Mask Traditions of India

Posted on

By Zeel Sundhani

27 min read

  • Design
  • History
  • Travel
  • Tips & Tricks

    • Table of Contents

    Introduction

    Mask-making is one of India’s oldest performative and ritualistic traditions, woven into the cultural life of communities all across India. Across centuries, masks have served not just as artistic objects but as representations of belief systems, appearing in mythology, ancestor worship, folk theatre, seasonal rituals and ceremonies devoted to local deities. Whether carved from wood, crafted from papier- mache, moulded in clay or built with layers of cloth and organic materials, masks in India are deeply tied to storytelling, spiritual presence and social protection.

    At the heart of these mask- making traditions lies the idea that masks function as more than representations; they are embodiments of divine or supernatural energies, used during rituals. They become channels through which gods, spirits and ancestors can be invoked, appeased or celebrated. In some agrarian and tribal societies, masks are often used in rituals meant to protect entire communities from epidemics, malevolent forces or natural calamities, while other traditions believe that masks call for prosperity, fertility or rain, linking artistry with cycles of nature and survival.

    Mythology, ritual and symbolism in Indian mask traditions

    The symbolism of Indian masks emerges from layers of ancient mythology, animistic belief and local cosmologies. Their exaggerated features and vibrant palettes are not just stylistic choices, but symbols deeply rooted in culture, where colors like red signal ferocity or divine wrath, black represents protective strength, white implies purity or spiritual neutrality. Fangs denote demonic energies, while widened eyes imply heightened perception or the all-seeing vision of a deity. These visual representations allow even illiterate audiences to recognise characters instantly, whether in Chhau dance, Bhuta Kola, Ramleela or regional folk dramas. Through these performances, masks communicate archetypes, emotions and moral narratives with striking clarity.

    The act of wearing a mask itself is seen as a ritual transformation. For performers, it marks a temporary shedding of human identity and the assumption of a divine, ancestral or mythic role. In many traditions, this transformation is accompanied by consecration rituals that involve touching the mask to the forehead, offering it incense or reciting invocations. The performer becomes a vessel through which the community interacts with forces beyond the tangible world.

    Across India, variations in mask-making reflect local histories, ecological environments and spiritual needs. Sikkim’s monk dancers craft masks inspired by Tibetan Buddhist cosmology, while Karnataka’s Bhuta Kola traditions use elaborate wooden masks representing ancestral spirits. Odisha, West Bengal and Jharkhand develop dynamic papier mache and wooden masks for Chhau, as Rajasthan depicts local deities in dramatic facial forms. Assam’s Satriya monasteries create serene masks for mythological storytelling. Though distinct in form and material, all these traditions share a unifying essence. They all use visual transformation to mediate between the human and the divine.

    India’s diverse mask traditions continue to be powerful cultural expressions, preserving ancestral memory, ritual function and collective identity. They merge art, belief and performance, reminding us that the mask is never merely a facade, but a living symbol that continues to shape how communities narrate their world.

    Gomira masks

    Gomira masks are an integral part of the traditional folk theatre of North Bengal, especially in the Cooch Behar and Jalpaiguri districts, where they are used in the ritual dance form known as Gomira Nach or Mukha Khel. This tradition traces its origins to the ancient animistic practices of the Rajbanshi community, later absorbing influences from Shaiva, Shakta and local folk beliefs. The dance and its masks were historically performed as propitiatory rituals during the summer months to ward off evil spirits, ensure community protection and invoke blessings for good harvests. The masks embody both benevolent and fierce deities, village guardians, spirits and mythic beings, making them living ritual objects rather than mere theatrical props.

    The Beats of Adivasi Dance In Gomira Mask by Kalyan Chandra Sarkar

    The carving of Gomira masks is a highly specialised craft passed down through hereditary artisan families. These masks are traditionally made from a variety of local woods such as gamar, neem or shirish, chosen for their lightness and durability. Artisans begin by carving a unified block of wood, shaping the facial structure according to the character being represented. The forms are bold and dramatic, featuring exaggerated eyes, sharp teeth, elongated noses and stylised features that amplify the dynamic energy required for ritual performance. After carving, the masks are coated with layers of mud, cloth and natural pigments and finally painted in earthy reds, blacks, whites and yellows, which symbolise power, purity, aggression or divine radiance. The headdress is often decorated with jute fibre, feathers, beads and cloth to enhance the overall presence and personality of the figure.

