Storytelling through Indian Tribal and Folk Arts

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By Zeel Sundhani

  • Art
  • India
  • Folk Art

    • Table of Content

    India has a rich tradition of storytelling, right from the Vedic times, where the Vedas are passed down from generation to generation in the form of narrative stories (Shrutis). This is followed by the Itihasa literature, the epics - Ramayana and Mahabharata, which are a storehouse of many interwoven stories, and their countless versions. Works of Buddhist literature like the Tripitakas, Jatakas, etc., Jain literature, secular literature including Sanskrit plays by Kalidasa, Bhasa, Sudraka and other writers; all these pieces of literature tell stories. 

    Apart from these, folk stories form a very important part of Indian stories, giving us insight into the daily life of people, their social, political, religious, economic life, etc. These folk tales play an indispensable role in preserving the cultural heritage of India. These stories are mainly transmitted orally, some written down. Yet, depicting stories in art is a tradition that has existed in India even before writing originated- from the prehistoric times, where the cave walls of Bhimbetka rock shelters depict the stories of man, using various hunting and gathering techniques to hunt and trap animals, scenes from their daily life and also depictions of various wild animals. 

    Similarly, even today, different folk and tribal art styles of India use their art as a medium to share their stories with the world. Many of these artists come from the rural and tribal communities, and from a lower class and caste, these art forms give a voice to their stories. Following are some examples of storytelling through tribal and folk art forms:

    Warli

    Warli art is a 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.

    In the below painting, the artist weaves a beautiful tale of a day in the life of the Warli tribe, with men and women engaged in their own occupations. The women in the bottom left corner can be seen engaging in household chores like fetching water and taking care of a child, while beside them, men with animals can be seen engaged in agriculture, ploughing the field and sowing seeds, while other women can be seen carrying hay stacks, drawing water from the well, children playing around, animals tied to a pole outside a house, birds flying out and resting on trees, etc. 

    Cultural Life of Warli Tribe, Warli Art by Dilip Bahotha

    The below painting tells the story of the daily rural life of the Warlis, showcasing their major occupations - animal husbandry and agriculture, showing a beautiful domestic scene, sharing their life story with the world!

    Cultural Life of Warli Tribe, Warli Art by Dilip Bahotha

    The below painting depicts the cultural life of the Warlis. It showcases the Tarpa dance, a traditional ritual dance performed by both men and women in concentric circles, while the person in the centre plays a wind instrument also called the Tarpa.

    Tribal Celebration, Warli Art by Dilip Bahotha

    The below painting tells a story of tribal life, nature, and spirituality. It shows the Earth Goddess, Dhartari Mata, and the land she embodies. She is believed to be the goddess of fertility and life, and she sustains all creatures.

    Dhartari (The earth goddess): Warli painting by Anil Wangad

    In the Warli tradition, every line and circle conveys a tale, weaving a tapestry of ancient wisdom and rural life. It blends storytelling with geometric patterns beautifully, the below painting showcasing the story of the earth Goddess Dharatri Mata - who connects each aspect of nature and tribal life - the mountains, waters, animals, plants, humans, the sun and the moon!

    Dhartari Mata, Earth Goddess: Warli Painting by Anil Wangad

    The below painting tells a story of agriculture, how the Warlis harvest the crops they grow and collect them, and how it is nothing less than a treasure to them, obtained after immense hard work. 

    Village Life : Warli painting by Anil Wangad

    The below painting weaves a tale of the fisherman’s story, just as their nets are woven with rope, showing them out at sea, against a background of palm trees and seagulls, with their nets spread out, eager to catch some of the many fish in the sea. The empty net of the fisherman on the right also showcases their patience and perseverance, and their will to stay until they get a good catch and not give up. 

    The Fishermen at Work in Warli Painting by Dilip Rama Bahotha

    The below painting revolves around the central theme - the Temple of the Tiger God, where intricate flora and fauna spring to life. This piece exquisitely weaves the daily activities of the Warli people into its narrative, a reflection of their ancient traditions. The bold geometric patterns and motifs tell stories of harmony with nature and the spiritual connection between humans and the wild. 

    Tiger God: Warli painting by Anil Wangad

    Madhubani 

    Regarded as the Mithila School of painting, it originated in North Bihar and depicts religious stories in painting. It is commonly called Madhubani (meaning forests of honey) painting which is done mostly by women. It is categorised as folk art, and majorly explores themes like stories of different Hindu gods and goddesses, majorly Shiva-Parvati as Ardhanareshwara, Radha-Krishna, Vishnu-Lakshmi, Kali, etc. Some other stories depicted in these paintings are from the epics, Ramayana and Mahabharata, for example, the story of Sita’s Swayamvar. 

