Decoding Kalamkari: Symbolism, Tradition, and the Indian Artistic Response

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By Neeyati Rometra

6 min read

  • Painting
  • Folk Art
  • India
  • Handmade Art
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    Table of Contents

    What is Kalamkari?

    Kalamkari is an illustrious tradition of textile painting and printing, celebrated for its intricate motifs, refined patterns, and rich aesthetic appeal. As one of India’s ancient textile arts, the precise origins of Kalamkari remain uncertain. What is known, however, is that the practice was initially referred to as Vraata Paani in Telugu—literally meaning “writing work,” with vraata denoting writing and paani signifying work.

    The term Kalamkari was later bestowed during the reign of the Qutub Shahi Dynasty. Derived from, the word combines kalam (pen in Persian) and kari (work in Urdu), aptly describing the hand-drawn nature of the craft.

    Though the origins of Kalamkari remain unknown, the tradition of hand-painted religious cloths prevailed in and around the temple town of Srikalahasti, becoming more of a form of worship than a ritualistic art. Crafted with vegetable dyes and an indigenous bamboo pen, these textiles were more than artistic expressions—they were acts of worship.

    Over time, Kalamkari evolved to incorporate block printing and adopted a secular character, enabling wider production and alignment with Islamic aesthetic sensibilities. Today, the art continues in both painted and printed forms, collectively known as Kalamkari.

    HISTORICAL CONTEXT

    With a history spanning nearly 3,000 years, Kalamkari originated in the Indian state of Andhra Pradesh, where it existed as ritualistic temple hangings in the temple town of Srikalahasti. As an ancient hand-painted tradition, these textiles served sacred functions—as temple backdrops, wall hangings, narrative scrolls, and ceremonial objects. Illustrated with scenes from Hindu mythology and Indian epics, they functioned as visual tools for storytelling and the transmission of religious narratives.

    With the rise of Muslim court patronage, Kalamkari gradually underwent a process of secularisation. While Hindu communities continued to use these textiles as ceremonial canopies over idols, Muslim patrons adopted them for prayer carpets and tents. By the 19th century, following the Industrial Revolution in Europe, Iran became a major market for Kalamkari textiles. The increasing repetition of motifs encouraged a shift from freehand kalam (pen) work to block printing, leading to the craft’s eventual adaptation to printed techniques. Masulipatnam emerged—and continues to remain—an important centre for Kalamkari production in South India.

    Kalamkari VS What is Chintz?

    • Kalamkari is an Indian textile tradition, originally referring to hand-painted cotton fabrics made using a kalam (pen) and natural dyes.
    • The term describes the technique and process—drawing or painting designs by hand, and later also using block printing.
    • In medieval India, Kalamkari was a local term used to describe these painted textiles, especially those from regions like Srikalahasti and Masulipatnam.
    • It emphasises how the cloth was made (hand-painted or block-printed).

    Chintz

    • Chintz is a European trade term used to describe Indian patterned cotton textiles imported to Europe.
    • The word comes from chitta, meaning “spotted cloth,” but over time it became a broad label for decorated cotton fabrics, whether painted or printed.
    • In Europe, chintz referred more to the finished product rather than the technique used to make it.
    • The English often used chintz for both painted and printed fabrics, which led to confusion.

    Key Difference in Simple Words

    • Kalamkari refers to the Indian method and tradition of making hand-painted (and later block-printed) textiles.
    • Chintz refers to the European name and market category for these Indian textiles.
    • While all early chintz fabrics could be Kalamkari, not all Kalamkari was called chintz in India.
    • The confusion arose because Europeans, especially the English, used chintz loosely, without distinguishing between painted and printed textiles.

    SRIKALAHASTI KALAMKARI AND ITS MOTIFS

    Srikalahasti Kalamkari served as religious and ritualistic temple cloths that traditionally functioned as a powerful medium for conveying and celebrating Hindu mythology and presenting figures and episodes from Indian epics in a narrative format. The Srikalahasti style, in particular, evolved around temple centres, where continuous support from religious institutions strengthened and preserved its sacred character.

