People have conventional ideas about tribes. Their language, behavior, dressing, and lifestyle everything gave an idea about the tribals to the non-ethnic groups. But it is quite disappointing to note that we failed to praise their artistic skills. The most famous painting that we are seeing today with men and women in line form is with triangles and circles comes under a specific type of art called Warli. This art belongs to a particular tribal group, Warli.

Warli is one of the largest tribes in India which chiefly occupies the western part of India, especially the North Sahyadri Range in Maharashtra. The art originated from this tribe and in these areas they are still practicing it. As we all know that during those days, Art played a major role in writing history. Similarly, the Warli tribal people designed Warli paintings as their way of recording their stories to pass on to the next generation about them and their living. Henceforth, the Warli has nature and its elements as the focal points, including the depiction of farming as that was the large source of food for them.

Warli people used their huts as their canvas. The walls of the huts became the backdrop for their art. It is quite interesting to note how they made use of what they had. The walls of their huts were not made of blocks of cement and brick that we have today, they are made of branches, earth, and red brick that serve as the red ochre background. Hence, the old Warli painting has the standard background of red and paint only in white color. This white paint is also natural which is a mixture of rice flour and water with gum to bind. Now the paper and paint are ready. We need a brush to start painting. Again their smartness played a role here. By chewing the end of a bamboo stick they made a natural paintbrush.

Warli painting is an easily identified art that stands alone for the figures made out of geometric shapes. They have a regular pattern and fixed shapes. For instance, the circle represents the sun and the moon. Squares represent the land. Triangle depicts the conical trees and mountains. In any ritual Warli painting if you take, the central square motif is the chauk or chaukat. It is of two types Devchauk and Lagnachauk.

Devchauk usually depicts the Palaghata who is the ‘Goddess of fertility’. Male gods take human forms and are surrounded by their routine scenes like hunting, farming, fishing, trees, and animals. Apart from this, festivals and dances of the Warli tribes are also depicted in the Warli picturesque. The tarpa dance is the most commonly found painting of Warli seen anywhere. There will be a tarpa player at the center, surrounded by entwined hands of rounding men and women. Tarpa is an instrument like a trumpet. The dancers follow the tarpa player. They move either clockwise or anti-clockwise according to the two different notes played by the musicians.

Two inverted triangles jointly represent humans and animals, symbolizing the balance of the universe where the upper triangle is the torso and the lower triangle is the pelvis. To differentiate men and women, the larger triangle at the top represents the man, and the wider at the bottom represents the woman.

Today Warli has become so common among the surroundings that it is even available in many forms. Though paintings can be done anywhere like paper, board, or canvas, Warli took the spot of walls. In Tamil Nadu there is a community called Ainootram Chettiyar who used to paint the entrance of their houses in Warli style on an auspicious day before their wedding. They celebrate it as a part of their wedding and the function is known as Pattai Vaathal.

Even with today’s speedy evolution, the brushes used to make these paintings are still made with squirrel hair. How mind-blowing is that? Miniature paintings are the only form of art that is able to capture stories with minute and infinitesimal details.

Miniature paintings are a work of details . They are drawn on palm leaves, wood, paper, cloth and ivory panels. Exquisite colours and details are what make sure that these paintings look breathtaking from a distance as well as from up close.

The origin of miniature paintings dates to the 7th century. The Palas of Bengal were the ones under whose patronage the miniature paintings began their journey of becoming popular all around the world. The Buddhists in Bengal made scriptures on palm leaves which were just 3 inches wide. These scriptures had manuscripts as well as images of Buddha.

Miniature paintings were adopted in Rajasthan, Malwa and Gujarat by the 12th century. These were the only regions where miniature paintings were first found. Later in the 15th century, these paintings had an influence on the Persian dynasties where they replaced the leaves with paper. Persian dynasties were followed by the Mughals. This was the period of the 16th century when miniature paintings thrived. They were now known to be a form of art depicting the history of India as well as its art culture.

Miniature paintings of the Mughal style were rich in religion, tradition and culture. They were already on the brink of being one of the richest forms of art in India when it was merged with the Persian style. That resulted in a highly rich and decorated art form with mesmerising intricacy and details. Just as these paintings took their course of being one of the most cherished and wanted forms of art, being equally difficult, different regions and states began adding their own touch to them to create new patterns, details and forms of art under the domain of miniature paintings.

To the Tamilians the word Thanjavur will literally take them on a historical tour down memory lane. Thanjavur also known as Tanjore, is pretty famous worldwide for the Brihadeshwara temple. This temple is noted for its architecture. Architecture and all forms of art flourished during the period of the great Cholas. But this Tanjore painting originated under the rule of Marathas in the seventeenth century.

