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This Kalighat painting by Uttam Chitrakar beautifully channels the dramatic, historical essence of the infamous Tarakeswar affair, one of the most transformative and heavily documented social scandals in 19th-century Bengal. The real-life 1873 event involved a tragic love triangle between Madhavchandra Giri, the powerful Mahant (head priest) of the Tarakeswar Shiva temple, a young woman named Elokeshi and her husband Nobin Chandra Banerjee. When Nobin discovered that the Mahant had seduced his wife with the help of her family, he was consumed by a fit of blind jealousy and slit Elokeshi's throat. The subsequent public trial captivated colonial Calcutta, exposing deep institutional corruption within the priesthood, challenging traditional family values. This inspired a massive wave of highly sought-after Kalighat paintings that documented every stage of the melodrama. In this particular piece, the artist chose to depict the deceptive peace of the affair's early stages, casting the central figures as the powerful priest tenderly courting and fanning Elokeshi to win her affection.
Seated gracefully on the left is Elokeshi, embodying the essence of a devoted seeker who has entered the temple sphere looking for solace, only to become the object of the priest's fixation. She sits upon an elegant, high-backed wooden chair with scrolling frame lines that highlight her relaxed, voluptuous posture, a signature trait of the Kalighat school's love for physical roundness and volume. She is draped in a vibrant crimson-red sari adorned with black and white patterned trim that folds rhythmically over her knees. Her large, stylized almond eyes look calmly forward as she raises her left hand mid-air in a delicate gesture of conversation.
Standing on the right is the Mahant, leaning forward with his gaze locked onto her, completely absorbed in his attentive routine. While he wears a crisp white dhoti with fine blue vertical lines and a patterned pleated shawl over his shoulder, his thick black beard, sharp mustache and heavy gaze match the traditional theatrical archetype of the pleasure-seeking religious leader. He raises his right hand high to hold the handle of a scalloped, black and pink hand fan (pankha), gently waving a cool breeze over her in a performative display of devotion and coddling comfort.
The composition employs fine white line-work overlays across both subjects, creating an intricate graphic mesh that simulates multi-layered pearl necklaces, bracelets and traditional silver armbands. Hanging from the top border are heavy drapes painted in a rich teal with undulating black folds, tied back to the corners and finished with a golden yellow fringed trim. This stage-like drapery functions as a powerful narrative device, framing the domestic scene like an unfolding theater piece and reminding the viewer of the public spectacle this private affair would eventually become.
The painting features the Kalighat school's hallmark economy of line, using broad, continuous black brush contours to define the heavy volume of the figures and the structural weight of the chair in single, confident strokes. The color palette achieves a striking balance, contrasting the deep, warm tones of the figures' garments and skin against the cool, grounding teal of the curtains and the clean white of the dhoti. By reimagining this legendary historical scandal, the artist masterfully preserves the intersection of folk tradition, moral caution and urban social commentary that has defined Bengal’s storytelling heritage for centuries.
Each of our artworks are hand painted by master artists across India. We provide a digital authentication certificate with this artwork signed by the artist which will be sent over email after 3-4 days of delivery of the artwork.
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Each piece is crafted specifically for you upon order. Our talented artists work closely with your preferences to create a one-of-a-kind masterpiece.
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Kalighat painting is a traditional Indian art form that originated in the 19th century near the Kalighat Kali Temple in Kolkata. It is known for its bold lines, vibrant colors, and minimal backgrounds, influencing artists like Jamini Roy. Initially devotional souvenirs for pilgrims, the themes expanded to include social satires, depicting figures like Goddess Kali, Babu & Bibi, and Cat with the Fish. Artists, known as 'patuas,' used natural pigments on paper or cloth, sometimes incorporating European realism for British patrons. Although it declined with the rise of machine prints, recent efforts by artists, government, and connoisseurs are reviving this culturally and historically significant art form through exhibitions and workshops.
| Title | Illicit affair In Kalighat by Uttam Chitrakar |
| Artist | Uttam Chitrakar |
| Art Style | Kalighat |
| Medium | Natural Colors |
| Size | Medium |
| Dimension | 14 in(H) X 11 in(W) |
| Themes | Couple |
| Color | White, Red, Multicoloured |
| Country of Origin | West Bengal, India |
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