    The below painting narrates a story from Kalidasa’s play - Abhijnanshakuntalam. It depicts the love story of King Dushyanta and Shakuntala, a hermit girl, who meet at her father’s hermitage in a forest, where they fall in love and get married in the Gandharva form of marriage. The scenes shown in the painting include the scene where the first met and fell in love with each other, got married by garlanding each other, the king giving her his ring as a sign of recognition, and then surrounded by flora and fauna as mentioned in the play. 

    Love Story of King Dushyant & Shakuntala By Kalidas: Madhubani by Ambika Devi

    The below painting showcases the love story of Radha and Krishna, surrounded by the lush green forests of Vrindavan, with peacocks around them, the beautiful backdrop of the yamuna river with fishes, Krishna’s cow with him. Krishna is playing the flute, and Radha, totally enchanted by its melody, is dancing to its tunes. 

    Radha Krishna In Madhubani by Ambika Devi

    The following Madhubani painting shows the story of Shiva’s Ardhanarishvara form, which means his half-male and half-female form, which shows the essence of creation, the merging of Shiva and his consort Parvati, who is also known as Shakti, which is the combination of the masculine and feminine energy, which leads to creation in the universe. The myth behind this is that Parvati wanted to be a part of the experience Shiva had within himself, and so he shed half of himself and pulled half of her into him, taking on this new form of Ardhanareeswara, leading both of them to the fulfilling feeling of ecstasy, symbolizing the need for balance of masculine and feminine energy in human body. 

    Ardhnarishwar In Madhubani by Ambika Devi

    The below painting is the story of Goddess Kali, a Raudra or fierce form of Goddess Durga. She is said to be the physical manifestation of the rage of Goddess Durga, a warrior goddess. Kali emerged to kill the demon Raktabeej, who had a boon that each time a drop of his blood would touch the Earth, many more Raktabeejas would emerge and fight the gods. She finally managed to defeat and kill him, as can be seen in the painting, where she is holding his severed head in her arms along with her axe, and standing on his defeated body. 

    Maa Kali In Madhubani by Ambika Devi

    The below Madhubani painting depicts a story from the epic Ramayana. It showcases the episode of Sita’s swayamvara, where Sita, the princess of Mithila was supposed to choose her future groom, after passing a test. The only prince who was able to pass the test was Ram, the prince of Ayodhya. This painting shows the end of the swayamvar, where Sita is garlanding Ram, choosing him to be her husband. 

    Ram Sita Swayamvar in madhubani by Priti Karn

    Pattachitra

    Pattachitra paintings are a folk art form originating from Puri in Odisha and West Bengal. The term Pattachitra refers to scroll paintings done on cloth. They are used for storytelling in temples, as the main themes of these stories are based on epics, gods and goddesses like  Ram, Sita, Nandi, Brahma, Vishnu, etc. Jatripatti, a type of pata depicts the trinity in different poses and the architecture of Jagannath temple. 

    The below painting depicts the story of the divine marriage procession of Lord Shiva, a revered moment in Hindu mythology. The composition is centered on Lord Shiva, who is depicted riding his sacred bull, Nandi. He is accompanied by Goddess Parvati, who is seated beside him in a pose of grace and divinity, symbolizing their holy union. The painting captures the lively and celebratory atmosphere of the procession, with celestial beings, sages, and attendants accompanying the couple. Each figure is adorned with intricate jewelry and traditional attire, painted in vibrant hues characteristic of Pattachitra art. 

    Shiva marriage in Pattachitra by Purusottam Swain

    This intricate Pattachitra painting depicts the grand marriage procession of Lord Shiva, also known as "Shiva Parvati Kalyanam." The central panel showcases Lord Shiva, adorned with divine ornaments, riding majestically on Nandi, his bull, surrounded by an entourage of celestial beings, sages, and attendants. The detailed figures are painted with precision, featuring vibrant colors and intricate patterns typical of Pattachitra art. Lord Shiva is depicted holding his trident (trishula), while Parvati, adorned in traditional bridal attire, is seen beside him, symbolizing their divine union. The border of the painting is filled with smaller vignettes, each narrating different episodes from Hindu mythology, enhancing the narrative depth of the artwork. The top panel illustrates various deities, including Brahma, Vishnu, and Lakshmi, showering blessings on the divine couple, while the side panels capture significant moments from the marriage ceremony, such as the arrival of guests and rituals performed by sages.