Raju was the community that chiefly practiced Tanjore painting. They are also known as Jinigara or Chitragara, who were the migrated people from Andhra Pradesh to Tamilnadu during the fall of the Vijayanagara empire. These artisans were Telugu-speaking people who later settled in Tanjore and Madurai. Nayakas were the rulers of that city at that time, from whom the Tanjore paintings drew their inspiration.

In the 17th century, there lived a great lover of paintings who was Maharaja Serfoji II. He was the reason behind the available antique Tanjore paintings. He took a lead and painted the deities and also the portraits of Maratha rulers and courtiers that were displayed in the Maratha palace and other buildings.

It might be so questioning about the appraisal of Tanjore painting. It is not like any other painting that involves paints and canvas. It involves gold and silver foil for rich embellishments. Traditionally, the base would be the wood from the teak or jackfruit tree. But it is replaced by plywood by the modern Tanjore artists. Using the tamarind seeds a special gum is prepared that is used to cover the wooden piece with a cloth. Gesso is a paste, a mixture of chalk powder and gum. Once the base is dried it will be applied on the cloth. This surface is smoothened and then the artists work on it.

Layers of gesso paste were applied to give an embossed three-dimensional look. This embossment was decorated with gold foil in a thin layer and the extras would be removed. Tanjore painting is known for the usage of materials along with paintings. Along with the gold foil, the painting is enhanced with semi-precious stones, glass beads, and other attractive materials. The final touch would be the coloring which is done using natural and vegetable colors. Once it is done and dried, the painting is framed for protection.

Tanjore paintings depict the Indian mythological deities, ethics, and religious texts. Most commonly the paintings of Lord Vishnu, Krishna, and goddess Lakshmi can be seen in the Tanjore art style. It can be widely seen in many shops, especially jewelry outlets. Very rare Tanjore paintings do the figures of other elements like animals, trees, and so on. Additionally, one can notice the incorporation of numerous style influences in these works like Tamil, Telugu, Maratha, and Deccani, and also from Europe, they adapted the art of shading to create depth than to comply with European lighting and perspective conventions.

Tanjore painting is not only a painting to see and enjoy. It is also a symbol of dedication and devotion. One can buy it out of spirituality or create it out of love and creative dedication. Most of the time, it is bought for gifting purposes which satisfies three things: a useful gift and a rich gift, which eventually becomes the best gift. Of course, an undeniable fact is that today's Tanjore paintings are quite not authentic as they were in those days as the natural and old things were replaced with chemical and available products. Yet, the painting is still in use. Even today Tanjore painting in blouse work has become the trend.

Madhubani art is also known as Mithila painting. It was the Mithila region of Bihar where Madhubani Art was and is practised most prevalently. The origin of this art form was also situated in Mithila only. Some references were traced back to the time of the Indian Legend of Ramayana. King Janaka, the father of Sita, had ordered the royal painter of the kingdom to trace Rama and Sita’s wedding in the form of a beautiful painting using the Madhubani art style. That painting was well appreciated and placed in the royal palace itself.

The practice was passed on to generations as this wasn't an art form to just let go. The paintings of the Madhubani art didn't just hang on the walls of the royal palace but also in the houses of people in different regions. Madhubani art had gained a lot of popularity by then. Slowly, the women of the houses also started testing their hands at the art form. As this art form attracted more and more artists towards it, the art flourished globally.

As Madhubani art became a global sensation, the mediums on which it was painted evolved into cloth, handmade paper, and canvas. The common tools used for this art are fingers, twigs, brushes, matchsticks, and nib-pens. Madhubani art mostly consists of geometrical patterns. One can also see the art consisting of patterns depicting the Sun. These paintings also depict nature and their association with people and the environment.

The scenes that are depicted are usually of dances, royal kingdoms, and women, their beauty and elegance, along with added patterns of geometry, however not in the mathematical form but more in an artistic way. Birds, flowers, and patterned dots are the ones that have taken over the duty to fill in the gaps in the paintings.

Climbing the ladder of the bright side, Madhubani art has been preserved in many forms. It’s still used on linen, home decor, and different kinds of paintings.

This form of art patterns with depictions of the relationship between nature and humans has taken over hearts all around the world. This is the case, especially in clothing, more than it is in paintings, unlike the time when Madhubani art was introduced and started to flourish.

