Colonial influence on folk arts and their revival post independence

Posted on

By Zeel Sundhani

  • Folk Art
  • Art
  • India

    • Table of Content

    Indian folk arts depend largely on storytelling. They are a means for the artist and the community to tell their tales, of their lifestyle, surroundings and what affects them. Thus, any major event in history affecting the community is reflected in their artwork. Colonisation had a very large impact on India’s political, social, cultural and religious life, thus also influencing these folk art forms.

    Let us have a look at the colonial influence on these folk art forms and their revival post independence. 

    During British rule, traditional Indian arts, especially folk and tribal forms, became marginalized. Indigenous styles were considered as unsophisticated, as opposed to their colonial aesthetic rooted in European art forms. As the colonial rule began spreading, the regional artists lost their royal patronage, forcing them to migrate to urban centers and produce art in a way that would appeal to the masses or fit the market demand. This gave rise to a new class of paintings called bazaar paintings, which were meant for mass consumption and sold in the markets or on the streets. This led to a lot of folk artists being compelled to leave their traditional themes, practises and materials behind. Bazaar paintings were done on paper, mica, cloth, etc. and had multiple subschools, including Kalighat paintings in Calcutta, Mica paintings, company school paintings influenced by European styles, etc. 

    Kalighat 

    Kalighat paintings originally developed around the 19th century near the Kalighat temple in Kolkata. They emerged as a form of devotional paintings, dedicated to the Goddess Kali and other Hindu gods and Goddesses. They were initially created as scrolls, by the artists known as Patuas. 

    Kali Maa in Kalighat Painting by Bhaskar Chitrakar

    As British colonial rule took hold, Kalighat paintings evolved to capture the social and cultural dynamics of the period. This art form became a medium for both religious souvenirs and social commentary, showcasing the complexities of life during that time. The shift from traditional scroll narratives to single-page formats marked a significant change, driven by market demand. 

    Kalighat paintings served as a mirror reflecting the social dynamics of 19th-century Bengal. They were characterised by sharp satire and humor to critique societal norms, highlighting issues like the hypocrisy of religious figures and the moral decay of the elite. 

    For example, the below Kalighat painting portrays a British officer, his posture exuding an air of quiet authority, dressed in a meticulously detailed red military coat with white accents, a sash slung diagonally across his torso, and high blue boots. Behind him, a lush potted plant with blooming pink roses introduces a sense of cultivated refinement, while a simple wooden table, bearing a decanter and glasses, hints at colonial leisure and sophistication. The draped curtains framing the scene recall the theatrical grandeur of European portraiture, yet the distinct folk style keeps the essence firmly rooted in Bengali tradition. 

    Colonial Elegance in Kalighat by Manoranjan Chitrakar

    Many contemporary themes like the portrayal of Rani Lakshmi Bai, symbolizing resistance and social change during the colonial period can be seen in these Kalighat paintings. 

    Kalighat paintings have also captured the evolving roles of women, acknowledging their power and addressing the shifting dynamics between upper-class men and women. Themes of exploitation and social injustice became common, as these artworks boldly portrayed the struggles of marginalized groups, especially women, in a rapidly changing society. 

    This painting beautifully captures the essence of colonial Bengal, depicting the archetypal "Babu and Bibi" scene with opulence and satire. At the center, a wealthy Babu, seated confidently on a chair, exudes an air of indulgence and authority. Dressed in a finely detailed gray outfit with a luxurious shawl draped over his shoulder, he holds a hookah pipe, a common symbol of aristocratic leisure in 19th-century Bengal. His expression is smug, with an upward glance that signifies his sense of superiority. Opposite him, his Bibi (wife) stands in a traditional red saree, her jewellery and intricate attire reflecting her status and societal expectations of femininity. Behind them, two strong, bare-chested guards wield spears, indicating Babu's power and influence.The setting with the grand wooden door, two burning lamps, the small table between the couple holding fruit and a bottle, hint at indulgence and excess. The satirical undertone of the piece critiques the decadence of the Babus of colonial Bengal, highlighting the contrasts between power, luxury, and societal roles.

