Introduction
The Patuas and the Jadu Patuas are the two main Chitrakar groups in Eastern India. The vertical scroll artworks known as Jadupatua paintings, or “Magic Painters,” evolved from cloth to paper throughout time. “Jadupatua” is a combination of “Jadu,” which denotes the community of artists, and “Pat,” which denotes the scrolls that were utilized. These paintings, which originated in the Santhal Parganas, were mostly made for Santhal audiences by the Jadupatuas, a caste of Hindu painters often referred to as “Chitrakars” or “picture-makers.” This old tribal folk art from Dumka, Jharkhand, is painted with natural colors on scrolls that tell stories about the beginnings of life, the afterlife, Hindu mythology, and various facets of tribal life, rituals, and festivals.
In this article, we shall be studying the Jadu patuas from the Santhal tribe from Jharkhand specifically.
The Makers of Jadupatua: Santhal Tribe
To know the jadu patuas and their art, we need to learn about the community it is practiced in. The Santhals as discussed before. The Santhals have a rich cultural identity and pre-Dravidian origins; historical records go back to the late 18th century. They have linguistic ties to the Hos, Kharias, and Mundas tribes and are members of the Austro-Asiatic “Mundari” language group. Their origin tales take place in Chota Nagpur and legendary regions. The Santhals, who rely on the forests for farming, fishing, and hunting, also value music and dancing, as seen by their festivals and fairs. Their minimalistic paintings showcase their cultural customs by showing rituals, celebrations, and social life.
Origin Story of Jadupatua Painting
Situated in eastern Jharkhand, the hamlet of Paitkar, also named Amadubi, is well-known for its traditional artwork called ‘Paitkar.’ This traditional style of scroll painting is also common in West Bengal, Bihar, Odisha, and other Indian states. It is frequently referred to as Jharkhand scroll paintings. The Paitkar paintings, which frequently explore subjects like the afterlife and daily life in Bengal and Jharkhand, have their roots in socio-religious rites and storytelling. Paitkar painting, which has its roots in a West Bengali culture, is currently only done in the village of Amadubi. It is a part of the larger group of Pata paintings, which are among the oldest types of folk art in India. Other Pata paintings include Pattachitra from Odisha and Patachitra from West Bengal.
Jadupatua painting, named by Nitai Chitrakar with ‘Jadu’ meaning magician and ‘Patua’ meaning scroll painter, is practiced by a small community in the Santhal Parganas. Comparable in social rank to potters and blacksmiths, Jadupatuas traveled from village to village narrating stories depicted in their scrolls, earning rice or small payments. Starting their craft around 19 years old, they communicated with the Santhals in a simplified Bengali dialect, gaining admiration and a distinct identity. To improve their social status, they later adopted the title ‘Chitrakar,’ meaning painter, blending their magical storytelling with aspirations for social recognition.
Jadu Patua, the Miraculous Painter
In one of the cases, when Jadupatuas heard of a Santhal’s passing, they would draw’mortuary’ images of the dead with objects such as jewelry, goats, or cows, all of which lacked pupils in their eyes. When they visited the mourning family, they evaluated their available resources, created a suitable image, and conveyed the message that the departed was lost and blind in the hereafter. In return for the objects shown, the Jadupatuas said they could paint pupils who would regain the deceased’s sight. They were dubbed “Jadupatua,” or miraculous painters, for this deed. Once they were paid, they would sing a corresponding passage from their scrolls to soothe the bereaved. They occasionally received additional compensation for going to the Damodar River, which is revered in Santhal legend, to carry out special rituals for the deceased’s bones.
Themes of Jadu Patua Paintings
There are seven primary themes found in the Jadupatua scroll paintings in the Santhal Parganas. “Life in Death’s Realm,” which portrays the afterlife; “The Santhal Celebration of Bahajatras,” which illustrates the Baha festival festivities; “The Account of the Santals’ Genesis,” which narrates the story of their creation; “Santals’ Dance Gatherings,” which depicts mass dancing at fairs; “Personification of Santal Clans,” which symbolizes the social structure; and “Krishna’s Milkmaid Adventures,” which tells stories from Hindu mythology. Mildred Archer, an art historian, also emphasized unusual subjects, like “Satya Pir,” a venerated saint, and “Thakur Jiu,” the creator god. Stories from the Ramayana and Mahabharata are also frequently seen on the scrolls.
Making of Jadu Patua Paintings
Jadupatia artists create their scrolls using natural, water-based colors derived from sources like plants and minerals. Here’s a simplified process of their painting technique:
Color Sourcing: Patua painters use primary colors found in nature. Red comes from hematite (Gerua Patthar), yellow from ochre stones or turmeric (Haldi), black from lamp soot, orange from palash flowers, brown from stones, green from bean leaves, and blue from indigo. Color Preparation: Leaves or flowers are ground into a paste, squeezed to extract juice, and boiled to thicken. Natural gums from babool trees are mixed in to enhance durability and sheen. For preservation, colors are stored in coconut shells.
Painting Tools: Traditional brushes made from squirrel or goat hairs are used. Now, store-bought brushes are more common. Patuas sketch figures with pencils and add dark outlines at the end of painting.
Canvas and Scrolls: Earlier, it was painted on palm leaves, artists now use handmade paper or canvas. Scrolls are created by gluing or sewing sheets together, with bamboo rollers at the ends and a string to secure them. Backings often include old saris for added aesthetic.
Artistic Style: Jadupatua paintings use a limited colour palette and feature clear, diagrammatic shapes. Figures are stylised, with exaggerated eyes and angular lines. They depict stories in panels with strong colours for emotional impact.
Evolution: While traditional colours and methods persist, some artists have adopted commercial colours and modern tools. Artistic influences from Bengal are reflected in some scrolls, showcasing a blend of traditional and contemporary styles.
The Status Now
Jadupatua scrolls are made from discarded scrap paper. Many artists face economic difficulties and have turned to other professions due to a lack of buyers. Currently, only a few artists in Dumka, like Ganpati Chitrakar and Nitai Chitrakar, still practice this art form. In Amadubi, just 3-4 out of 45 households continue with Paitkar painting. Recent efforts are underway to revive and support this traditional art, highlighting its cultural value. The COVID Pandemic further diminished this artform and only a handful of painters remain who traditional practice this artform.