The art found in our country is not only for mere decoration but an inscription or a doorway to the past. Before there were words or letters we had art, and through art, we are now able to know what our history was. One such art is the Saura art. Dated back to the 1st century B.C. Saura art, or mural- style art is known to belong to one of the oldest tribes of India – the Saura tribe. This tribe and its art are particularly found in the southern districts of Odisha - Rayagada, Ganjam, Gajapati, and Koraput.

This tribe has a long history and its name can be found in our great epics. Mata Sabri from The Ramayana and Jara, the hunter, who wounded Lord Krishna’s mortal body with his arrow, are said to be from the Saura tribe. This tribe is not a big believer in written words, but they do believe in the art that depicts not only their daily life but also closely holds on to the history, philosophy, ceremonies, and religious practices of the tribe. Saura art is called the Italons or Ikons (or ekons). These Ikons are worshipped and devoted to their god Idital (or Edital).

These Ikons are not painted by just anyone; this is the main difference between folk art and tribal art. Unlike folk art, tribal art holds more religious importance, and they carry years and years of culture. Folk art, on the other hand, is more connected to a community and can be passed on to anyone interested. These figures and symbols painted are not just simple designs but individually hold unique and significant meanings and are painted only by the priests of the tribe called Kudangs. These Priests are said to be guided by gods and as they paint these religious Ikons, they explain the meaning behind them in a unique oral tradition. The most important tradition amongst the Saura tribe is praying for the well-being of their ancestors, which is then followed by special occasions like childbirth, harvest, marriage or when a new house is constructed. Ikons are painted during such occasions to appease their deity Idital. You can spot a lot of repetitive motifs in the paintings, such as elephants, horses, the sun, the moon, the tree of life, all of which hold special symbolism.

Ikons are painted on freshly painted walls. These walls are prepared with red or yellow ochre. Naturally obtained paints are used to draw these Ikons on the wall with a bamboo paintbrush. Rice, white stone, mixing seeds, leaves extract and hued earth are some of the ingredients by which the paint is made. These natural paints are one of the reasons why the Saura art is also called the art of the earth. It is not necessary for priests to paint a new Ikon during such occasions. The old Ikon is worshipped and a new Ikon is only painted when the house has gotten a fresh coat of paint or mud or if it is newly constructed. These Ikons are usually painted in a dark corner of the house.

Saura art holds a strong resemblance to the Warli art of Western India, and some might even call them cousins. Both art forms use geometric patterns and natural colours which makes them very similar. However, if it is looked at a little closely you can pinpoint the difference. Saura art is said to be more angular and there are no special distinguishable factors between male and female figures, while in Warli paintings you can easily identify them. Saura art is more elongated than the Warli art form. The fish net approach is used in Saura art which means that the design starts from the border and moves to the centre.

Even after thousands of years of change the art has remained relevant and has only become famous over time. Tribal art is now receiving its fair share of love and the demand for these prints have changed the natural paint to ink and is now being manufactured as tapestries and garments, especially saris. A new world has opened up to the endless possibilities for these prints and are reaching every corner of the world as stationary, garments, phone covers, handlooms, and whatnot.

As I said in the beginning, tribal art is a doorway to the past and as the times are changing so is the reality, and keeping in mind the current world we live in, these modern changes are being incorporated into the paintings. For example- the design of a bus is being added to the already existing designs to keep the painting updated with time.

For all those people who have walked the face of this earth, they left many imprints of their existence behind and history records them in the form of art and archaeological evidence.

Art through the ages has been a significant medium to identify the histories of communities as it is considered a way of storytelling through the expression of cultural art mediums. Tribal communities, being the vulnerable belt of people who survive in most raw and organic forms of life, consider their indigenous art as a personal expression of their life and their culture, which always seem to be under a scrutinized threat by urban eyes.

The Bhil community however shares a greater relevance in both historical and expressionist culture which makes their art form even more deserving and promising to gaze at, as a single Bhil painting not only gives lessons about the indigenous beliefs of this largest Adivasi community in central India but also about life’s greatest virtue of- treading every step with utmost patience.

The Gond people have a written history stretching back fourteen hundred years, but given that they live in places where Mesolithic rock drawings have been discovered, their ancestors are likely far older. Many of the Gonds' practices are similar to those of their Mesolithic forefathers. One prominent example is the practice of adorning the ceilings of their homes, which may have originated in the cave-dwelling customs of their forefathers.

Tribal art in India is a centuries-old tradition that vividly depicts the life of some of our country's oldest residents. Gond Art – the one-of-a-kind art style of the Gonds, one of Central India's powerful tribes, particularly in Madhya Pradesh – fully defines the spirit of tribal art.