    Gomira masks

    Each character portrayed through Gomira masks carries a distinct symbolic significance within the local cosmology. Some of the most prominent figures include Buro-Buri (the old couple), who symbolise fertility and continuity of life; Rajar Ghora (the king’s horse), representing royal authority and martial power and fierce guardian figures like Narsingha, Kirat and Mahakali, invoked to drive away malevolent forces.

    Kali In Gomira Mask by Kalyan Chandra Sarkar

    The performance itself is deeply ritualistic, where dancers enter a trance-like state, believed to be momentarily possessed or infused with the spirit of the deity they represent. The rhythmic beats of traditional instruments such as dhak, kansi and khol guide the dancer’s movements, transforming the performance space into a sacred arena that blends devotion, drama and communal protection.

    Gomira mask Dance in North Bengal, India

    In contemporary times, the tradition of Gomira mask-making continues to adapt while retaining its core ritual significance. Artisan communities still craft masks for village performances, but increasing visibility through cultural festivals, museums and craft fairs has brought wider recognition to the art form. Some artisans experiment with new materials and decorative techniques, while others remain committed to traditional methods rooted in ancestral knowledge.

    Ramayana carved In Gomira Mask by Kalyan Chandra Sarkar

    Despite economic challenges and modern shifts in rural life, the Gomira tradition persists as a powerful cultural expression, reflecting the resilience of folk heritage in northern Bengal. The masks, with their raw aesthetic and ritual intensity, stand as a testament to the community’s enduring relationship with its deities, spirits and collective memory.

    Check out our entire collection of Gomira masks here

    Chhau masks

    Chhau is a dance form practiced in eastern India, featuring two major mask-based traditions - Purulia Chhau of West Bengal and Seraikela Chhau of Jharkhand, each with its own distinctive aesthetic and performance style.

    Purulia Chhau masks from West Bengal are among the most recognisable elements of the Chhau dance tradition. Made by the Sutradhar community of Charida village, these masks are sculpted using clay, paper, cloth and mud, then painted in striking colours and adorned with ornate crowns and embellishments. The characters portrayed range from mythological gods like Durga, Shiva, and Krishna to demons such as Mahishasura and various animals, each mask distinguished by bold colours, dramatic features, and symbolic designs. Awarded a Geographical Indication (GI) tag, Purulia masks are integral to the energetic, martial and highly theatrical spirit of the region’s Chhau performances.

    Maa Durga Chhau Mask by Dharmendra Sutradhar

    The Asura: Chhau Mask by Dharmendra Sutradhar

    To know more about Purulia Chhau masks, check out our blog

    Seraikela Chhau of Jharkhand uses masks that are more restrained and subtle, reflecting the courtly origins of this dance tradition. These masks are smaller, smoother and less ornate, allowing performers to convey emotion through controlled body movement rather than facial exaggeration. Crafted with fine lines, gentle contours and minimal decoration, Seraikela masks represent characters from epics, folklore and nature themes. Their understated elegance complements the refined, graceful style of Seraikela Chhau, which is known for its emphasis on expression through gesture and body control.

    Have a look at our entire collection of Chhau masks here

    Majuli masks

    Majuli masks from Assam are closely tied to the neo-Vaishnavite tradition established by Srimanta Sankardev, where they play a central role in the devotional theatre of Bhaona. Crafted using bamboo, cloth, clay and plant-based pigments, these lightweight masks are known for their technical refinement and expressive visual style. They range from small face masks to elaborate full-body constructions and sometimes include movable jaws for dynamic performance. Used to portray gods, demons, sages and animals, Majuli masks transform theatrical storytelling into a vivid, immersive spiritual experience. Their continued production within the satras of Majuli preserves an artistic lineage that blends devotion, craftsmanship and cultural history. The below Majuli mask depicts Garuda, the eagle, vahana of Lord Vishnu.

    Garuda In Majuli mask by Jyoti

    To know more about Majuli masks, check out our blog here.

