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In India, festivals are not merely marked by ritual, they are painted, patterned and performed. From doorways blooming with intricate rangoli, alpana and kolam designs, walls coming alive with sacred murals and every object, from a puja thali to a clay idol, art is not merely an accessory to celebration, it is the celebration itself. This blog traces the journey of traditional Indian art as it goes hand-in-hand with ritual, where festivals become living canvases.
Art is considered as the mirror of society, especially Indian art - in all its traditional, folk and tribal styles - depicts the daily life, culture, religion and social life of the community it represents. With festivals forming an integral part of the life of any community, they also frequently become popular themes depicted in artworks across various styles.
Pattachitra
Pattachitra is one of the distinct forms of traditional hand painting in India, which has been continuously in existence for almost 300 years. Originating from Raghurajpur in Orissa, patta meaning cloth, and chitra meaning painting, these scroll paintings are meant for ritual use, associated principally with the Lord Jagannath temple at Puri. Popular themes of Pattachitra paintings include different vesas or attires of Lord Jagannath, who was an incarnation of Lord
Krishna, with his older brother Balram and sister Subhadra, different depictions related to Lord Krishna such as Shri Krishna Janam (The birth of Krishna), Shri Krishna Leela (narrative of Krishna's life), to be used for the festivals of Janmashtami.
The paintings are specially associated with the Dola Yatra and Rath Yatra - the spring and chariot festival of Orissa - The below painting portrays the three lords on their chariots after leaving the Shree Mandira temple, a site visited by thousands of devotees each year. Gajapati Maharaj ritually cleans the streets before the procession, and Odissi dance performances are offered in prayer to the deities. The Pujaris guide the Maharaja and the devotees throughout the festival, and the chariots' intricate details reflect ancient texts. This Pattachitra masterpiece beautifully captures the essence of Ratha Yatra, showcasing its grandeur and sacredness.
Rath Yatra: Pattachitra painting by Gitanjali Das
Similarly, the Pattachitra painting below shows the three chariots or rathas of Jagannatha, Balaram and Subhadra, set against the backdrop of the temples, surrounded by a huge crowd of devotees.
Rhythms of Devotion: Puri Rath Yatra Portrayed by Purusottam Swain
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Pichwai
Pichwai paintings originate from Nathdwara near Udaipur in Rajasthan. These were originally created to be used as backdrops for the idol of Shrinathji, a form of Bal Krishna. These Pichwai paintings cover various themes, including important festivals celebrated in the Vaishnava and Pushtimarg traditions. The backdrop behind the deity changes according to the festive occasion, making these paintings an essential part of the decor for any ritual, ceremony or festival.
According to the Hindu Lunar calendar, the birth of baby Krishna, an avatar of Lord Vishnu, is observed on the 8th day of the Krishnapaksha in the month of Bhadrapada. On the occasion of Janmashtami, temples and homes are beautifully decorated with flowers and lights. To the left of this Pichwai painting, the artist captures the moment of Krishna's birth, where he is warmly welcomed by the people of Vrindavan. Yashoda and Nanda are depicted lovingly sitting beside a cradle holding Kanha (Shrinathji), symbolizing the selfless love of parents, or Vatsalya Bhava in the divine tableau. The infant Krishna is beautifully adorned and garlanded.
Shrinath Ji, Pichwai Painting by Sushil Soni
The below painting represents the festival of Gopashtami, a day of profound significance in Krishna's life, when he embraced the role of a Gopala or cowherd. The azure cow at the heart of the painting is a vivid metaphor for Krishna's transformation into the protector of cows, embodying the essence of Gopashtami.
Gopashtami Pichwai Painting by Dinesh Soni
This Pichwai painting captures the essence of the Gopashtami festival, a day when people adorn and worship cows, marking Krishna's emergence as 'Govinda,' the divine Lord of cows.
Gopashtami Pichwai Painting by Sushil Soni
The festival of Sharad Purnima, as depicted in the below Pichwai painting, marks the first full moon night of the monsoon season and symbolises the beginning autumn season. On this night, Krishna is believed to have performed the Raas Leela ( the divine love dance with the gopis which represents the union of the Paramatma and the Jeevatma) in the bright full moonlight on the banks of the Yamuna river.
Sharad Purnima, Pichwai Painting by Sushil Soni
Govardhan puja or Annakut puja is a very important festival associated with Lord Krishna, celebrated on the day after Diwali. This marks the occasion of Krishna lifting up the Govardhan mountain on his little finger to shield the villagers from the wrath of the rain god Indra’s fury. In this festival, devotees offer a number of delicacies - the Chhappan Bhog to the Lord, including a heap of rice, symbolic of the Govardhan mountain, giving the festival its name - Annakut - meaning mountain of food.