    Shiva Parvati Kalyanam In Pattachitra by Purusottam Swain

    This Pattachitra painting vividly illustrates the Ratha Yatra festival, a significant annual event dedicated to Lord Jagannath, held in Puri, Odisha. The artwork prominently features the three deities, Lord Jagannath, his elder brother Balabhadra, and their sister Subhadra, each seated on their respective chariots. These chariots, adorned with rich decorations and vibrant colors, symbolize the grandeur of the festival. The deities are depicted with distinct features: Jagannath with large, round eyes and a serene expression, Balabhadra with a fair complexion, and Subhadra with a calm demeanor, all adorned with elaborate jewelry and garments, emphasizing their divine status. The scene is set against the backdrop of the iconic temple complex, with tall palm trees and ornate structures that reflect the traditional architecture of Puri. Surrounding the deities are devotees and temple priests, engaged in various activities such as pulling the chariots with thick ropes, playing musical instruments, and offering prayers. The vibrant color palette, including reds, greens, and yellows, along with intricate detailing, brings the entire scene to life, capturing the festive atmosphere. 

    Rathyatra in Pattachitra by Purusottam Swain

    This painting presents a rich and elaborate composition depicting episodes from the Ramayana, characterized by its intricate detailing and vibrant colors. The rectangular format of the painting is segmented into various square and circular sections, each depicting different scenes from the epic.

    At the center of the composition is the pivotal scene of Ram Abhishekam, where Lord Ram and Sita are seated on a throne, surrounded by figures such as sages, Ram's brothers, and the Vanar sena. This central tableau is portrayed with great reverence and detail, capturing the essence of devotion and ceremony. Surrounding this central scene, the composition expands with square brackets forming a rectangle, which houses depictions of various avatars of Vishnu. This inclusion not only enriches the narrative but also contextualizes Ram as an avatar of Vishnu within Hindu mythology. Extending from this central tableau are additional square and circular segments, each depicting key episodes from the Ramayana. These include pivotal moments like the Agni Pariksha, the encounter with Surpanakha, and the episode of the golden deer amongst many others.

    Ramayan masterpiece in Pattachitra by Purusottam Swain

    Gond

    Gond painting is a folk art, known for intricate and vibrant designs, drawing inspiration from the local environment and tribal culture. Common themes in Gond art include depictions of the region's rich flora and fauna, with animals such as peacocks, birds, crabs, and various mythical creatures playing a prominent role. The Mahua tree, considered the "Tree of Life," features prominently in Gond paintings, with its flowers, fruits, seeds, and leaves symbolizing vitality. . Their creations reflect the interplay between myths, legends, and daily life within the Gond community, showcasing scenes from tribal rituals and everyday activities. Hindu gods and deities, as well as local divine figures, are commonly depicted, highlighting the cultural diversity of the region. 

    The below paintings portray many stories, including the coexistence of earth and water through the elephant painting, having a fishtail as a trunk and trees as tusks, and of other animals - both terrestrial and aquatic. 

    Earth and Water bodies in Gond by Manoj Tekam
    Tiger In Gond by Manoj Tekam
    Fish and Peacock in Gond by Manoj Tekam
    Lord Shiva's Devotee: Gond painting by Venkat Shyam
    Life in Harmony, Gond Painting by Santosh Uikey

    The below painting tells the story of  Lord Hanuman, a beloved deity in Hindu mythology, with an aura of divine strength and unwavering devotion. This painting illustrates the mythical birth of Makardhwaj, the son of the revered Hanuman. Within a translucent enclosure resembling a fish, the artist vividly portrays underwater life with an array of colorful fish, signifying the aquatic environment from where Makardhwaj was born. The creature, half-fish and half-monkey, emerges from a fish's body, a fantastical and poignant representation of his unique origins. This embodies the moment when the drop of sweat from Hanuman, swallowed by the fish, transforms into life, connecting divinity with nature’s miracle.

    Hanuman’s Valour: Gond Painting by Venkat Shyam

    This stunning Gond painting beautifully tells a tale of love, care, and the delicate balance of nature through the depiction of a tiger family. At the center, the cub is lovingly nestled between its parents, a powerful representation of parental devotion and the nurturing instincts of the tiger and tigress. At the top, a swarm of tiger bees holds significant meaning; these bees are nature’s warning signs for villagers who venture into the forests—indicating the presence of a tiger nearby. This subtle yet profound detail highlights the interconnectedness of humans and wildlife, emphasizing the importance of respecting nature’s signals. 