    These textiles served as visual aids for storytelling and the oral transmission of sacred tales. Visually, the Srikalahasti style of Kalamkari is distinguished by bold black outlines and simple yet expressive contours.

    Predominantly religious in nature, its compositions are structured as narrative panels—rectangular sections arranged around a central theme, which is often enclosed within a square or circular frame. This organised layout enhances the sacred intent of the artwork and strengthens its role as a visual medium for religious instruction and storytelling.

    As a result, Kalamkari thrived within temple environments under sustained religious patronage, gradually developing a distinct spiritual identity deeply rooted in mythological themes.

    Themes and Motifs:

    • Depictions of Hindu mythology and religious narratives.
    • Scenes and episodes drawn from Indian epics such as the Ramayana, Mahabharata, and the Puranas.
    • Representations of divine figures, including Lord Brahma, Goddess Saraswati, Lord Ganesha, Goddess Durga, Lord Shiva, and Goddess Parvati

    Ramayana : Kalamkari painting by Harinath.N

    • Storytelling through sequential panels illustrating mythological events and characters

    MACHILIPATNAM KALAMKARI AND ITS MOTIFS

    In contrast, Machilipatnam (Masulipatnam) Kalamkari reflects strong Persian influences due to the region’s close association with Mughal patronage and the Golconda Sultanate. Machilipatnam Kalamkari production takes place in karkhanas (commercial workshops), where block makers, washers, and printers work together in a single workspace.

    This tradition relies almost entirely on the block-printing method and is characterised by Persian-inspired motifs, which are often repetitive in patterns. Thus, the motifs from Machilipatnam Kalamkari are often a creation of cross-cultural amalgamation, emerging by combining the local motifs with those derived from Persia and simultaneously Europe, as with the mass production and market demand, free from any kinds of cultural or religious restraints, creating stylised variations like:

    • Interlacing patterns of leaves and flowers

    • Stylised lotus flowers in various forms

    • Geometric Formations and Cartwheel motifs

    • Flowing creepers and vines like the Snake Gourd, Persian Twine, and Floral Twine, Cashew Twine Motif

    • Birds such as parrots, eagles and peacocks

    • Intricate foliage and leaf designs like the Coconut Leaf Motif, the Four Flower motif, and the Almond Flower (equivalent to Mango/Ambi, Paisley or Boteh Motif)

    • The Tree of Life (one of the most popular and recurring themes) symbolises:

    • Fruits
    • Animal motifs in Indian art carry layered symbolic meanings:

    Elephant: Represents divine wisdom (associated with Ganesha), royal authority, strength, good fortune, fertility, and stability.

    Deer: Symbolises gentleness, sensitivity, spiritual seeking, and grace

    Squirrel: Symbolises abundance, fertility, and the cycles of life; in the Ramayana, squirrels are revered for aiding Lord Rama in building the Rama Setu, illustrating that sincere devotion and effort matter regardless of size or strength.

    • Ornamental arches and niches like the Mihrab and Pillars
    • Palanquines
    • Human Figures

    TRANSITIONS IN MOTIFS IN BOTH STYLES

    As markets changed, Kalamkari evolved to remain relevant and sustainable. The growing demand for urban textiles required enhanced visual appeal, placing greater importance on the careful design and articulation of motifs. To introduce freshness and innovation, sources of inspiration were reoriented, encouraging artists to experiment with and reinterpret existing motif styles. This shift led to the introduction of a broader range of motifs like:

    • Gradual introduction of floral patterns and the Tree of Life motif into Srikalahasti Kalamkari
    • Revival of stylistic influences drawn from Indian chintz of the 17th and 18th centuries
    • Expansion beyond Hindu mythology and epic narratives with the incorporation of Biblical themes, Buddhist subjects, and stories from the life of Buddha

    Buddha: Kalamkari painting by Harinath.N

    The introduction of contemporary themes such as seascapes filled with fish, alongside traditional motifs gave fresh impetus to Kalamkari. This creative stimulation prompted a shift in the craft’s focus, opening new possibilities and expanding the design vocabulary of Kalamkari.

    REFERENCES

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