Annakoot splendour: Pichwai painting by Jayesh Sharm
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Kalamkari
Kalamkari, derived from the Persian words "kalam" (pen) and "kari" (craftsmanship), is a traditional Indian art form that involves hand-painting or block-printing intricate designs on cotton or silk fabric using natural dyes. Originating in Andhra Pradesh, India, around 3,000 years ago, the art form gained prominence during the Vijayanagara Empire. Common themes in Kalamkari paintings include Hindu mythology, particularly scenes from the Ramayana and Mahabharata, depictions of deities like Krishna, Shiva, Lakshmi, and Durga, and nature-inspired motifs such as flowers, trees, and animals.
The below Kalamkari painting depicts Dahi Handi, literally translating to a pot of curd, a Hindu festival celebrated on the day following Janmashtami. This festival involves forming human pyramids to break a hanging pot of curd and other dairy products. The festival symbolizes Krishna's playful nature and his childhood habit of stealing butter and curd.
Krishna : Kalamkari painting by Harinath.N
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Phad
Phad painting is a traditional religious scroll painting and folk painting style from Rajasthan, India, renowned for its vibrant colors, bold lines and intricate storytelling. These scrolls functioned as mobile temples, carried by priest-singers of the Rabari tribe, known as Bhopas and Bhopis, who narrated the stories of local deities like Pabuji and Devnarayan as well as other Hindu deities, making them an essential medium of spreading cultural information about festivals and an indispensable part of the celebrations.
Krishna janam or the birth of Krishna, the eighth avatar of Lord Vishnu, is celebrated as Janmashtami all over India. This Phad painting is the story of Krishna’s birth and his Leelas, a mobile means of worship and celebration. The first two panels narrate the story of Krishna’s birth in jail and Vasudeva crossing the Yamuna river with young Krishna in a basket on his head, protected by Shesh Naag, the celestial serpent associated with Lord Vishnu.
The Birth of Krishna, Phad Painting by Kalyan Joshi
The below Phad painting depicts a Holi scene, showing Radha and Krishna playing with colors. Their playful and colorful portrayal during Holi signifies the love between devotees and the divine. It is believed that Krishna, known for his mischievous nature, used to playfully apply colors to Radha and other Gopis (cowherd girls), creating a beautiful and joyous atmosphere. Holi is one of the most vibrant and lively festivals in India, which brings people of all ages and backgrounds together to celebrate with colors, music and dance. Depicting Radha and Krishna playing with colors in Phad art captures the essence of this cultural celebration, showcasing the unity and diversity of Indian culture.
Representation of holi scene: Phad by Kalyan Joshi
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Madhubani
Madhubani painting, also known as Mithila painting, is a traditional folk art form that originated in the Mithila region of Bihar, India, and parts of the Terai region of Nepal. This vibrant art form is known for its intricate patterns, bold use of natural colors, and symbolic representations deeply rooted in Hindu mythology and the daily life of the region.
This painting captures the divine essence of Lakshmi Puja, showcasing the celebration of cultural and religious rituals. The presence of Kalp Vriksha and the worship of goddess Lakshmi signify auspiciousness and the invitation of good fortune into one's life. It is believed that the blessings of the divine tree and the goddess can bring prosperity, success, and overall happiness. The Kalp Vriksha, often depicted with branches laden with various fruits and symbols of abundance, represents the harmonious relationship between humans, nature, and the divine. Lakshmi Puja is performed to seek her blessings for wealth, fortune, and overall well-being.
Divine Prosperity: The Sacred Kalp Vriksha and Lakshmi Puja, Madhubani Painting by Vibhuti Nath
The below artworks depict the timeless rituals and traditions of Chhath Puja, showcasing the grace and beauty of village women as they partake in the sacred festivities. Chhath Puja is a Hindu festival primarily celebrated in the Bihar region of India, dedicated to worshipping the Sun God (Surya) and his sister, Chhathi Maiya (Shashti Devi). It is a unique festival focused on seeking blessings for well-being, prosperity and longevity, known for its rigorous fasting rituals and elaborate offerings at riverbanks, as depicted in the below paintings.
Chat Puja Celebration in Madhubani by Izhar Ansari
Chhat Pooja in Madhubani by Avinash Karn
The below painting depicts the enlightenment or Nibbana of Buddha, a reason for the celebration of Buddha Purnima, also known as Vesak or Buddha Jayanti. It is a significant Buddhist festival celebrating the birth, enlightenment (Nibbana), and death (Mahaparinibbana) of Gautama Buddha. It is considered the "thrice blessed day" as these three crucial events are believed to have occurred on the same day, the full moon day of the Vaisakha month.
