The Visual Ramayanas
Title:The Ramayana in Bengali Folk Paintings
Author:Mandakranta Bose
PP:139
PRICE:795
Publisher:Niyogi Books
In the age of technological advancement where all the facts and information
are readily available at the tips of our fingers, going as far as some lesser
known villages in Bengal to tell an entirely new way of story-telling
exhibits a unique passion. Mandakranta Bose’s The Ramayana in Bengali
Folk Painting exhibits one such love for Patas, also known as Patacitras.
Patas or Patacitras or Patuas refers to the unique art of scroll painting of
Bengal, commonly painted with vegetable and other indigenous dyes in
a vibrant and colourful style on handmade paper. The main aim of these
scrolls was to narrate the epic tale of Ramayana through pictures and
singing the stories.
Right from re-telling of every Kaand from the epic tale through pictorial
representation to revelation of some quite never known before nuances of
Patacitras, the book has done justice to the history and origination of Patuas
and their art. The author has left no stone unturned, thus, displaying her
immense love for everything historical which compels her to go back in
time and come back with some little-known stories and facts to amaze the
present generation with.
A noted Sanskrit scholar, Bose,
has provided both the history of
the patas and what we know about
the history of the artist community
through the documentation of
the interest of the prominent
collectors like Gurusaday Dutta
and David McCutcheon. In
several chapters, she discusses
the depiction of the Ramayana in
and as art, regional Ramayanas,
the role of Ramayana in Bengali
tradition and culture, the history
of these chitrakaras and their
status today. Influenced by the
Ramayanas of Ramprasada
and Jagadrama (father and
son duo), and Dasarthi
Raya, these narrations
are based on Krttivasa’s
Ramayana and has its
own distinct feature.
Interestingly, these patas
did not just talk about epic tales but also discussed social topics like the role
of women in society such as the plight of women in Valmiki’s context,
stories with moral and ethical lessons. Some chapters comprise her
attempt to understand how this vibrant art form communicates
the complexities and beauty of an ancient legend.