    Wooden masks

    Wooden masks from West Bengal, most famously those of Kushmandi in Dakshin Dinajpur, represent one of the most vibrant and sophisticated folk mask making traditions in eastern India. Crafted primarily by the Rajbongshi community, these masks are deeply embedded in local belief systems, ritual performance, seasonal festivals and village protective practices. Locally known as Hokai Poka masks, they bridge the sacred and the performative, serving as vessels through which deities, ancestors, spirits, mythic beings and moral forces are given form. While today they are widely recognised for their artistry, in their villages of origin these masks retain a strong ritual dimension. They are treated as living presences, consecrated before use and stored with care as part of a lineage of inherited craftsmanship.

    Aquatic tribal Spirit in Wooden Mask Paramesh Sarkar

    These masks are admired for their intricate carving and striking visual dynamism. Artisans carve them from paikur (gamar), neem or other lightweight woods, shaping expressive faces that range from serene and benevolent to fierce and demonic. Characteristically, the masks feature bold facial structures, exaggerated expressions, flared eyes, sharp teeth, curling moustaches or stylised animal snouts depending on their mythological role. The carving process involves multiple stages such as rough shaping, detailed chiselling, smoothing and painting, resulting in masks that balance dramatic form with surprising lightness.

    Mahabharata in Wooden Mask by Paramesh Sarkar

    Traditionally, painters use natural colours derived from soil, plant extracts, charcoal and rice paste, with bright reds whites and blacks creating the visual contrasts required for performance.

    Durga Wooden mask by Paramesh Sarkar

    The themes represented in these masks reflect a worldview shaped by morality, cosmic order and the continual tension between good and evil. Deities such as Shiva, Kali and local village protectors appear alongside demons, forest spirits, tigers, monkeys and hybrid creatures. Each mask carries a specific function.

    Hanuman (bhadra kali) Wooden mask by Paramesh Sarkar

    Benevolent deities are invoked for protection and blessings while fierce or grotesque masks help ward off malevolent forces believed to roam the forests and fields. The symbolic repertoire often echoes the stories performed in Gomira dance and other regional folk rituals where episodes of cosmic struggle triumph over demonic forces and the safeguarding of the community are enacted through choreographed movement.

    In their living context wooden masks play an active role in ritual performance, village festivals, harvest celebrations and rites of protection. During annual performances masked dancers embody supernatural beings blessing the fields purifying the village space and ensuring communal well being. Processions featuring these masks mark agricultural cycles and invoke divine guardianship at moments of transition. In recent years artisans from Kushmandi have also adapted their skills for contemporary audiences creating smaller decorative versions and participating in state cultural fairs. Yet despite these modern adaptations the masks continued core significance as powerful cultural emblems that express the Rajbongshi community’s spiritual imagination and artistic identity remains unchanged.

    Woman in Wooden Mask by Paramesh Sarkar

    Check out our entire collection of wooden masks here

    Bhoota Kola

    Bhoota Kola masks are an essential part of the spirit worship traditions of Tulunadu, the coastal region of Karnataka. The ritual centres on the veneration of local spirits known as bhootas or daivas who are believed to protect villages, maintain social order and act as intermediaries between humans and the divine. Each spirit has a distinct personality, iconography and mythic history and the mask serves as the primary medium through which the spirit becomes visually present during the performance. For the community the mask is not merely an artistic object but a sacred channel through which ancestral and protective forces are embodied.

    The Wild Boar (Panjurli) Spirit Mask in Bhuta Mask by Gramin Arts

    The masks used in Bhoota Kola are traditionally carved from light wood such as jackfruit and are shaped with high relief features sharp contours and expressive detailing to capture the fierce benevolent or regal nature of each spirit. They are often painted with vivid natural pigments that highlight eyes, fangs , facial markings and symbolic motifs linked to the spirit world. While some bhootas use full wooden masks others use metal faceplates or wooden visors paired with elaborate headgear made from coconut fronds areca palm skins and coloured fabrics. These elements are combined with towering headdresses ornate jewellery and layered costumes that transform the performer into a living representation of the spirit.

    Bhuta Mask In Brass mask by Gramin Arts

    Ferocious Bhuta Mask by Gramin Arts

    Each mask is made by families and hereditary artisans who have preserved the carving techniques over generations. The process begins with rituals that honour the wood and the deity followed by careful carving, sanding and painting. Certain mask makers specialise in particular spirits because every bhoota has a codified iconography that must be followed with precision. The accuracy of the mask matters because it directly influences the ritual performance where the wearer is believed to enter a state of partial possession. When the dancer dons the mask and costume and begins the steps accompanied by drums, cymbals and ritual chants the transformation is considered complete and the spirit is believed to arrive to offer guidance and blessings.