    Tiger In Gond by Venkat Shyam

    Phad

    Phad is a folk art tradition of Rajasthan. These are scroll paintings depicting local stories and folklore. The Phad that display the heroic exploits of goods and many Rajput warriors are generally of five kinds namely, Pabuji, Devnarayan, Krishna, Ramdal (Ramayana) and Ramdeoji, of these the most legendary and popular is that of Pabuji, who is considered a demigod in Marwar, even today. 

    This beautiful Phad painting vividly narrates the story of Lord Shiva and Goddess Parvati's divine wedding, extending through episodes involving their sons, Kartikeya and Ganesha. The painting is arranged in a series of intricate, sequential panels, each illustrating a significant moment from these sacred tales. At the top, scenes depict the grand marriage of Shiva and Parvati, with celestial beings, sages, and attendants witnessing the union, radiating joy and divinity. Lord Shiva, adorned with a snake and trident, stands beside Parvati, who is depicted with elegance and grace, symbolizing the union of cosmic masculine and feminine energies.
    As the narrative unfolds downward, the painting captures cherished episodes involving their children. Kartikeya, the warrior god, is shown with his spear, symbolizing valor and protection, while Ganesha, the beloved elephant-headed deity, appears in various forms, embodying wisdom, joy, and the power to remove obstacles. The panels reveal tales of familial love, divine blessings, and moments of playful interaction among the gods, bringing a sense of warmth to the composition. The colors are vibrant and traditional, with deep reds, greens, and golds that highlight the divinity and richness of each scene. Delicate floral and geometric motifs frame each panel, enhancing the narrative’s flow while preserving the characteristic Rajasthani Phad style. 

    Shiva Parvati Vivah in Phad by Prakash Joshi

    This Phad painting beautifully illustrates the scene from the Durga Saptashati where King Surath, after losing his kingdom, seeks refuge at the Megha Muni Ashram. There, the sage recites the Durga Saptashati to the troubled king, narrating the divine story of Goddess Durga’s power, glory, and victory over evil. The painting follows the traditional narrative style of Phad art, with vibrant panels that visually unfold the various episodes of the Durga Saptashati, which consists of 13 chapters from the Markandeya Purana.

    The painting is divided into several square panels, starting with a depiction of Lord Ganesha, followed by scenes showing the King losing his battle and retreating to the ashram. Other panels illustrate the birth and battle of Madhu-Kaitava, the intense battle with Mahishasura, and the praise sung by the Devas for Goddess Durga. 

    Durga Saptashati in Phad by Prakash Joshi

    The Phad painting brings ancient stories to life, being used as portable temples on scrolls, kept alive by the nomadic Rabari tribe, carrying their deities and beliefs wherever they roam. This is a mesmerizing depiction of Ashta Lakshmi, the eight divine manifestations of Goddess Lakshmi, revered for bestowing prosperity, knowledge, strength, and fertility. Each form of the goddess seated gracefully within a encased sacred peepal leaf, radiating divinity and benevolence. The deep blue background, symbolizing cosmic energy and depth, is adorned with delicate waves, evoking the celestial realm where these deities reside. Golden and red hues dominate the composition, creating a striking contrast that enhances the intricate details of the goddesses, their ornaments, and the lotus seats upon which they are enthroned. The inclusion of auspicious elements like floating lotuses, sacred fish, and divine foliage amplifies the spiritual aura of the piece, reinforcing themes of abundance and auspiciousness. The meticulously painted jewelry and attributes of each deity add layers of narrative and iconographic depth. This stunning composition blends traditional storytelling with artistic elegance, making it a captivating homage to the timeless legacy of Goddess Lakshmi in Hindu mythology.

    Ashtalakshmi: The Timeless Fortune in Phad by Kritika Joshi

    The below painting weaves a beautiful story surrounding Pabuji, the revered folk hero. He is commemorated amidst the rich cultural tapestry of Rajasthan. The Phad painting portrays a grand gathering, where Pabuji stands tall at the center, adorned in regal attire. Surrounding him is the gathered crowd, comprising noble warriors, musicians, and the common folk, all rejoicing in the festive ambiance. Their vibrant garments, embellished with intricate designs and vibrant hues, add a kaleidoscope of colors to the scene, symbolizing the cultural richness of Rajasthan. The atmosphere resonates with the melodious melodies of traditional Rajasthani music, filling the air with the soul-stirring rhythms of dhol, nagada, and sarangi. Dancers twirl and sway to the beats, their graceful movements embodying the essence of celebration and joy. 

