‘patta’). Rama and Krishna, the most widely loved avataras of Lord Vishnu, abound in the iconography produced in this temple town of Puri. The one that you see on this page, however, depicts one of the later Vishnu-avataras, the Shakyamuni Siddhartha Gautama.
This pattachitra is a composite of multiple images in panels of varying sizes. The one in the centre is the largest one. It depicts the shvetavastra-clad Buddha in padmasana, with His hands in the dharmachakra mudra and a brethren of monks turned towards Him with their hands in the namaskaram mudra. He is seated on a silver lotus. Hints of the canopy of the Bodhi tree could be seen from behind His multicoloured halo. This panel is flanked by two vertically positioned panels on either side, each of which depicts Him on the same silver lotus throne in different attitudes. A number of miniscule panels surround on all four sides the panels described so far. They are episodes from the life of the erstwhile Shakyamuni, the subject of legend and lessons of a deeply spiritual nature.
This pattachitra would be a valuable addition to the home of any art- or Buddha-lover. The colour palette is diverse, but almost exclusively comprising soothing pastels and shades of white. Evergreen vines on the upper corners of almost every panel adds to the aesthetic of the painting.
The traditional Pattachitra is a scroll painting that is done on
cloth. This is revealed in the name; Pattachitra is a Sanskrit
term made from two words i.e. Patta meaning cloth and Chitra
meaning picture. The main subject of this painting is portraying
Hindu mythological narratives, scenes from religious texts, and
folktales. Pattachitra paintings are especially practiced in
eastern Indian states such as West Bengal and Odisha, and also in
some parts of Bangladesh. This art form is closely related to Shri
Jagannath and the tradition of the Vaishnava sect. It is believed
that Pattachitra art originated in the 11th century and the people
of Odisha practice it even today without any discrepancy. Bengalis
use these scroll paintings for ritual purposes (as a visual
device) during the performance of a song or Aarti.
Pattachitra paintings are characterized by creative and
traditional motifs/designs, decorative borders, and bright
colorful applications. The outline of the figure and motifs are
bold and sharp. Some common shapes and motifs seen in these
paintings are trees, flowers, leaves, elephants, and other
creatures. The artists of Odisha and Bengal still use the
traditional method of painting which gives a unique look to it
The process of painting a Pattachitra begins by preparing the
canvas (patta). Generally, cotton cloth is used for making the
canvas. The local artists dip the cotton cloth in a mixture of
tamarind seeds and water for a few days. The cloth is then taken
out and dried in the sun. Now natural gum is applied over it to
stick another layer of cotton cloth on it. Thus a thick layer of
cotton cloth is formed. This layered cotton is sun-dried and a
paste of chalk powder, tamarind, and gum is applied on both
sides. The surface of the cloth is then rubbed with two
different stones for smoothening and it is again dried. This
process gives the cloth a leathery finish and it is now ready to
The painters prepare and use vegetable and mineral colors for
application in the painting. White color is made from conch
shells, black is made by burning coconut shells, Hingula is used
for red color, Ramaraja for blue, and Haritala for yellow.
The artist now makes a double-lined border on all four sides of
the canvas. The local artists are so expert in painting that
they do not draw figures and motifs with pencil but directly
draw them with a brush. The paint brushes that the painters use
are made of the hair of domestic animals, a bunch of which is
tied to the end of a bamboo stick. The figures are now painted
with natural colors using the indigenous brushes. The outline is
thickened with black color.
Finally, the painting is varnished/glazed to protect it from any
damage and to get a glossy shine on the surface.
The making of a Pattachitra is laborious work and therefore, one
painting may sometimes take over a month to complete. Due to their
classical look, these paintings are admired by people from all
over the world. The artistic skills used in Pattachitra are passed
down from one generation to another and thus are preserved to
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