    Bhoota Kola masks

    Bhoota Kola masks continue to evolve as artisans respond to changes in patronage socialcontexts and the growing interest in Tulunadu traditions. While some communities still commission masks for annual rituals others preserve them as family heirlooms or display them in local shrines. Contemporary artisans have also begun creating lighter versions for cultural festivals, exhibitions and museums yet the ritual masks remain central to the identity of the practice. They represent a living heritage in which craftsmanship, spirituality and community belief intersect, maintaining an unbroken link between past and present.

    Theyyam masks


    Theyyam masks of Kerala represent one of India’s most powerful intersections of ritual, art and performance. Used in the sacred Theyyam ceremonies of North Kerala, these masks are crafted from lightweight wood and adorned with vivid colours, palm leaves, and intricate ornamentation. Each mask embodies the personality and mythology of a specific deity or spirit, allowing the performer to transform into the divine figure during the ritual. The exaggerated features, radiant colours and towering headpieces are not just artistic choices but essential elements of invoking presence, power and storytelling. As living ritual objects, Theyyam masks continue to serve as a vital cultural expression of devotion, identity and ancestral memory.

    Mukhathezhuthu Theyyam Mask, Antique Tanjore

    Garuda Theyyam Mask , Vintage

    Chaam masks

    Chaam masks from Sikkim and Arunachal Pradesh are central to the Vajrayana Buddhist monastic festival tradition where ritual dances are performed by monks to invoke divine energies and protect the community. These dances are regarded as a form of moving meditation through which sacred stories, teachings and cosmic principles are expressed. The masks serve as the primary visual identity of the deities and spirits represented in the performance transforming the monk into an embodiment of a higher force. Chaam dances are held during major religious occasions such as Losar and are believed to cleanse the environment, remove obstacles and usher in harmony.

    Cham masks

    The masks depict a wide range of sacred beings including Dharmapalas who are fierce protectors of the faith, Yidams who serve as meditative guides, Bodhisattvas who embody compassion and wisdom and various animals and mythic creatures that carry symbolic meaning within Tibetan Buddhist cosmology. Each mask is crafted to highlight the specific attributes of the deity such as bulging eyes, fangs, serene smiles or multiple heads. These features are not decorative but represent spiritual qualities and the cosmic roles the beings play within the Buddhist universe.

    Unidentified monk in dharmapala mask performs a religious mask

    Chaam masks are traditionally made from paper mache or wood, both valued for their ability to be shaped into intricate forms while remaining light enough for extended dance performances. The process begins with forming the base either by layering cloth and paper in clay moulds or by carving wood blocks followed by drying, smoothing and painting. The vibrant colours used in these masks have symbolic significance. Reds blues greens and golds are applied in bold combinations to signal divine power, fearlessness, compassion or protective energy. Exaggerated shapes and dramatic contours heighten the sense of presence making the deity appear both awe inspiring and accessible to the devotees.

    The strong Tibetan influence in the visual style of Chaam masks reflects the deep historical and cultural connection between the Himalayan regions and Tibetan Buddhism. Although different monasteries have their own variations the underlying iconography remains rooted in Tibetan artistic tradition. Today Chaam masks continue to be used in monastic settings but they are also gaining recognition in cultural festivals, museums and educational programs. Despite these new contexts the ritual masks retain their sacred status representing a living tradition that binds artistic skill, spiritual devotion and community identity in the Himalayan regions.

    Monks perform a masked and costumed Cham Dance during a Festival at Lamayuru Monastery in India.

    Monpa masks - The Tribal Masks of Arunachal Pradesh

    Monpa masks of Arunachal Pradesh reflect a deep synthesis of Tibetan Buddhist and indigenous animistic traditions. Created primarily in regions such as Tawang, these masks are carved from wood and painted in symbolic colours that convey virtues, emotions and spiritual qualities. They appear in religious monastic dances as well as folk performances, depicting a wide range of beings including deities, demons, animals and human figures. Their stylised features and dramatic forms communicate moral lessons, myths and cosmological ideas central to Monpa culture. Whether used in cham dances or village storytelling, Monpa masks represent an enduring ritual practice that preserves tribal memory and spiritual consciousness.