Gond painting, which comes from one of the country's significant tribal populations, is a playful take on lines and colors beautifully drawn by Adivasis from Madhya Pradesh, Maharashtra, Chattisgarh, Andhra Pradesh, Odisha, and Bihar. Gond art, influenced by folktales and Gond mythology, was initially created on walls and floors before spreading to other mediums.

Gond comes from the term 'Kond,' meaning 'the green mountain.' Because every Gond painting has a strong, holy link with nature, most Gond paintings center on features of nature — creatures, birds, forests, rivers, and mountains.

The Gond community's faith is intricately linked to these elements of nature, and by painting them, they bring in good luck and show their gratitude to nature. Famous Gond art is precisely executed utilizing dots and lines that practically merge into each other; these bits and lines combined depict the daily existence of the Gond people and their views about the social, religious, holy, and natural world.

Gond painting has tribal origins that may be traced back to the Mesolithic period when cave painting was an everyday activity and way of life for the people. Gond art replicates the same technique of sketching on floors and walls. Men and women have been decorating the ceilings and walls of their houses for centuries, and it is still performed in many parts of the world. The Gond people practice this custom as well. Gond artwork is also thought to be an offshoot of Dighna or Digna art, which the Gondi people also performed.

Digna art was created for celebrations and auspicious occasions such as marriage, birth, crop sowing, etc. As a result, it is thought that Gond art is a contemporary adaption of Digna art, and the parallels in the religious ideas and practices of both arts might be regarded as an impact on each other.

The voyage of Gond art began in the 1980s when the Pardhan Gonds pioneered this narrative technique of storytelling via Gond paintings. Gond art is also known as Pardhan Gond painting or Pardhan Gond art. Former priests Pardhan Gonds were noted for their exceptional creative abilities and pioneered using many materials and colors such as canvases, acrylic paints, etc.

The Pardhans launched tales about the Gond people's religious values, religion, and folk mythology. By expanding Gond Paintings to a larger and more prominent platform, it progressively transferred from mud walls and ceilings to other mediums such as canvas. Gond paintings can now be seen everywhere and everywhere. These paintings add to the authenticity of the settings, but they often remind people of the fantastic talent that emerges from the Gond community.

Even if they are not related to the contemporary world, they have a significant effect on the realm of culture and art. Gond painters regard all aspects of nature as sacred, as seen by their depictions of forests, creatures, birds, streams, and hills in these Gond paintings. According to their beliefs, looking at these paintings might bring good luck and fortune; hence, they are fervently carved by Gond people for various events as a mark of respect. Apart from various natural features, Gond painters get inspiration from local folklore, Gond mythology, and many stories found across the region. They do not limit themselves as painters to making Gond paintings that are an expression of their views and creativity.

Gond art has considerably affected today's painting world by widening its paintings to many topics and even delving into abstract images.

The paintings are constructed using eloquently painted lines and dots and employ brilliant hues such as orange, yellow, blue, and red. These gorgeous paintings are created using natural colors acquired from diverse sources such as flowers, stones, etc. The Gond artists have devised ways to work with many modern mediums and materials over the years. They'd start by making dots and calculating the density of the pictures.

These dots would be joined to form an outside form, and then be colored. Each thing they meet in life is artistically changed as they adapt to the current social setting and environment. Tattoos or minimalistic human and plant forms are seen in the photographs.

Although Gond paintings have been there for millennia, this art style has steadily evolved from the mud walls of the dwellings to canvas and paper. Apart from drawing inspiration from stories and myths, the main topic of these paintings is nature.

Trees have a crucial role in Gond art. Trees are vital for people and animals alike – for wildlife alike – in the summer to shield them from the warmth during the rainy season to shelter them from the rain. Trees supply both sustenance and food.

Paints are often made from natural materials such as charcoal, colored dirt, plant fluids, mud, flowers, leaves, and even cow dung. However, because natural colors are scarce, Gond painters have begun to employ poster colors and canvas to paint on. Because both genres use dots to make the image, Gond paintings resemble aboriginal art from Australia. Different types of dots appear in both art styles. The dots in aboriginal art represent territory and dreaming, but in Gond art, the shamans assume that the fragments of their bodies spread into space to merge with that of the spirits to produce other bodies.

