In the Sarguja district of Chhattisgarh, the Rajwars, a farming community, dabble in a unique and traditional art form known as Painted Clay Relief. This art form is primarily practised by the women of the community and holds great significance in their culture. The Rajwars are primarily Hindu and follow the rituals and customs associated with Hinduism. They worship Hindu deities and pay homage to their ancestors. Festivals like Holi, Diwali, and Dussehra are celebrated with great enthusiasm by the Rajwars. However, their most important festival is “Chherta,” which takes place on the full moon day of the month of December.
All the women in the community come together to decorate their homes. They paint the walls, doorways, and wall skirting of their houses, as well as everyday items such as shelves, using a technique called “Lipan.” This technique involves using unfired clay mixed with cow dung, which is painted white and then adorned with illustrations in ochre, blue, green, red, and yellow colours.
The motifs used in the paintings include representations of gods, animals, birds, trees, and human figures. These three-dimensional figures are an extension of the community’s rich artistic tradition, passed down through generations. The artwork is not limited to the walls but also extends to jhinjira (screens), patani (shelving systems), and dodki (storage bins) that are present in every room of their houses. The black colour used in the paintings is obtained from the soot of oil lamps, while the base white colour comes from choohi, a white clay. The creation process of these artworks involves not only the addition of new motifs but also the repair and restoration of existing walls and structures. This cyclic process takes place every year, bringing forth a variety of new design and symbols language that showcase the vibrant imagination and personal lives of the creators. The creations have included contemporary elements over the years that the community and women have experienced and seen.
The painting of houses and walls through clay relief is an artistic means for these women to express their worldly desires, providing them with agency to hone their creativity and engage in a beautiful community art that brings them closer to other women of the village. What you see on the walls may be stories and characters depicted in an age-old painting style, but is also reflective of self-expression and the deep connection the community harbours with the natural world.
There emerged two remarkable individuals in the Sarguja district who challenged the status quo and propelled the art to new heights: Sonabai and Sundaribai. These two women became catalysts for change and transformed this traditional indigenous art form into an international phenomenon. Sonabai, with her exceptional talent and innovative approach, revolutionised the art form. Sonabai, born around 1930 in Puhphutara village, Sarguja District, began practising the traditional art of Painted Clay Relief. Married at 14, she found herself lonely in her new home after her husband’s joint family split. With a newborn son, she defied traditions and immersed herself in creating clay figurines, inspired by daily life. Indifferent responses from others couldn’t shake her artistic convictions. Sonabai’s sculptures became her “companions,” filling a void within her. Her husband remained uninterested in her work. Despite adversity, her unwavering dedication and refusal to conform led to groundbreaking artistic achievements. Her sculptures, infused with her soul, showcased her remarkable talent and creativity. Sonabai’s story exemplifies the power of artistic calling and the ability to thrive amidst challenges. Her creations were characterised by their abstract and imaginative forms, showcasing a fusion of traditional techniques and her personal interpretations. Her sculptures and installations captured the essence of her inner world, reflecting her emotions, dreams, and perceptions. Through her artistic prowess, Sonabai not only challenged the norms of the traditional art form but also shattered societal expectations placed upon women in her community.
During the establishment of Bharat Bhawan in Bhopal, artists and researchers ventured into Madhya Pradesh’s interior regions, seeking Folk and Tribal arts. It was then they encountered Sonabai’s mesmerising work, leaving everyone astounded. Her pieces were brought to the art complex, captivating viewers worldwide. Sonabai’s talent received prestigious recognition: the President’s National Award for Craft Persons in 1983 and the Tulsi Samman from the Madhya Pradesh Government in 1986. Her journey from a remote village to the halls of esteemed institutions exemplifies the transformative power of artistic expression. Once she gained recognition, women in her village started imitating her style of making painted clay relief sculptures. With time and without much backing from any institution or person, she became a true master of her craft and her works were displayed everywhere. Sonabai passed away in 2007, however, the story of art continues and the world she created with her relief work will always be remembered.
Sundaribai, another influential figure, further propelled the art form’s recognition and reach. When discussing artistic revolution and empowered women, she cannot be overlooked. Puhphutara was fortunate to have hosted two formidable artists, Sonabai and Sundaribai, with a gap of around two decades. While Sonabai’s success inspired many to emulate her style, Sundaribai shattered traditional norms and forged a new artistic language. Her creations showcased a distinct and refreshing perspective. By pushing the boundaries of tradition, she not only added depth and richness to clay relief work but also propelled it into uncharted territories. Sundaribai, like other Rajwar women, began practising the art form at a young age, dedicating herself to its mastery. In the early 1980s, she gained recognition for her exceptional skills when her work was showcased in formal exhibition spaces. This exposure led to numerous commissions from Government Art Departments, Museums, and Art Galleries, transforming the imagery, aesthetics, and techniques of her art. Sundaribai’s notable works include contributions to the Ghasidas Museum in Raipur, installations at the Governor’s residence, and a prominent piece in the State Assembly Building. Despite encountering various challenges, such as creating a monumental arch with a bamboo and wood armature, she fearlessly tackled each obstacle, never allowing anything to diminish her artistic spirit or powerful imagination. Sundaribai infused tradition with a contemporary touch, showcasing her unique artistic identity.
The artistic vision and work of Sundaribai, combined with the pioneering efforts of Sonabai, established Puhphutara as a centre of creativity and innovation. Their community-based art form that traditionally only beautified their homes now intrigues international audiences. This hidden vernacular art of Chhattisgarh has left an unforgettable mark on the world of Indian arts. Their contributions have had a lasting impact on the clay relief art form, influencing and inspiring artists in Sarguja and beyond.
To learn more about Sonabai Rajawar and have a peak into her homely life. Click here.
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