    Monpa masks

    Koya tribal masks

    The Koya community uses masks that represent protective forest spirits, deities and mythic beings associated with the landscape of southern Odisha. Koya masks tend to have stronger features, bold contours and a more assertive presence. Many are painted with natural pigments in earthy tones, which echo the forest environment that shapes Koya life. The dances performed with these masks are intended to maintain harmony between humans, nature and the spiritual guardians who inhabit the hills and forests. Through the masked dancer, the community seeks blessings for health, fertility and safety.


    Koya Mask: Dhokra Handicraft by Kunal Rana

    Both Saora and Koya masks express a worldview where humans, animals, trees, hills and spirits form a continuous, interconnected system. The masks embody the belief that the natural world is alive and responsive, and that ritual performance is essential for maintaining balance within it. By carving, painting and animating these masks through dance, the tribal artisans and performers keep their cultural memory alive, ensuring the survival of traditions that have shaped their identities for generations.

    Kummattikali Masks

    Kummattikali is a colourful folk mask dance performed in Kerala during the Onam season, and its masks are among the most recognisable traditional artworks of the region. These masks are usually carved from light wood such as jackfruit, and depict a wide range of characters including gods, forest spirits, demons, animals and comic personalities. The Kummatti performer pairs the mask with a costume made of tender bamboo blades or grass, creating a rustling, animated appearance that blends human presence with the natural world. During Onam, Kummattikali dancers move from house to house offering blessings in exchange for small gifts, turning the performance into a social ritual that strengthens community bonds.

    Kummattikali Mask

    The masks are known for their bold colours, stylised features and expressive detailing. Many depict characters like Narada, Kiratha hunters, Krishna, Balarama or various forest beings, each distinguished through specific facial shapes and colours.

    Krishna, Balarama

    The carvings emphasise broad cheeks, prominent noses, curved eyebrows and large eyes, making the characters instantly recognisable. The joyous and sometimes mischievous quality of Kummatti masks reflects the spirit of Onam, a festival associated with abundance, reunion and the legendary return of King Mahabali.

    Kummatti masks are predominantly made by traditional artisan families who pass down skills through generations. The process includes carving the wooden base, smoothing the surface, applying natural paints and adding small accents that highlight the character’s identity. The masks must withstand long hours of dancing in outdoor settings, so durability is a crucial aspect of their construction. As Kummattikali has gained wider recognition through tourism and cultural programmes, artisans have begun creating smaller collectible masks as well, helping the tradition adapt while retaining its ritual and community roots.

    Konyak masks

    Among the Konyak Naga community of Nagaland, masks form part of a broader tradition of wood carving that is closely tied to ancestral memory, warrior identity, and ritual performance. These masks, often carved from lightweight local woods and sometimes adorned with animal hair, cloth, beads, or metal elements, represent ancestor figures, spirit beings, and mythic personas linked to clan histories. In earlier times, Konyak masks were associated with ceremonial displays connected to headhunting-era rituals, where they symbolised valor, fertility, and the protective guidance of forebears. Today, they appear in festivals such as Aoling, where dancers use them to evoke ancestral presence, commemorate collective memory, and reaffirm social cohesion. Their expressive forms, bold carving, and strong symbolic motifs reflect the Konyak worldview in which the human, the ancestral, and the supernatural worlds remain deeply interconnected.

    Konyak bamboo basket five wooden skulls and tusk Nagaland

    Kathakali masks

    In Kerala’s classical dance-theatre Kathakali, masks and mask-like facial constructions play a central role in defining character types and conveying symbolic meaning. Although Kathakali traditionally relies on intricate facial makeup rather than full masks, certain roles make use of partial masks, wooden extensions, or stylised facial attachments that enhance the dramatic effect. These elements help transform performers into divine beings, demons, sages, animals, or mythic heroes, supporting the narrative intensity of the stories drawn from the Ramayana, Mahabharata, and regional lore. The mask components, painted in vivid colours such as green, red, black, and yellow, act as a visual language that immediately signals a character’s ethical or cosmic identity.