    Aristocratic Babu and Biwi In Kalighat by Hasir Chitrakar

    This composition shows a woman dressed in a vibrant red saree, seated in a position of prominence. Her presence embodies the complex interplay of power dynamics and cultural exchange that characterised the colonial era. Standing beside her is a man holding a fan, his role being to provide comfort and assistance. His attire and demeanour reflect the fusion of Indian and colonial influences, serving as a visual testament to the unique dynamics of the time.

    The Memsahib's Presence: A Kalighat Portrait by Uttam Chitrakar

    Post - Independence,  Kalighat paintings have  addressed a lot of contemporary issues, seamlessly merging traditional motifs with pressing social issues like justice and environmental concerns. The artists are engaging with more secular themes, making the artworks customised to the demand of the global market, and now they’re used more as home decor than instruments of change, but even today, they haven’t lost their original satire and charm, making them loved and enjoyed through generations and across borders.

    This exquisite Kalighat painting brilliantly fuses traditional artistry with contemporary social commentary, depicting a Babu and his bibi taking a selfie while comfortably seated in a hand-pulled rickshaw. The composition exudes humor and irony, as the well-dressed aristocratic couple indulges in modern vanity, oblivious to the working-class rickshaw puller’s silent gaze. Their exaggerated almond-shaped eyes and sharp facial features, characteristic of Kalighat style, enhance the satire in their self-absorbed act. The rickshaw puller, depicted with darker skin tones and simpler attire, looks toward them with an expression that subtly conveys exhaustion, detachment, or quiet resignation, adding depth to the social contrast within the artwork. This painting is a sharp yet playful critique of class disparity and evolving societal behaviors, encapsulating how the pursuit of self-image often overshadows the realities of everyday labor and struggle.

    Check out our collection of Kalighat paintings here   

    Pattachitra 

    Patachitra paintings originated in Odisha, made on scrolls called ‘Patas’, by artists called the ‘Patuas’. They were used by these Patuas,also known as chitrakars, native Bengalis, to accompany the performance of devotional songs and mythological stories. Major themes for these paintings included stories of Jagannath, Krishna, tales from the Ramayana and Mahabharata etc. 

    Sita Ram in Bengal Pattachitra by Laila Chitrakar
    Jagannath in Pattachitra by Purusottam Swain
    Krishna Leela Pattachitra Painting by Purusottam Swain

    With the onset of British colonisation, this tradition of storytelling could not be practised anymore, and these Patuas, despite trying their best to preserve their ancestral art, had to adapt to styles of Bazaar paintings for livelihood, like Kalighat paintings, which depicted more contemporary themes. 

    Post- Independence, there was a concerted effort to revive and promote traditional art forms, including Pattachitra. The art form gained recognition both nationally and internationally, leading to increased appreciation and demand. In recent times, many NGOs and organisations have helped women of the villages also learn the art form, to ensure its continuity and preservation of the cultural heritage. 

    Check out our collection of Pattachitra paintings here 

    Madhubani

    The art of Madhubani which emerged from the Mithila region spread across Bihar, Jharkhand, and Nepal, was a quintessential form of expression within these communities. It can be traced back to the 14th century. During colonial times, after the earthquake of 1934 in Bihar, a local British collector W. G Archer happened to chance upon the ruins of local households. He saw the images of Gods and Goddesses painted on walls of many high caste Brahmin and Kayastha houses, and inspired by his Cambridge education and Western art training, he drew immediate comparisons of Madhubani with artists such as Chagall, Picasso etc. By placing focus on the tantrism of the art, he highlighted sexual symbolism, erotic love poetry as major recurring themes. No where in his records did he actually personally interact with the women who painted them. Throughout the years under the Raj, these dominant narratives continued to overshadow the rest, and the voice of the local artists was unheard, replaced by the British interpretation of the art form.

    Durga Mata: Feminine Ferocity in Madhubani by Priti Karn

    Post- independence, district officers in-charge of relief work decided to promote Madhubani as an art form to help women generate income. This point in time heralded the shift in art mediums. From the walls and doors of houses, Madhubani came to rest on a two-dimensional surface i.e., the paper.  

