Kalighat: The Colors and Process

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By Zeel sundhani

7 min read

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    • Table of Content: 
    1. Introduction 

    2. Natural Pigments 

    3. Processing of Paints 

    4. Water Colors 

    5. The process of making the painting using the colors

    6. Different colors used in different parts of the paintings 

    7. Symbolism of the colors used 

    8. Conclusion 

    Kalighat paintings are a folk art tradition from West Bengal.  Kalighat painting is one of the popular narrative scroll paintings of urban Bengal, similar to, and practiced by the Bengal Pattachitra artists - Patua, or storytellers, who went village to village with the hand-painted artworks, largely for illiterate peasants and sang stories from the 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. In the urban and rural renditions of the Pattachitra, the main aim 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.  These paintings are known for their brave exploration of contemporary themes, bold lines and bright colors, that catch the eye and captivate the mind. 

    Natural pigments

    But these vibrant colors are not just any colors, they are prepared painstakingly by the patuas or the painters, using resources available in nature around them. The colous used were natural pigments like lamp black and different colors obtained from flowers, vegetables and soil etc. These colors were obtained and grinded from different natural resources like:

    Yellow was obtained by grinding the turmeric root and haritala.

    Blue was made by crushing the petals of Aparajita (butterfly blue pea) flower or using indigo.

    Black was made from the soot collected from burning an oil lamp under a pot. 

    Red came from Geru (haemetite) or red clay. 

    For ornaments in the paintings gold and silver colors were used. Colloidal tin was used to embellish paintings and replicate the surface effects of jewels and pearls. 

    Processing of paints

    The plant sources for the pigments were found, and the pigments were extracted from the clay, flowers, vegetables, roots, etc., using various processing techniques like crushing, grinding, burning etc. These extracts and pigments were then mixed with binders. For this, natural gums were extracted from the fruit Bel (wood apple), and  from crushed Tamarind seeds. Thus, these pigments mixed with the binders formed the paint, which was then applied to the canvas using squirrel tail or goat hair brushes. 

    Water colors

    The colors used were first prepared manually but to compete with the fast processed oleographs and lithographs, the Patuas took the benefit of watercolors which were manufactured by factories in Britain. These paints were cheaper and made their work easier and quicker. These paintings were produced with different varieties of water based opaque colors like indigo, red, and blue, yellow, green and carbon black etc. 

    The process of making the painting using the colors

    The process of Kalighat paintings is equally interesting. It includes an entire family in making the art work. Each family member had a specific role in the process of establishment. In the first scheme, one artist would copy the outline from an initial model drawing in pencil at the beginning, and the second artist would model, portraying the flesh and muscles in lighter and darker shades. Then a third member of the family will place various parts of the body and background in the correct colors. Some members of the family are responsible for grinding the colors and creating the dyes. And last of all outlines and finishes in the lampblack would be done. In general, they would mix these colors with water and gum, and mold them with a granite muller on a round stone. 

    To prepare the base for the painting, the required amount of gum obtained from natural resources is applied to the paper or cloth so as to get the desired stiffness and to protect the painting. Then, a variety of colors including deep and light shades of green, blue, red, turquoise, yellow, violet, brown and black are used. The brushes used for these paintings were made of squirrel hair or goat hair. These brushes were traditionally made at home by these patuas. 

    Different colors used in different parts of the paintings

    The patuas generally preferred yellow for the colour of the body in figures and sometimes Indian red for the same.

    Uttam Chitrakar's Artistic Journey: A Kalighat Painting Tale

    Clothes of women are generally depicted as sarees of red colour and if shown in white then the folds of drapery are painted with blue or black bold lines.

    Mystique of the Parrot:Kalighat Art by Bapi Chitrakar
    Literary Grace: Kalighat Art by Bapi Chitrakar

    Sometimes for the background, light washes of yellow are painted in some paintings but the artists preferred green as their favourite colour for background varying in shades of light or dark.

    Dance of Opulence:Kalighat painting by Hasir Chitrakar
    Chronicles of Love:Kalighat painting by Hasir Chitrakar
    Uttam Chitrakar's Radiant Reverie: Kalighat's Embrace

    This application of colour with dark and light shades of colors against a flat background gives a rounded three dimensional volume. 