    Kathakali Face in Chhau Mask by Dharmendra Sutradhar

    The masks and facial structures are crafted with precision, using light wood, papier-mâché, cloth, and natural pigments, all shaped to amplify expression in a performance style that relies heavily on gesture, eye movement, and facial control. Chutti, the iconic white paper extensions that frame a character’s face, function like a mask border and elevate the sense of grandeur surrounding heroic or divine roles. Demonic characters sometimes use fixed facial attachments, fangs, or protruding forms to intensify their ferocity, while animal roles may feature stylised snouts or crests that support rapid and energetic movement.

    Indian Kathakali face painting

    In performance, these mask elements deepen the dramatic atmosphere and embody metaphysical layers central to Kathakali’s worldview. The heightened visual symbolism enables performers to represent moral struggle, divine intervention, and cosmic balance in a way that blends aesthetic refinement with ritual undertones. Through these crafted forms, the stage becomes a space where myth becomes tangible, and the audience is invited into a world where colour, rhythm, and sculpted imagery merge seamlessly with storytelling.

    Kathakali

    To know more about Kathakali masks, check out our blog here

    Therukoothu

    Therukoothu, the vibrant street theatre tradition of northern Tamil Nadu, occasionally incorporates masks to enhance the dramatic and visual impact of its performances. While makeup is the primary mode of characterisation in Therukoothu, masks are used for specific figures such as demons, forest spirits, monstrous beings and supernatural antagonists who appear in stories drawn from the Mahabharata, Ramayana and local heroic lore. These masks help performers instantly convey a character’s nature to the audience, especially in outdoor night-long performances where exaggerated forms and bold shapes ensure visibility from a distance. The use of masks also allows for stylised physicality, with performers adopting larger-than-life gestures, powerful movements and rhythmic body language associated with divine or non-human characters.

    Therukoothu Masks

    Most Therukoothu masks are crafted from lightweight materials like papier-mâché, coconut shells or wood, making them easy to wear during energetic dance sequences and extended performances. They are painted in vivid colours, with features such as bulging eyes, flaring nostrils, dramatic teeth and prominent eyebrows. These visual cues signal a character’s temperament or moral position within the narrative, preserving the tradition’s didactic purpose. In rural Tamil communities, Therukoothu serves both entertainment and ritual functions, so masks often represent forces associated with protection, fertility and the maintenance of social harmony. Their aesthetic is closely tied to Tamil folk iconography, retaining a raw expressive quality that distinguishes them from the more codified styles of classical theatre.

    Terukoothu costuming consists of gilded wooden ornaments decorated with small mirrors as well as huge crown and shoulder decorations

    Though the use of masks varies between troupes, their presence highlights the blend of theatricality, ritual intention and local storytelling that defines Therukoothu. Masks contribute to transforming ordinary village spaces into symbolic worlds where mythic events unfold, allowing performers to embody heroes, demons and cosmic energies that resonate with the community’s cultural memory. They also reinforce the tradition’s connection to folk belief systems, in which masked performers may still be perceived as temporary vessels for divine or ancestral forces during certain ritual occasions.

    Bayalata

    Bayalata, the open-air folk theatre tradition of Karnataka, occasionally uses masks as part of its expansive visual vocabulary, especially in sub-forms like Talamaddale, Parijata and Yakshagana-influenced performances. While Bayalata is best known for its colourful costumes, vigorous dance-acting and musical narration, masks are used selectively for characters that embody supernatural, non-human or highly symbolic roles. Figures such as demons, forest guardians, mythical animals and divine attendants often appear with masks that instantly communicate their nature to large rural audiences watching the performance in open fields. These masks help heighten the dramatic tension, providing visual cues that enhance the storytelling’s ritual and theatrical dimensions.

    Bayalata

    The masks are usually crafted from wood, papier-mâché or light materials drawn from local craft traditions. They are painted in strong colours like red, black, yellow and green, with bold features such as widened eyes, extended teeth, curved brows and pronounced facial structures. These stylistic elements not only reflect Karnataka’s folk aesthetics but also echo the influence of Yakshagana’s larger-than-life facial designs. Their exaggerated appearance supports Bayalata’s tradition of expressive acting, allowing performers to create powerful silhouettes even in minimal stage settings illuminated by lanterns or simple lights.