The story of Pattachitra begins with the Jagannath temple of Puri. Built in the 12th century by a king of the eastern Ganga dynasty, the Puri temple houses the much-loved Lord Jagannath and his siblings- Subadhra and Balabhadra. On the birthday of Lord Jagannath, an avatar of Vishnu, which lies on the Poornima of the Jyeshta month, the deities are taken for a ceremonial bath to provide them relief in the summer heat. This ‘Snana yatra’ is followed by a 15-day period of seclusion known as ‘Anasar’, i.e. the first fortnight of ‘Ashada’. During this period, the devotees are denied the darshan of their beloved gods, due to the belief that the gods catch a cold post the Snana yatra and are undergoing recovery from the subsequent fever. To ensure that the devotees could still worship their lords even when they were away from the public eye, a substitute in the form of paintings of the deities on palm leaves emerged, which could be worshipped by the devotees in the absence of the main idols.

Originally called the ‘Anasara Patti' due to the 15-day seclusion period, the paintings eventually came to be called Pattachitras. Being of Sanskritic origin, the word pattachitra can be broken down into ‘Patta’ meaning a dried palm leaf or cloth, and ‘Chitra’ meaning painting. Pattachitras are thus paintings on scrolls of bark or paper. Traditionally, the canvas for these paintings is prepared by soaking a cotton cloth in tamarind-seed water and then coating it with chalk and gum. Seven such sheets are bound together and the resultant sheet is leveled out with a stone in order to constitute a canvas. On this canvas, natural colors are used to create magic, which is given a glossy finish by a final coating of natural lacquer.

Pattachitra is a structured and disciplined form of art, which has numerous sacred guidelines and rules. All Pattachitra paintings must have a floral border. Along with this, they must only use natural colors that are limited to a single tone. This results in a distinctive appearance that is unique to Pattachitra. There are only a few clearly defined postures and positions that each figure can assume. The lines are strong, straight, and acute. Landscapes, perspectives, and distant views are typically absent. The incidents are all seen closely next to one another. The Pattachitra style is a combination of both folk and classical elements. The Pattachitra paintings employ natural colors to create magic. The white color is produced by powdering sea shells, soaking them in water, and heating the mixture. In addition, the hues of black, red, green, yellow, and blue are derived from organic materials. The Pancha-Tatwa, which refers to the five primary colors, holds significance in the main Jagannath painting. Additionally, the colors represent each character's Rasa in a story. White is used to represent Hasya (laughter), red for Raudra (angry), and yellow for Adbhuta (astonishment). Rama is depicted in green, while Krishna is shown in blue. By combining these primary colors, approximately 120 additional hues can be created.

A unique style of Pattachitra is Talapatra Chitra, a distinctive form of engraving which is done on palm leaves. Palm leaves are sun-dried for two to three months, then soaked in water and treated with a turmeric solution. This ensures the longevity of the palm leaves. The leaf is then divided into the required size sections, which are then tied together to form a scroll. The drawings on the palm leaves are etched onto the leaves using an antiquated tool: a special sharp, pointed, iron needle. The palm leaves are then rubbed with pure lamp-black which fills in the grooves where the drawing has been engraved. The excess black powder is then removed with soap and water, allowing the black to collect in the lines of the carving.

Talapatra Chitras depicts mythological narratives and scenes. The Pattachitra artists, known as Chitrakars, primarily created icon paintings based on Hindu mythology. The most popular themes are the Badhia (a depiction of the temple of Jagannath), Krishna Lila (an enactment of Jagannath as Lord Krishna displaying his powers as a child), Dasabatara Patti (the ten incarnations of Lord Vishnu); and Panchamukhi (a depiction of Lord Ganesh as a five-headed deity).

The main subject of Pattachitra paintings in general is the local deity Jagannath, and this art is primarily associated with worship and rituals. Srikhetra Patis are Pattachitras that depict the deity Jagannath. Symbolism abounds in Jagannath's iconic face as well. The two large eyes represent the sun and the moon. Associated with the universe, he is regarded as Anandi, having no beginning, and Ananta, without end. Given that Vishnu is thought of as having taken the form of Jagannath, Pattachitra also explores many different facets of Vishnu. The most popular and widespread is the depiction of the Dashavatar, or the ten incarnations of Vishnu. In addition to this, ‘Gita-Govinda’, a well-known work of literature about the romance of Radha and Krishna, is read and decorated in many Odissi villages through palm-leaf manuscripts and Pattachitras. Odia folklore is another fascinating subject that is painted and recited through the paintings.

Pattachitras inspired by nature that feature the tree of life, birds, and other animals are also lovely examples of art. Erotic subjects are among the other themes depicted in the paintings sometimes.