    Sustaining Life: Women's Ritual at the Forest Well

    The credit however, for the revival of Madhubani art and community, is Raymond Lee Owens. In 1976, Owens arrived at Mithila on a FullBright scholarship to research floods and water irrigation. On attending a lecture from Indian anthropologist M.N Srinivas who urged his audience to not simply “study” villages but also be of “use” to them, Owens decided to start the Master Craftsmen’s Association of Mithila (MCAM) in 1977 and later the still-present Ethnic Arts Foundation (EAF) in 1977. Through these trans-national interactions, renowned artists such as Sita Devi, Ganga Devi, Mahasundari Devi, and Dulari Devi and many others were able to showcase their works in and outside the country.

    In recent times, Madhubani art has spread globally, done on a variety of surfaces like textile, paper , walls, accessories, etc. It has come with its own challenges of counterfeit art, plagiarism, mass production, etc., but the artists and other organisations are doing their best to maintain the authenticity of the artform and preserve its heritage. 

    A Tale of Two Lovers

    For example, these Madhubani wallpaper tiles not only serve the purpose of home decor, but also to maintain the tradition of ornamenting house walls with art. 

    My Village , Madhubani handpainted wall paper tiles

    Check out our collection of Madhubani paintings here 

    Warli

    Warli art is tribal folk art which originated in the state of Maharashtra, and is practiced by one of the largest tribes living in India known as the Warli Tribe. The main themes of their artwork are rooted in worshipping Mother Nature and stories depicting their daily lifestyle, through mundane activities and household chores, rituals, festival celebrations, community life etc. This art style uses simple geometric shapes to denote aspects of nature, like triangles to represent mountains and human beings, circles to refer to the sun, straight lines symbolizing rivers, and so on. 

    Cultural Life of Warli Tribe, Warli Art by Dilip Bahotha
    Dhartari (The earth goddess): Warli painting by Anil Wangad
    Dhartari Mata, Earth Goddess: Warli Painting by Anil Wangad
    Belvat Kanya: Warli Painting by Anil Wangad

    During the colonial period, their economic policies and land exploitation disrupted the traditional agrarian and rural lifestyle of the people. The community was marginalized and faced a lot of socio-economic problems and discrimination. This pushed many Warli people into poverty and obscurity, making it difficult to sustain their cultural practices. As the oral traditions weakened, the younger generation were forced to migrate to urban areas in search of work. Thus, the continuity of Warli art was threatened. Furthermore, as the British were used to their European art styles and aesthetics, an art form rooted in traditions and oral history did not fit into their definition of art, thus marking a stark difference between ‘fine arts’ and ‘folk’ or ‘tribal’ arts. 

    After independence, there was a growing recognition of the country’s diverse cultural heritage, and efforts were made for the revival of tribal and folk art forms in the 1970s, with an objective of preserving indigenous knowledge systems. While Warli art was traditionally practised by the women of the village, who were not allowed to step out of their villages and spread the art form, it was losing its significance. Jivya Soma Mashe, a male artist took it upon himself to break the gender barrier and learn the art form, urging other males from the village to do so too, and spread word about the art form globally, contributing to its current popularity and demand all over the world. 

    (Source - https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcRNu276gWXzQC1k-T-S6stTchu1gws07BG8YA&s )


    Check out our collection of Warli paintings here 

    Thus, the folk arts of India, having lost parts of their significance and cultural heritage under colonial rule, have emerged today with resilience, proudly maintaining their own identity and ensuring the continuity of their traditions. Colonisation disrupted the systems that helped these artforms flourish, altered artistic expressions, and during this period, the indigenous aesthetics were viewed through a colonial gaze, which was extremely limiting. However, these problems have led to new developments, newer creations and themes being incorporated within these traditional art forms - such as Kalighat's urban satire or the adaptive transformations of Pattachitra and Madhubani, that still continue to thrive. 

    Post-independence, there was only a strong need and determination felt to revive India’s art traditions, which led to revival efforts by governments, NGOs, and individual artists. This not only helped preserve these traditions, but also reimagine them in contemporary scenarios, making their legacy timeless, while ensuring their continued relevance. Today, these art forms are much more than ritualistic or rural, they have found their place in galleries, global markets, and digital platforms, taking indigenous stories throughout the world. Their survival is a testament to the power of art, as well as the continued determination and efforts of the communities who, despite historical erasure and economic challenges, have continued to create, narrate, and celebrate their heritage across generations; and all we can do is cheer for them and support them in their endeavours. 

    Check out these related blogs - 

    References 

    Latest Blogs