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This Kalighat painting by Uttam Chitrakar is a brilliant depiction of the Babu-Bibi genre, a famous satirical theme from the 19th-century Bengali folk art tradition. Originating near the Kalighat Temple in Kolkata, this style of art frequently mocked the affluent, westernized Bengali "Babus" of the colonial era, using bold contours, fluid linework and humorous iconography to critique the changing social morals and domestic power shifts of urban society.
At the center of this composition is a Babu and his Bibi (courtesan or wife) seated closely together on an elegant colonial-style sofa. The woman, positioned on the left, commands the interaction. Her facial features carry the classic Kalighat style large, elongated almond eyes and long flowing black hair. She is dressed in a pristine white sari with a bold black border. With an affectionate expression, she drapes her arm around his shoulders.
The Babu sits on the right, completely enamored by her. He is dressed in a blend of traditional and colonial fashion, wearing a black waistcoat-like kurta and pants along with a white shawl. In his hand, he holds a small red flower on a green stem, offering it as a symbol of his total devotion. In a highly satirical nod to his Europeanized affectations, a tall, black colonial top hat sits perched atop his head. The couple rests against a large striped bolster cushion on a terracotta-brown European-style sofa.
The domestic scene is given an extra layer of traditional irony by two stylized cats, one resting on the floor and another on a stool to the left. The cat on the stool is rendered in stark white with bold, irregular black spots, while the cat on the floor is black and holds a rose in its mouth. In Kalighat iconography, the cat often acts as a silent witness to domestic folly or a metaphor for hypocrisy, anchoring the satirical undertone of the Babu's submissive romantic indulgence.
The painting features the Kalighat school’s signature economy of line, using broad, continuous strokes to capture the fluid grace of the figures and rhythmic patterning to build form. The color palette is striking and balanced, relying on the contrast between the vibrant colours of the central figures and neutral backdrop. This work beautifully captures the essence of the Kalighat secular tradition, merging historical social commentary on colonial influence with the spirited, expressive energy of Bengal’s regional folk heritage.
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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This artwork will be Made to Order and will take 2-3 weeks to be made and shipped.
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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 | Petals of Affection: Kalighat Tales by Uttam Chitrakar |
| Artist | Uttam Chitrakar |
| Art Style | Kalighat |
| Medium | Natural Colors |
| Size | Medium |
| Dimension | 22 in(H) X 14 in(W) |
| Themes | Couple, Folk Art |
| Color | Black, White, Brown, Multicoloured |
| Country of Origin | West Bengal, India |
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