    Yakshagana Bayalata Sambrama

    Although not used universally across all Bayalata troupes, masks play a meaningful role where they appear, reinforcing the performance’s spiritual and moral dimensions. Bayalata stories often centre on episodes from the Ramayana, Mahabharata or regional legends, where masked characters help evoke the intensity of battles, divine interventions or confrontations between good and evil. In many villages, Bayalata retains ritual significance, and masked performers can symbolise protective forces believed to safeguard the community during festivals and seasonal celebrations. Their presence connects theatre, devotion and collective memory, strengthening the cultural identity of the regions where Bayalata continues to flourish.

    Cheriyal masks

    Cheriyal masks originating from the small village of Cheriyal in Telangana are an integral part of the region’s storytelling traditions and share their lineage with the famous Cheriyal scroll paintings. These masks were historically used in Kaki Padagalu and Burra Katha performances where itinerant bards narrated episodes from local legends, caste genealogies, heroic ballads and mythological tales. Carved primarily from lightweight wood or shaped using papier mâché Cheriyal masks are designed to visually exaggerate character traits so audiences can immediately identify heroes, villains, clowns, gods, demons and village archetypes. Their bold features, pronounced expressions and dramatic use of colour reflect the vibrancy of Telangana’s folk aesthetic.

    Ganesh Ji in Cheriyal Mask By Sai Kiran

    Tiger in Cheriyal Mask By Sai Kiran

    Madan Mohini Cheriyal Mask by Sai Kiran

    The crafting process involves shaping a base from tamarind paste, sawdust and cloth layers which is then modelled into a smooth surface before fine details are sculpted. Once dry the mask is painted in striking hues such as bright reds, yellows, blues and whites with thick black outlines enhancing definition. These colours are not merely decorative but help reinforce a character’s symbolic nature. Elaborate moustaches, wide open eyes, oversized noses and stylised hairstyles are common features giving each mask a lively and almost theatrical presence that mirrors the energy of the performances they accompany.

    Man and Woman in Cheriyal mask by Sai Kiran

    Lord Hanuman Cheriyal Mask by Sai Kiran

    While the tradition of Cheriyal masks has declined due to diminishing demand for folk storytelling troupes, they remain culturally significant as tangible markers of Telangana’s narrative traditions. Contemporary artisans continue crafting them for decorative purposes, exhibitions and cultural preservation ensuring that the legacy of these masks endures even as their original performative context evolves.

    Lunar Masks in Cheriyal Scroll by Sai Kiran

    Kokna masks

    Kokna tribal masks from the Sahyadri-Satpura ranges are a vibrant form of ritual art used in the Bhavada festival, an annual night-long celebration of music, dance and mythology. Traditionally carved from softwood and decorated with bamboo strips, paper and bright pigments, these masks depict both Hindu mythological characters and tribal deities. Their expressive features and bold colours allow performers to embody the personalities and energies of gods, heroes, spirits and animals during dramatic retellings of epics and local legends. Passed down through hereditary artisan families, Kokna mask-making remains a vital cultural practice that reflects the community’s creative identity and ritual heritage. Below is an image of Surpanakha from the Ramayana depicted in Kokna mask -

    Kokna mask

    To read more on Kokna masks, check out our other blog here

    Masks as decorative and cultural motifs

    Beyond their ritual and performative origins Indian masks have increasingly found a place in contemporary craft and home decor where they are appreciated for their artistic energy and cultural symbolism. Artists across the country reinterpret traditional forms using materials such as wood, papier mâché, terracotta, fibre and metal creating pieces that retain the expressive power of the originals while adapting them for modern spaces. Their bold colours, dramatic features and symbolic presence make them visually striking objects that communicate themes of protection, identity and ancestral memory even outside their ritual settings. As decorative pieces these masks continue to carry the essence of the communities they come from allowing folk culture to live on in everyday environments.

    Thus, India’s mask traditions offer a window into a world where mythology, ritual and performance come together in a rich cultural tapestry. Rooted in ancient belief systems and sustained through folk theatre, dance and storytelling these masks reflect extraordinary regional diversity and the skill of countless tribal and rural artisans. Their visual beauty, intricate craftsmanship and symbolic depth continue to fascinate audiences while their presence in festivals, rituals and contemporary art spaces ensures that this heritage remains vibrant and evolving.

    Please note that India possesses a rich and diverse array of mask traditions. This compilation is not exhaustive and will be subject to periodic updates.

    References

    Latest Blogs