    The Sacred Union: Celebration of Pabuji's Kalyan Phad Painting by Kalyan Joshi

    The beautiful Phad painting tells the enchanting story of Krishna’s birth. It includes depiction  of  Krishna's birth in the dungeon, his passage across the river Yamuna, and his nurturing by Yashoda, all resonate with the art's timeless heritage. It encapsulates the philosophy behind Krishna's life, where Krishna embodies boundless love and joy while Devaki symbolizes the earthly vessel. It's a visual symphony of devotion, with Vasudeva's journey symbolizing the spiritual quest to protect the divine from the clutches of ego, represented by Kamsa.

    The Birth of Krishna, Phad Painting by Kalyan Joshi

    This resplendent Phad painting narrates the Ramayana on a canvas. At the center of the painting stands the resplendent Ram Darbar, a depiction of Lord Rama, accompanied by his beloved consort Sita, his loyal brother Lakshmana, and the wise Hanuman. Lord Rama, the epitome of righteousness, exudes an aura of grace and nobility. Beside him stands Sita, the embodiment of purity and devotion, her presence illuminating the scene with her ethereal beauty. Lakshmana, the embodiment of loyalty and sacrifice, stands with unwavering dedication, ready to serve his beloved brother. Hanuman, the mighty vanara warrior, stands in reverence, his devotion to Lord Rama visible in his unwavering gaze. Surrounding the central Ram Darbar, the Phad painting portrays key scenes from the epic Ramayana, bringing to life moments of triumph, struggle, and divine intervention. The artistic strokes capture the courage and valor of Lord Rama as he battles the mighty demon king Ravana, the serene beauty of the enchanted forest where Sita was held captive, and the unwavering loyalty of the vanara army led by Hanuman.

    The Divine Saga: Epic Ramayana Journey, Phad Painting by Kalyan Joshi

    Kalighat

    Kalighat paintings are a folk art tradition from West Bengal.  Indeed, historically Kalighat painting is one of the popular narrative scroll paintings of rural Bengal. Patua, who was a storyteller, went village to village with his painted paintings largely for illiterate peasants and sang stories from epics, various folklore and Puranas. Scrolls or punctures that were hand painted had long stories that often span more than 20 feet. Sometimes the pictures and storylines were made on scrolled clothes, and were known as jorno pata. The main aim to create Kalighat scroll painting is to present a visual story about mythology, Puranas and epics, depicting the glories of Gods and Goddess in front of an audience, mostly village dwellers. 

    This exquisite Kalighat painting captures the divine presence of Maa Saraswati, the goddess of wisdom, music, and arts, in a mesmerizing composition. The artwork showcases her as seated gracefully on a blooming lotus, embodying purity and knowledge. With her signature blue-hued skin, she radiates serenity and wisdom, her expression calm yet commanding. She holds a veena, the celestial instrument of knowledge and melody, delicately poised in her hands, while her other hands carry a book and a rosary, symbolizing learning and spirituality. A golden crown adorns her head, accentuated by a radiant halo, signifying her divine stature. Behind her, a beautifully rendered swan, her sacred vahana (vehicle), stands elegantly, representing wisdom and discernment.

    Maa Saraswathi with a Swan In Kalighat by Hasir Chitrakar

    This beautiful painting weaves a story of motherhood,portraying Maa Parvati, the goddess of strength and motherhood, lovingly cradling Lord Ganesha, the remover of obstacles and her beloved son. Maa Parvati, adorned in a fiery blue saree and exquisite jewelry, exudes a divine maternal aura. Her serene expression, accentuated by almond-shaped eyes and a gentle smile, reflects compassion and strength. The golden halo encircling her head, along with her ornate crown, enhances her celestial presence. Lord Ganesha, depicted in a lively crimson hue, sits contentedly on Maa Parvathi’s lap. His elephantine features are adorned with delicate ornaments, emphasizing his childlike innocence and divine charm. 

    Maa Parvathi and Ganapathi In Kalighat by Hasir Chitrakar

    This exquisite Kalighat painting beautifully captures the divine bond between Maa Yashoda and baby Krishna, bringing to life an iconic moment from stories of Hindu pantheon. Yashoda, adorned in a flowing red saree with intricate white borders, cradles young Krishna in her arms, exuding motherly affection and warmth. Her large expressive eyes, accentuated with thick black strokes, convey deep love and concern as she gazes at her mischievous yet divine child. Krishna, depicted in his characteristic blue hue, is seen resting in the lap of his mother, his small frame accentuated with delicate jewelry, symbolizing his divine nature. The soft folds of Yashoda’s attire and the rhythmic curves of her posture create a harmonious composition, enhancing the emotional depth of the scene. The background remains minimalist, emphasizing the sacred intimacy between mother and child.

