Who are Some Pre-Colonial Dalit Painters?

Art history in India remains a rich confluence of traditions and cultures, yet it is marked by systematic exclusions that have erased the contributions of marginalized communities—in particular, Dalits. The history of Indian art has been largely written around temples, miniature paintings, and court art but rarely mentions the artisans from Dalit communities who contributed to this legacy. These artists, mostly unnamed during their lifetimes, were instrumental in folk traditions, ritualistic practices, and utilitarian crafts, all expressing the creativity and resilience of their communities (Zelliot, 1982).

Pre-colonial Dalit painters worked within the realities of caste hierarchies and were usually only permitted to work in the “low” or utilitarian forms of art. Their works rarely received a place in the classical traditions patronized by courts or temples, though they flourished in folk art and devotional practices that derived from their deep-rooted sensibilities towards life and spirituality (Omvedt, 1994). In Bengal, the Patuas and Chitrakars made scroll paintings that told epic stories and moral tales. Coloured with natural dyes, these were vibrant images that both amused and educated rural audiences (Jha, 1987). While the names of these home crafters rarely made it into historical records, their artistry speaks volumes about their skills and cultural significance (Ghosh, 1957).

In Andhra Pradesh, the Madiga community of leather workers fashioned elaborate shadow puppets for performances called Tholu Bommalata. Passed out of the gates, you could see these puppets jaywalking the floor underneath cotton suns as they acted out scenes from the Ramayana and Mahabharata with exquisite attention to detail (Hardgrave, 1965). In Kerala, Kalamezhuthu—a ritualistic floor art form in which the Pulaya and Paraya communities used natural dyes to depict deities—was less steeped in caste politics. The art was integral to temple ceremonies, but the artists were erased from history; their caste identity overshadowed their creativity (Ramanujan, 1991).

Drawing on definitions of folk craft and ritual that frame it within the realm of art, Dalit artistry began to encompass a wider range than what was already captured. Having passed out from tribal depictions, Dalit artistry also found its way into the creation of utilitarian crafts. This led to intricate paintings adorning mundane leather objects in the hands of the Charmakar community in Maharashtra (Sahu, 1998). A similar overlap can be observed in the traditions of groups between Dalits and Adivasi communities, such as Warli painting, which showcased geometric motifs representing daily existence, nature, and spirituality. These contributions, while central to the cultural and economic life of their regions, often went ignored in historical narratives (Menon, 2006).

The invisibilization of Dalit artists in pre-colonial history is not an oversight but rather a stark reminder of the effects of systemic caste discrimination. Art history, written mostly by upper-caste scholars and patrons, not only silenced the contributions of marginalized communities but also ensured that their names and legacies were buried (Nagaraj, 2010). Reclaiming these histories cannot happen without a conscious effort to reflect on folk traditions, oral histories, and practices that define specific communities. It also requires a critical recognition of the structural obstacles that ensured Dalit artists were left in the dark while their work was applauded.

In recent years, increasing efforts have been made to rehabilitate the legacies of these neglected artists. Scholars and cultural historians are rediscovering folk traditions and looking at the stories of Patuas, leather puppet makers, muralists, and other grassroots artists (Subramanyan, 1987). By positioning their contributions within a wider narrative of Indian art history, these attempts aim to rectify the historical injustices of caste-based exclusion. Far from being merely a tale of defiance, the story of pre-colonial Dalit painters is one of creativity that will not be contained. From Bengal’s vivid scrolls to Kerala’s ritualistic patterns, their art is an expression of deep involvement with cultural and spiritual life. Revelatory, as we discover their lost brushstrokes, it informs us of how urgently we must rewrite history with an inclusive lens and place these narratives no longer upon the margins but at the forefront of India’s cultural ethos (Zelliot, 1982; Omvedt, 1994).

Featured Image: Three Untouchables Under The Black Sun | Savindra ‘Savi’ Sawarkar

References

• Ghosh, Binoy. Folk Art of Bengal: The Scroll Painters and Their Works. Indian Publications, 1957.
• Hardgrave, Robert L. The Dravidian Movement. Popular Prakashan, 1965.
• Jha, Makhan. “The Patuas of Bengal: A Folk Art Tradition in Decline.” Asian Folklore Studies, vol. 46, no. 1, 1987, pp. 93–102.
• Menon, Dilip M. The Blindness of Insight: Essays on Caste in Modern India. Navayana, 2006.
• Nagaraj, D.R. The Flaming Feet and Other Essays: The Dalit Movement in India. Seagull Books, 2010.
• Omvedt, Gail. Dalits and the Democratic Revolution: Dr. Ambedkar and the Dalit Movement in Colonial India. Sage Publications, 1994.
• Ramanujan, A.K. Folk Tales from India: A Selection of Oral Tales from Twenty-two Languages. Pantheon Books, 1991.
• Sahu, Bhagirathi. “Artisans and Social Hierarchy in Pre-Colonial India.” Social Scientist, vol. 26, no. 1/4, 1998, pp. 19–32.
• Subramanyan, K.G. The Living Tradition: Perspectives on Modern Indian Art. Seagull Books, 1987.
• Zelliot, Eleanor. “Dalit Art and Politics.” Journal of Asian Studies, vol. 41, no. 4, 1982, pp. 639–658.