Raghurajpur, Paralakhemundi, Chikiti, and Sonepur are among the locations where this priceless and venerable tradition of Oriya paintings is still practiced. Raghurajpur, a town where Pattachitra artists reside and create their masterpieces, is located about 14 km from Puri city. Every villager is an artist in this place, and every house serves as a studio. The local artists are referred to as "Chitrakaras" and are descended from the Savar tribe. The Chitrakaras frequently go by the surnames Maharana, Mahapatra, and Subudhi. In 200, INTACH designated Raghurajpur Town, the location of the fascinating Pattachitra art, as a ‘heritage village’. This art form is popular not only in Odisha but also in West Bengal.

However, with the passage of time, Pattachitra art has undergone a commendable transformation. These days, Pattachitras are painted on items like sarees, bags, wall hangings, showpieces, and even furniture. However, these innovations have never hindered their traditional representation of figures and use of color, which has persisted and remained unaltered for generations.

The thread of tradition connects cultures across the world. From Ovid’s Metamorphosis, the retelling of Greek mythology to Kalidasa’s Abhijnana Shakuntalam, the creative extension of an episode in Vyas’s Mahabharata, aesthetics and literature have found their foremost muse in religion. This has led to a seamless symbiosis between devotion and art. Floor painting, an art form associated with religious festivals heralds the auspicious arrival of a deity. Kalamezhuthu, an art form native to the Indian state of Kerala is a ritual accompanied by song, dance, and painting. It is mainly practised by the communities of Kurups, Nambiars, and Unnis.

A union of the words kalam (picture) and ezhuth (the act of drawing), Kalamezhuthu is also known as dhulee chithram, literally translating to “picture made of powder”. Mostly prevalent in the districts of Palakkad, Malappuram, Thrissur, and Kozhikode, Kalamezhuthu is an elaborate process of painting the likeness of deities like Bhagavathy, Ayyappan, Sivaputra, and Nagadevata. However, unlike other regional variations, it does not merely serve decorative purposes. It is the prologue to a string of performances following immediately after. The form is subjected to stringent conventions, and every stroke, use of colour and expression of deities is in accordance with certain rules.

The use of colours is as fascinating as their ingredients. The temple’s atmosphere is heavy with the fragrance of spices and herbs because Kalamezhuthu specifically emphasises the use of colours extracted from natural sources – black (charcoal, burnt paddy), yellow (turmeric), red (a mixture of turmeric and lime), white (rice powder), and green (leaves), representing the Pancha Bhoota or five natural elements. This speaks of the art’s innate simplicity.

The drawing of the kalam is in a vertical linear fashion – the face is outlined first, followed by the crown. Next, the upper body is sketched with the ornaments, finally leading to the legs and feet. White colour is used for the outline. The body is painted green, and the deity’s expression is one of aggression or ugram. All other colours are used for embellishments. The artists use their fingers to pinch the powder, deftly pouring it by and by to create a perfect image of the God or Goddess. It has a three-dimensional effect.

But what makes this ritual a performance?

A typical Kalamezhuthu Pattu ritual begins with the preparation of a pattu mandapam or “performance stage”, akin to folk theatrical forms like Tamasha. The stage is covered by a silk cloth by a member of the Kurup community. The conch is blown thrice to mark the start of uchhapatt, accompanied by the chanting of shlokas. This is to invoke the deity’s presence before the performance. The floor painting begins soon after and takes about two or three hours to finish. The myth of the deity is performed by the komaran who is considered the deity’s representative. This is called kalam pattu. After all the rituals are over, it is important to erase the kalam, which is then collected and distributed among devotees as blessings or prasad. This step, called kalam thullal, is performed with artists dancing to drum beats and devotional songs sung in Malayali and Tamil. Special significance is attached to the removal of the deity’s image, and the process is done with precision. There is little creative liberty given to artists; they must follow the norms associated with each deity’s worship.

Like all tribal folk art forms, Kalamezhuthu is slowly dying. Since it is a skill passed on across generations, it has still maintained its legacy in some communities. In the battle against modernity and urbanity, it is becoming increasingly difficult for folk forms of art, theatre, and music to survive. However, with the aid of the Indian Government, it can be resuscitated and brought back to its old prominence.

The revered temple of Kalighat brings to us some of the most sophisticated art pieces of Bengal. But the legend of Kalighat Temple is yet another exciting story to be narrated. Long ago, Lord Shiva was meditating in his heavenly abode, Mount Kailasha. But someone broke out a piece of news to him that his wife, Parvati was dead. unable to think what to do, he carried his dead wife's body on his shoulders and roamed around like a caveman, ready to destroy anything and everything that came his way. Upon seeing his condition, all the gods and goddesses were worried that his grief and anger would destroy the entirety of the earth. Thus, Lord Vishnu was summoned to take charge of this situation.