    Yashoda Maa with Krishna In Kalighat by Hasir Chitrakar

    This captivating Kalighat painting brings to life the legendary moment from the Mahabharata—the Swayamvar of Draupadi. Arjuna, disguised as a Brahmin, is depicted in a striking blue complexion, clad in a simple dhoti, gracefully pulling the bowstring with immense concentration. His muscular form and determined expression embody the strength and focus required for this extraordinary feat. Opposite him, Draupadi, adorned in a richly decorated sari with golden accents, clutches a flower garland in anticipation, her face reflecting admiration and hope. The fish suspended above the vessel—a crucial element of the test—symbolizes the divine challenge of piercing its eye by looking at its reflection in the water. 

    Draupadi's Swayamvar In Kalighat by Hasir Chitrakar

    Jogi

    Jogi art, originating from Chittorgarh in Rajasthan, is a folk art form started by the Jogi family, a couple who were nomadic bards and sang devotional folk songs as a form of livelihood. These Jogi paintings are a visual representation of their songs. 

    This Jogi art piece intricately captures a scene from rural life, displaying two distinct rooms and a messy outdoor area filled with activity. The two rooms, divided by a dark, textured wall, each reveal a unique social setting. In the first room, three men are seated on a patterned rug, engaged in casual drinking and conversation. The second room shows another group, where a man is lying back, seemingly lost in thought, while another figure drinks something. Outside, two children stand nearby, seemingly discussing or observing their surroundings. Nearby, a dog stands, possibly a family pet, watching over the scene, while a cow sits calmly, unaffected by the human hustle around it. The area around the rooms is littered with various items, scraps, and debris, adding a sense of disarray to the setting. Birds and small animals add to the natural clutter, making the environment appear chaotic yet vibrant, perfectly. 

    Scene from Rural life in Jogi Art by Govind Bhai Bharthri

    The below Jogi paintings show a village scene, where the people of the community are gathered under the shade of the Banyan tree, having tea, talking, resting, women holding a kid, embroidering, etc. It also depicts a variety of birds and squirrels that reside in and around the tree. 

    Under the Banyan Tree in Jogi Art by Govind Bhai Bharthri

    The below painting shows the story of the people as they’re migrating from one place to another. Being a pastoral society, their livelihood centers around their herd of goats and donkeys, shown moving in unison across a landscape, representing the age-old tradition of nomadic travel. Two of the donkeys stand out in the center, heavily burdened with a variety of household goods, including large sacks and wrapped bundles, signifying the essential items needed for the journey. One of the donkeys carries a small child, comfortably seated atop the load, adding a touch of warmth and familial intimacy to the scene. This visual detail embodies the resilience and adaptability of pastoral life, where every journey involves the entire community, including the youngest members. Walking alongside the animals, two women, clad in traditional attire, hold sturdy sticks in their hands as they guide the herd forward. Their expressions, though simplified, convey determination and a sense of purpose, highlighting their role as caretakers and leaders during the migration. 

    Migration Scene in Jogi Art by Govind Bhai Bharthri

    The below painting tells a beautiful tale of Lord Shiva and his loyal companion, Nandi! Lord Shiva is illustrated with an expressive face, capturing his divine nature. He is seated with a calm yet commanding posture on Nandi, whose strong, graceful form is depicted with subtle curves and lines. Shiva's traditional features are prominent; he wears a crown-like hair bun adorned with minimal jewelry, signifying simplicity and spiritual power. His upper body is adorned with beads, hinting at his association with asceticism and meditation. Shiva holds his iconic attributes: a trident (trishul) symbolizing power and the damaru, a small two-headed drum symbolizing cosmic rhythm and the passage of time. His arm stretches out gracefully, evoking both blessing and control over the universe. Nandi, rendered with powerful yet gentle features, embodies loyalty and strength. His long, arching tail, slender legs, and decorated neck accentuate his sacred status.

    Lord Shiva and Nandi in Jogi Art by Govind Bhai Bharthri

    This painting beautifully captures the story of community gathering for a Durga Puja ceremony. In the center of the composition is an altar adorned with a fiery representation of Goddess Durga in her traditional form, seated majestically with her multiple arms, each holding symbols of power and protection. She is revered as the divine mother and protector in Hindu culture, and her presence emanates strength and reverence. In front of the altar, offerings are laid out meticulously on red mats—symbolic of the devotion and rituals dedicated to the goddess. Surrounding the idol are the priest, men, women and children, indicating the involvement of the whole family. 