Enlightening of Buddha In Madhubani by Izhar Ansari
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Chittara
Chittara is a traditional, ceremonial painting style originating from the Deevaru tribal community in Karnataka, India. It's characterized by intricate, symmetrical geometric designs created on mud walls using rice paste and natural pigments. These paintings are typically made during festivals, weddings, and agricultural rituals, symbolizing prosperity, fertility and divine blessings.
The below painting illustrates a scene from a temple chariot festival, known as Theru. The artwork features a grand temple chariot, central to South Indian temple processions, where idols of deities are carried through the streets during festivals. The upper portion shows a towering temple structure with a central triangular figure that suggests a deity or spiritual essence, while the lower section of the painting portrays a vibrant procession, where tribal figures, rendered in a primitive style, are shown pulling the chariot with ropes.
Theru - temple chariot festival in Chittara by Ishwar Chowda Naik
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Mata ni pachedi
Mata ni Pachedi, meaning "behind the Mother Goddess" in Gujarati, is a traditional Indian textile art originating from Gujarat. This sacred folk art is primarily practiced by the nomadic Vaghari community, who trace their association with this art form back several centuries. Legend has it that when members of this community were denied entry into temples, they created their own places of worship by depicting the Mother Goddess (Mata) on cloth. These painted textiles served as portable shrines and backdrops for their rituals and devotions.
The below painting depicts the festival of Navratri - 9 nights dedicated to the worship forms of Goddess Shakti. The artwork celebrates the divine feminine through the powerful iconography of Maa Durga in her many manifestations. At its heart is the central image of the Goddess astride her lion, surrounded by a radiant halo of devotees, celestial beings, and symbolic creatures, all meticulously rendered using traditional kalam (pen) techniques on hand-treated cloth. Around her are four circular vignettes, each featuring Maa in distinct forms and on different vahanas (mounts): the black goat representing Meladi Mata, the rooster representing Bahuchar Mata, the goose representing Brahmani Mata and the Elephant representing Solanki Mata, each symbolic of strength, courage, benevolence, indomitable power. The space between these deities pulses with the life of the community and celebration, miniature depictions of rituals, dancers, musicians and celebrants, reflecting the festive spirit of the tribe and occasion.
Navaratri Series in Mata ni pachedi by Bhanu Bhai Chittara
The below painting portrays the sacred essence of Vat Savitri Puja, where local deities gather to worship a majestic vat tree, encircling the tree, paying homage to it and reflecting the deep-rooted spiritual beliefs of the community. Vat Savitri Puja is a Hindu festival in which married women fast and worship the banyan tree (Vat or Bargad) to pray for the well-being and long life of their husbands. The festival is observed on the Amavasya of the Jyeshtha month. The puja is performed by tying a sacred thread around the banyan tree while reciting the story of Savitri and Satyavan, who, through her devotion and penance, brought her husband back to life.
Vat Savitree Pooja Mata Ni Pachedi By Dilip Chitara For Home Decor
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Sujani
Sujani embroidery is a colourful form of needlework originating in the Bhusra village of Bihar, India, frequently depicting various motifs that hold cultural and symbolic meaning.
The below Sujani piece vividly depicts the cultural celebration of Makar Sankranti, featuring a bustling scene of boys and girls flying kites, their joyous movements captured in colorful threads. Each child is engaged in the playful activity while wearing traditional attire. Complementing this lively outdoor scene, women are depicted inside the home, engaged in cooking, with some seated and engrossed in conversation. This piece not only celebrates the rich heritage of Sujani embroidery but also offers a window into the cultural fabric of festive traditions, making it a cherished example of folk art.
Makar Sankranti In Sujani Embroidery by Sanju Devi
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Cheriyal scroll
This vibrant Cheriyal Scroll painting beautifully illustrates a serene and symbolic scene of three women carrying plates of flowers, the celebratory offerings for a ritual or temple visit during the festival of Bathukamma, which is an integral part of traditional Telangana's festival life celebrated by women to commemorate and honor Goddess Parvati and her blessings for a bountiful harvest and good fortune. It is a celebration of feminine grace, unwavering devotion and the enduring cultural practices that express gratitude to Goddess Parvati for her benevolent blessings.
Bathukamma: The Floral Celebration In Cheriyal Scroll by Sai Kiran
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Gond
Gond painting is a vibrant form of tribal art originating from the Gond community in central India, particularly Madhya Pradesh. It's characterized by intricate dot and line work, bold colors, and depictions of nature, mythology, and daily life.