Vishnu cut Parvati's body into fifty-one pieces to relieve Shiva's burden. Her right foot's tiny toe was reported to have dropped near the Hooghly River, and the place was afterwards connected with the goddess Kali. But how did a little toe become the reason behind the emergence of such a famous temple? The place where the toe was found later became a part of the city of Kolkata. By the 1690s, it came to be known by the name of Kalikshetra or the place of Kali. By the 17th century, an early version of the Kalighat Temple was set up. By the early nineteenth century, the temple had become a popular attraction for locals, pilgrims, and curious European tourists.

From a humble city with simple beginnings, Kolkata soon developed into a bustling city, bubbling with trade and industries. Migrants from all over the country started pouring into the city to find the best of opportunities. These migrants included people from various backgrounds, including painters, artists, and artisans. Among these talented people, there was yet another group named the patuas, but they were not from another state. The patuas were an artist community that belong to Bengal itself.

They came and settled near the Kalighat forming a closely-knit artist community. They began creating paintings and other artworks to sell near the ghats to tourists as souvenirs. This was a perfect opportunity for them to showcase their talent and earn a livelihood. The traditional method used the patuas to draw historical stories on papers extending up to twenty feet. When they saw various art forms that thrived around them, they realized they needed to work as fast as possible. To achieve this, they abandoned their old style, which consisted of elaborate visual storytelling methods, and stuck to one or two figurines on the scroll. The background, filled with intricate details, was now covered with clean colors. The arrival of cheaper paints led to people drawing portraits of Hindu deities, and Islamic themes like prophets and angels also came to the forefront. The depictions influenced by existence in a colonial society featured compositions in which the expanding European dominance in Kolkata was lampooned, ills prevalent in society were highlighted, and characters of warriors backing the independence cause were shown.d mill-made paper from Britain also aided the patuas' production.

Kalighat paintings became pretty famous during this century and the use of a new variety of figures, styles, and colors enhanced how these paintings were made. Along with the transformation in the painting style, the artists resorted to readymade papers and ditched handmade papers. These readymade papers were dyed correctly, and the chief patua drew the outlines of the images that would later be filled with colors. Furthermore, the figures in the artwork were colored, but the background was not. These features were regarded as the essential aspects of Kalighat paintings. By the nineteenth century, things began to take a turn.

Since the Kalighat paintings originated from the land of Kali, artists often tried to portray her and various other female embodiments representing strength and wisdom. These different styles finally led to the division of Kalighat paintings into two separate schools- the first one was the oriental school, wherein the central theme was religion, and the second one was the occidental school, wherein the central theme was the portrayal of the society.

Things changed with the emergence of the twentieth century, and the culture of Kalighat paintings began to decline rapidly. The patuas started returning to their villages because the paintings that they made were no more profitable for them. Today, only a small number of artists practice this form of painting in Midnapore and Birbhum of West Bengal. These painters primarily focus on religious, philosophical, and modern subjects by merging current aesthetics. Ironically, today the museums of Victoria and Albert in London house the most significant number of Kalighat paintings in the world instead of India. The Kalighat paintings have attracted the interest of foreign travelers visiting India since the nineteenth century. Kalighat paintings were ideal as 'oriental' or 'exotic' gifts since they were portable and easy to explain to family members back home.

In a world where the pages of literature and academia offer evidence of history and culture, paintings are the work of artists who say a thousand words without uttering even a single word. Pithora paintings, which are painted in green, yellow, red, and blue on a white background, depict the social, cultural, and religious lives of tribes such as the Rathwa, Bhils, and Bhilala. The paintings are still being drawn in central and western India, including Gujarat and Madhya Pradesh. One of the most popular locations where the art is still practiced is in Alirajpur district in western Madhya Pradesh. Pithora paintings can be traced back thousands of years as rock or cave paintings. Pithora, like many other wall paintings, is painted on the house walls by the tribal community. It is important to note that these paintings are more of a ritual than a form of art. This is not to say that they do not reflect artistic ability but rather that they are motivated by a long-held tradition. Tribal communities associated with pithora paintings, such as Rathwa, create these paintings for good omen. In order to win a boon from the deities, the paintings are usually done on the front and main walls of the house. Pithora is also the name of the Rathwa tribe's primary deity. The paintings are sometimes drawn on the orders of the community's head priest, known as 'Bhadwa.' This is done to obtain the Pithora baba's blessings and to ward off any existing evil. One of the most distinguishing characteristics of pithora paintings is that no two are alike, and they are all painted with the artists' colourful thoughts, which are influenced by their day-to-day activities and socio-cultural environment.