    Durga Devi in Jogi Art by Govind Bhai Bharthri

    Kutchi patchwork-

    Not just paintings, other art forms like embroidery, applique or patchwork also depict stories of  the artists and their communities. For example, the below patchwork pieces from the Meghwal tribe in Kutch depict the stories of the tribes, the major elements being Megh 

    (clouds), from which the tribe gets their name, along with rain, daily village life, flora, fauna, occupations, challenges, etc. 

    The below patchwork shows a story of the daily life of the community, revolving around the rain which gives them their identity, their house and their animals. 

    Daily Life Artwork in Kutch Embroidery by Kala Raksha

    The below piece shows a traditional Kutchi house, surrounded by various animal motifs, including cows and birds, the mountains and cattle grazing showcasing the story of their pastoral life. 

    Geometric shapes in Kutch Embroidery by Kala Raksha

    This piece tells the story of daily life in the region, offering a captivating glimpse into the cultural tapestry of Kutch. Daily life in Kutch is deeply intertwined with the natural environment, and this connection is reflected in the artwork through motifs of local flora, fauna, and architectural elements. The artisans draw inspiration from their surroundings, incorporating elements like cacti, peacocks, and traditional mud houses into their patchwork designs.

    Daily Life Patch Work in Kutch Embroidery by Kala Raksha

    Evolution of storytelling in Indian folk and tribal art -

    A steady evolution can be seen from the themes depicted in the paintings. From depiction of hunting and gathering in early paintings to the Warli paintings depicting rural life with focus on animals, rituals, traditional lifestyle etc., to modern Warli paintings taking up the themes of the Independence struggle, showing contemporary elements and scenarios like trains, scenes from the COVID times, etc. shows a shift in the themes and stories these paintings seem to tell. 

    The below painting captures the global pandemic's narrative through the tribal art form of Warli painting. In rich, earthy brown, red and white tones, Wangad skillfully employs this tribal tradition to convey a modern crisis. The Warli art, rooted in Maharashtra's culture, traditionally depicts the harmonious coexistence of humans and nature. Here, the COVID-19 pandemic unfolds in intricate Warli patterns, symbolizing unity and hope amidst chaos. The rustic palette not only conveys the grit of humanity but also highlights the timeless relevance of this captivating art form, bridging ancient wisdom with contemporary challenges. It has very diverse modern elements like trains, ships, The Gateway of India, etc. 

    Story of the Covid : Warli Painting by Anil Wangad

    This traditional tribal art form, originating from the Warli tribe in India, beautifully depicts daily life at a countryside train station. Earthy brown hues form the backdrop, representing the fertile land, while pristine white lines create intricate patterns and motifs, narrating the tale of villagers awaiting the arrival of trains. As trains glide by, villagers engage in their daily activities, creating a harmonious symphony of tradition and modernity. 

    Train : Warli Painting by Anil Wangad

    Earlier, these Warli paintings were done on the walls of the houses by women only, on auspicious occasions like weddings, to preserve the stories of the community within themselves, but now, the landscape has changed. More and more men have started taking up Warli as an art form, and have made it a medium to spread their stories to the world, and not just limit them to the community. 

    An evolution is also seen in the materials used for these art forms. For example, Warli, traditionally done on walls of houses, is now also done on paper, cloth, and other objects. Gond, traditionally done on canvas or handmade paper, is now also done on objects like t-shirts, sarees, other clothing items, accessories, bags etc. 

    RETURN TO THE ROOT, GOLD SILK CLUTCH


    RETURN TO THE ROOT, WOODEN CLUTCH IN YELLOW

    While Madhubani art was rooted in mythological themes like stories from the Ramayana and Mahabharata, as well as stories of the village deities, and was created on walls and floors during auspicious occasions like marriages. In contemporary times, themes such as gender equality, COVID-19 awareness, and ecological conservation are also depicted, and these motifs are also frequently seen on textiles, accessories, home decor pieces, etc. 


    A stroll through the spoken forest, Maroon Vegan Laptop Bag/Tote
    Fusion of scenery grace: Charming Madhubani Plate by Priti Karn

     

    London Life

     


    Being a Woman

    While Pattachitra paintings majorly focused on stories of Jagannath, Krishna, and episodes from the Ramayana and Mahabharata, they now incorporate secular subjects like village life, festivals, and nature. Artists have begun to explore human emotions, societal issues, and cross-cultural themes.