The Gond painting below shows the festival of Tulsi Vivah. Tulsi Vivah is a Hindu festival celebrating the symbolic marriage of the Tulsi plant to Lord Vishnu, often represented by a Shaligram stone. It signifies the end of the monsoon season and the beginning of the wedding season in Hinduism. The ceremony is performed with traditional Hindu wedding rituals, with the Tulsi plant taking on the role of the bride.
Tulsi Vivah in Gond by Venkat Shyam
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Influence of festivals on patterns and motifs
A unique Gond pattern used by artist Kailash Pradhan is the Cher Chera pattern, a star-shaped pattern that is inspired by the Gond community’s Cherchera festival. The Cherchera festival, also known as Chher-Chhera, is a significant harvest festival celebrated by the Gond tribe in Chhattisgarh on the full moon night of the Paush month. It is a time for giving and sharing, where people donate harvested grains and other food items to ensure no one goes hungry.
Tiger in Gond by Kailash Pradhan
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Arts and crafts as part of festive rituals
As a part of Diwali rituals, Diyas or lamps are lit, symbolic of the victory of light over darkness.
Diwali Diya (Green Aventurine) Panchmukhi Diya
Symbols such as Aum, the divine syllable; the swastika, representing blessings in all directions, Shubh labh, Riddhi Siddhi etc. are displayed.
Tanjore Om Swastik for Diwali (24k gold sheet)
Tanjore Riddhi Siddhi for Diwali (24k gold sheet)
Tanjore Shubh Labh for Diwali (24k gold sheet)
Gajalakshmi: Tanjore Painting by Sanjay Tandekar
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During Diwali, Sri Yantras are used as powerful tools to invite prosperity, wealth and good fortune into the home. They are often installed in the puja room or near the entrance and devotees perform special prayers and rituals to activate their energies.
Sri Yantra art in Yantra art by Vidya soni
Mandana art, a traditional Rajasthani folk art, is deeply embedded in festivals and auspicious occasions. Women of the Meena community traditionally create these intricate designs on floors and walls of homes during festivals like Diwali, Holi and Navratri. The art form is believed to invoke deities, bring good luck, and ward off evil spirits. Mandana art is a prominent feature of Diwali celebrations, with specific motifs like Lakshmi's chariot being created to welcome the goddess of wealth and prosperity.
Goddess Lakshmi's Divine Chowk in Mandana by Vidya Soni
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During the festival of Ganesh Utsav, a 10-day long festival starting with Ganesh Chaturthi to celebrate the birth of Lord Ganesha, the elephant-headed God, idols and images of Ganesha are worshipped.
The Vedic Pantheon: Lord Ganesha Amidst Celestial Deities in Stone Dust painting by Amita Sachdeva
The idol of Ganesha in Kadam Wood Carving by Om Prakash
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Images of Goddess Saraswati are worshipped on Vasant Panchami. It marks the onset of spring (Vasant Ritu) and is dedicated to Goddess Saraswati, the deity of wisdom, knowledge, and the arts.
Goddess Saraswati In white saree in Mysore by Raghavendra B B
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Similarly, other images of gods and goddesses are also worshipped in different festivals.
Golu, also known as Bommai Golu or Kolu, is a significant part of Navratri celebrations, particularly in South India, where it represents the divine feminine energy and the victory of good over evil. The display of dolls on steps is a way to invoke the blessings of Goddess Durga and celebrate her divine presence during the festival. The dolls also symbolize storytelling, community, creativity and the celebration of tradition.
Dancing Kathakali in Golu doll by Baskaran Natarajan
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Chhau masks form an indispensable part of the Chhau festival, a vibrant celebration of the Chhau dance, a semi-classical Indian dance form with roots in martial arts, tribal traditions and folk culture. It's characterized by its energetic movements, elaborate masks and storytelling through dance. The festival is celebrated in West Bengal, Uttarakhand and Odisha, particularly during the spring season, and involves performances, community gatherings and local stalls.
Tribal Man and Woman: Chhau Masks by Dharmendra Sutradhar
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In India, every festival is a multisensory experience, it is an immersion into colour, devotion, rhythm and ritual. Traditional art forms, whether painted, embroidered, sculpted or woven, do not merely decorate these occasions, they become an offering, a prayer and an embodiment of the festive spirit. These art traditions are not just exhibits, they are living expressions that evolve with each celebration, continuing to carry centuries of timeless beliefs, stories and community memory. Festivals, in turn, breathe life into these art forms, ensuring their relevance, revival and reverence. Together, they remind us that in the Indian imagination and celebration is not separate from creation. To celebrate is to create beauty, and creation is an offering to the divine, a celebration in itself.