    Kalighat Chronicles: Uttam Chitrakar's Krishna
    Ramayan in Kalighat by Uttam Chitrakar

    Symbolism of the colors used 

    The colors used in Kalighat paintings were not meant just for decorative purposes. They carried deep symbolic meanings rooted in Indian culture, religious iconography, and social commentary. Since Kalighat paintings most popularly depict mythological themes, social satire, and everyday life, the colors used help convey the emotions of the artist, the identity of the subjects portrayed, and their status with simplicity and power. 

    Red symbolises passion, power, sensuality, fertility, and auspiciousness. It is associated with Shakti (the divine feminine energy), marital status (sindoor), and ritual purity.

    Thus, the patuas used it to highlight the clothing of women (especially bibis) and divine figures. It also often represents emotional intensity or divine presence.

    Whispers of Romance: Uttam Chitrakar’s Kalighat Love Tale
    Brushstrokes of Imagination: Uttam Chitrakar’s Kalighat
    Saraswati's Grace: Kalighat Art by Bapi Chitrakar
    Eternal Conquest: Goddess Kali's Grace Khalighat Painting by Sonali Chitrakar

    Black symbolises strength, protection, boldness, sometimes evil or satire. Made from lamp soot (lamp black), it is used for outlines to give structure and emphasis to the  various elements of the painting. It adds dramatic contrast, helping figures stand out. In satirical paintings, black may subtly critique social hypocrisy.

    Blessings of Deities: Kalighat painting by Hasir Chitrakar
    The Allure of Pixels: Uttam Chitrakar's Digital Age Depiction

    White symbolises purity, clarity, peace, spiritual detachment. Made by grinding conch shells, it is used to highlight garments or accessories, used in the eyes and ornaments for a clean, divine aura. Backgrounds may include white to allow color contrast and simplicity.

    Goddess of the Arts: A Kalighat Painting by Uttam Chitrakar

    Yellow symbolises prosperity, learning, sacredness, and devotion. Culturally, it is associated with turmeric, rituals, and goddess Saraswati. In paintings, it is used for garments, background elements, or decorative motifs, and adds warmth and spiritual undertone to the painting.

    Saraswati's Sanctuary: Kalighat Art by Bapi Chitrakar

    Blue symbolises divinity, cosmic power, depth, and serenity. Culturally, it is associated with Krishna and Vishnu, who are typically shown as blue-skinned, to represent their transcendental nature. In paintings, it is used for gods like Krishna, or in clothing or background to evoke serenity or mysticism.

    Enchanted by Krishna, Uttam Chitrakar's Kalighat

    Brown or its different shades and earth Tones made with Geru symbolize humility, rootedness, naturalism. They depict skin tones, earth, or rustic elements, and give the painting a grounded, organic look.

    Divine Devotion: A Glimpse into Uttam Chitrakar's Kalighat
    The Cat with Prey in Kalighat by Sonali Chitrakar

    Thus, the traditional color-making process of Kalighat paintings is a testament to the skill, brilliance, knowledge, cultural and environmental sensitivity of the patuas. The colors used in the Kalighat paintings show much more than their aesthetics. They represent the beautiful relationship between nature and art, symbolism and expression. Each color is made by sourcing flowers, minerals, and roots and extracting their pigments, then mixed with natural gum binder to make paint. It gives not just visual appeal and vibrancy, but also layers of meaning to the cultural, mythological, satirical and social themes depicted in the Kalighat paintings. The replacement of natural dyes with industrial pigments shows how folk art was eventually replaced by commercial art, the transition of Kalighat paintings into Bazaar paintings, where during the colonial period, it became more of a means for sustenance and rebellion rather than expression. But what still remains unchanged and invaluable is the legacy of the people who hold the power to create magic, create art out of the ordinary world around them. Thus, to truly understand Kalighat paintings, it is not enough to just admire them and read the story the images tell, but also to read between the lines and strokes, and recognize the deeply rooted cultural traditions and symbolism that fill in the outlines with colors of life.

    Check out our entire collection of Kalighat paintings here

    To know more about Kalighat paintings, check out our other blogs:

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