The first step in creating a pithora painting is to cover the walls with cow dung and then whitewash them with chuna. This is known as Lipai, and it is traditionally performed by unmarried girls. Men do all of the work associated with the drawing of the painting, and women generally do not participate. It is not too far-fetched to conclude that pithora art is a man's art. After preparing the white wall as the canvas for the painting, the artists begin illustrating their imagination, which is the central feature of the pithora paintings. The figures in the illustration consist of celestial beings such as a horse, the sun, and the moon. Furthermore, pithora paintings are well-known for their realism, with the artists depicting daily activities, festive occasions, and wedding ceremonies in the paintings. These paintings offer a creative peek into the rich and traditional lives of the tribal communities involved with the art. In the first half of the painting, the majority of the pithoras depict the image of Ganesha in the left hand corner. Ganesha, also known as Ganesha Baba, is considered the father figure in the pithora tradition. The paintings' intricate borders, which are a beautiful blend of radiant colours such as red, green, blue, orange, and pink, are another feature. These paintings on the wall, drawn on a white background, are like a life drawn on nature's canvas. They beautifully preserve the tribal communities of Rathwa, Bhils, and Bhilala ancient traditions, mythological stories, and religious beliefs. Pithora paintings, which started as a ritual now capture the essence of artistic capabilities and imagination of tribal communities.

Stories are wonderful combinations of words, phrases, and emotions that can transport you to another time and place. While some stories are told through the use of compelling words, others are told through the use of colourful illustrations. Kawad art from Rajasthan is one such creation that uses beautiful caricatures painted in a wooden box to tell stories about mythology and legends. While Kawad art, a holy and portable shrine for a religious person, an artist's imagination, and a wooden box containing stories, is thought to have originated around 400 years ago. Though the exact date of its creation is unknown, the Kawad art was first documented between the 16to17th centuries CE. The art form originated in a small village called Bassi in the Chittorgarh district of Rajasthan's Mewar region. The Kumawats, an artisan caste from the same village, are thought to have invented the art.

However, the Suthar community in Bassi village is primarily associated with Kawad art. Carpenters from the community make a beautiful series of wooden boxes, which are then painted with Hindu mythological characters. The Kawad tradition includes story-telling sessions by people known as Kawadiya Bhats. Kavadiya Bhats transport these portable shrines and travel across villages telling stories through these kawads. It is a means of subsistence for them.

The word "Kawad" is thought to derive from the word "Kiwad," which means "wooden door." The etymology is appropriate because Kawad is made up of several wooden doors that separate and connect various wooden panels and boxes. Consider going to a temple with intricate carvings on its walls. As you move through the temple, the walls and architecture tell their stories until you reach the garbagriha, the main part of the temple where the primary deity is located. Kawad, which is made of colourful wooden panels, unfolds like a temple with its doors. When all of the wooden chambers of the Kawads are unfolded, an image of the main deity can be found in the centre, much like the temple, only this time the temple is portable! Kawad art is the perfect blend of carpenters, painters, and storytellers. It certainly elevates the history of Indian art with its innovative approach to telling stories about its homeland. It is worth noting that the stories presented in kawads are typically taken from epics such as the Mahabharata and Ramayana. They also tell local legends and folklore on several occasions.

Mangilal Mistri and Satyanarayan Suthar are two major artists and Kawad art ambassadors. Both of them have kept this slowly fading art alive. Kawad art, which was once a medium for storytellers, now captures current events, narratives and stories that revolve around them. To meet modern demands, Kawad artists are now demonstrating topics relevant to today's audience. In some cases, alphabets are also drawn to help children learn through the Kawads.

A wooden storytelling box painted with vibrant colours such as red, green, yellow, and blue that encloses you within its chamber of gripping mythological stories also emphasises the importance of storytelling tradition from ancient times. It is a living example of artistic innovation from a time when, instead of television or theaters, people created Kawad art to enjoy audio-visual stories.

Kawad art not only helps a community earn a living, but it also adds another name to the long list of India's rich culture and tradition. The storytelling sessions with Kawad art were possibly the way for social gatherings in the past, which were curated with the artists' dedication, imagination, and creative abilities. The beautiful wooden boxes are thus a glimpse into the intricate history of the community, which created art not only for aesthetic reasons but also out of necessity.