    While Phad paintings were scroll paintings telling epic tales of local deities, the artists have now started depicting national figures, freedom fighters, and even contemporary heroes. The below Phad painting depicts an aeroplane, a symbol of progress, soaring above their timeless abode. The juxtaposition of urban innovation against rural roots, rendered in vivid hues and intricate patterns, showcases the evolution of Phad art in a changing world.

    The Aeroplane: Phad Painting by Kritika Joshi

    Originating around the Kalighat temple, Kalighat paintings depicted Hindu deities and mythological scenes. It has evolved into a visual commentary on colonial society, corruption, and hypocrisy. Today, it also touches upon feminism, urban life, and political critique. 

    Jogi art emerged in the 1970s from the oral storytelling traditions of the Jogi community. While their early works depicted folktales, dreams, and myths, it has expanded to explore personal narratives, current events, and socio-political themes, with artists experimenting with color, scale, and non-traditional topics.

    Kutchi patchwork and embroidery, once used only in dowries and ceremonial attire, with motifs representing fertility, protection, and community identity, now includes contemporary patterns and even storytelling about migration, resilience, and daily life, catering to diverse purposes of global fashion, home decor, and accessory markets.

    This might seem like the authenticity of the art form is getting lost, but in a way, it helps carry the stories of the artists to more people in different parts of the world.

    Thus, tribal and folk art forms are a means to preserve the folk stories that might easily go extinct, especially with the rapid urbanisation and globalisation taking place today. Stories are everywhere in the world around us, only if we take the time to pause and observe them. That is what distinguishes a writer or an artist from everyone else, they take the time to observe the stories around them and put them for others to read, be it on paper using ink or on a canvas using a brush, like our traditional and folk Indian artists. All these artforms and artworks are created in order to tell stories of their people, their gods, their life, nature, etc. Even the simplest painting has a story behind it, even though it may not be evident at first sight. These stories are what keep these traditions of art alive, they give the artists a sense of purpose to keep going - to tell their stories to the world; be it the mythological tales from the epics which form the best themes for Madhubani or Pattachitra, which had itself evolved to aid storytelling, or domestic episodes from  everyday life which form the base for artforms like Kalighat and Warli. And by supporting these art forms and artists, we are actually contributing our small bit to keep those generations’ old stories alive! 

    For further reading on any of the art forms mentioned, check out our other blogs - 

    Warli 

    Madhubani

    Pattachitra

    Gond 

    Bibliography

    • Chaudhuri, Zinnia Ray. “Jogi Art: The Folk Form Developed and Practised by a Single Family.” Scroll.In, August 9, 2016. https://scroll.in/article/813201/jogi-art-the-folk-form-developed-and-practiced-by-a-single-family. 
    • Ghosh, Soma. “Madhubani Painting—Vibrant Folk Art of Mithila.” Art And Design Review 08, no. 02 (January 1, 2020): 61–78. https://doi.org/10.4236/adr.2020.82005 
    • Karmakar, Ananda. STYLE OF STORY BOARD: AN ENCOUNTER WITH KALIGHAT SCROLL PAINTING. ResearchGate. 2021-2022. 

    • Mohapatra, Tanmaya. “Pattachitra - An Indigenous Technique.” Orissa Review, November 2005.
    • Mondal, Sayanti. “Performing Indigeneity: Writing Stories through Warli Art in The Deep.” ResearchGate. 2023.
    • “Phad Painting.” , n.d. https://www.scribd.com/doc/200560421/Phad-Painting.
    • Rajvanshi, Rupali and Srivastava, Meenu. “Phad painting of Bhilwara”. Rajasthan.Asian J. Home Sci., 8 (2): 746-749. (2013)
    • Thamanna, None Aiswarya, and None Dr. R. Subramani. “INDIGENOUS COMMUNICATION OF EVERYDAY LIFE AND PHILOSOPHY: AN ANALYSIS OF GOND PAINTINGS IN MADHYA PRADESH.” ShodhKosh Journal of Visual and Performing Arts 4, no. 2 (November 28, 2023). https://doi.org/10.29121/shodhkosh.v4.i2.2023.645.
    • Tiwari, Dr & Shrivastava, Ms. "PAINTER OF GODS -AN INDIGENOUS TECHNIQUE OF PATTACHITRA WITH REFERENCE TO CONTEMPORIZATION OF LOCAL CULTURAL HERITAGE". ResearchGate. 2023.
    • Touch the GOND. “Gond Art | Touch the GOND,” n.d. https://gondart-india.com/en/gond_art/. 

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