Pattachitra

Pattachitra: Odisha's Sacred Scroll Painting Tradition

Let's explore the art form from eastern India - the Pattachitra paintings!

1 Courses

1 Artists

Introduction and Origin

Pattachitra is one of India's most visually stunning folk art traditions, originating from the eastern state of Odisha and practised for at least 300 years. The name comes from the Sanskrit words patta (cloth) and chitra (picture or painting), meaning literally a painting on cloth. Rooted in the devotional life of the Jagannath temple at Puri, this traditional Indian art form captures mythological stories, epic narratives, and sacred imagery in richly detailed, bold compositions. Today, Pattachitra painting has found new audiences around the world while remaining a living tradition in the hands of its master artists. Pattachitra art continues to attract collectors and cultural enthusiasts across India and beyond.

What Is Pattachitra?

Pattachitra is a cloth-based scroll painting tradition from Odisha and West Bengal in India. At its core, Pattachitra painting is made on a piece of cloth that has been specially treated and stiffened, using natural pigments sourced from minerals, plants, and shells. The finished works are characterised by strong outlines, flat figures, intricate floral borders, and mythological subjects drawn from the Hindu epics and Vaishnava devotional tradition. In Odisha, Pattachitra is closely connected to the Jagannath temple of Puri, with the triad of Lord Jagannath, Subhadra, and Balabhadra forming the most recurring motif. West Bengal has its own Pattachitra tradition centred in Naya village in the Midnapur district, where the art depicts a wider range of Hindu deities and associated myths. Both traditions are practised by hereditary artist communities and have served ritual and devotional purposes for generations.

History and Origin

The roots of Pattachitra lie in the ancient eastern school of painting that flourished under the Palas, Senas, and Vermas dynasties before gradually disappearing, creating a space for the Pattachitra tradition to develop in its place. The art form is believed to be at least 300 years old, though many scholars argue its origins are considerably older. The connection to the Jagannath temple at Puri gave the art its earliest purpose: when the idols of the three deities were removed for repainting during the annual Anasara ritual, devotees could not see them, so Patta paintings served as substitute icons for worship. These paintings were also called Jatri Patti, used by pilgrims from distant places who could not visit Puri regularly and would instead worship the painted image. According to local legend, a Chaitanya devotee from Bengal settled in what was then the jungle of Raghurajpur, painted a representation of Lord Jagannath in coal (which is why Jagannath is depicted with a black face), and became the village's first artist. Over time, this village became a dedicated art community where every household was home to a painter, dancer, or craftsperson. By the 1980s, Pattachitra had evolved from purely sacred depictions to popular tourist souvenirs and collectibles.

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Eyes Like Midnight

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Ganesha with Tanpura

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Scorpio: The Symbol of Strength

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Sagwan Wood Hand-Carved Textile Printing Block with Geometric Floral Pattern

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Melody of Wings

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Birds Pecking on Peacock

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Amber Wings

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Patterns in Motion

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Courage in Stillness

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Krishnanagar Clay Carrom Set | Golu Dolls

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Crowned in Silence

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Origin of Orchha Painting: Orchha, Datia, Panna - Miniatures from the Royal Courts of Bundelkhand (1590-1850) Vol-I (H.B)

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Sehar Haveli Lamp – Miniature Urban Haveli Facade | Handcrafted Heritage Light

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The Legacy of a Surname

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Symphony of Wings III

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Painting: Kishkindha Kand - Bali Vadh

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Golden Dagger

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Dance of Wings

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Chase Beneath the Canopy

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Pure Kanchipuram Kanjivaram Silk Saree Pink Gold Zari

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Key Features and Famous Artists

Key Features and Visual Style

Pattachitra painting is immediately recognisable by its bold outlines, flat stylised figures, and densely decorated floral or creeper borders that frame every composition. The preparation of the canvas itself is a time-consuming process that begins with cloth treated with tamarind seed gum and finally polished with smooth stones until the surface resembles paper. The colours are entirely natural, derived from minerals and organic matter, giving the paintings a distinctive warm palette that cannot be fully replicated with synthetic pigments.

Canvas preparation: cloth is soaked in tamarind seed gum, layered, dried, and polished first with a rough stone, then with a smooth pebble before any painting begins.
Natural pigments: colours come from minerals and organic matter including haritali (yellow stone), hingula (red ochre), ramaraja or ghanila (indigo stone), and shankha gunda (conch shell powder) for white.
Traditional brushes: fine-tipped brushes were traditionally made from mongoose or mouse hair fixed over a bamboo or wooden handle, though modern chitrakaras may also use market brushes.
Compositional order: painting begins with the deities, then fills in attendants, and ends with the definition of hair, eyes, and floral border motifs, before the entire work is outlined in black and lacquered.
Talapattachitra variant: a related tradition from Odisha called Talapattachitra uses palm leaf as the base instead of cloth, with motifs carved using an iron stylus rather than painted with pigment. This craft is also referred to as Tala Pattachitra in some regions.
Border rule: a floral or creeper border is a compulsory element of every Pattachitra composition; it frames and contains the narrative and is considered an essential formal feature of the style.

Famous Artists of Pattachitra

The heartland of Odisha Pattachitra is Raghurajpur village near Puri, where entire families have practised the art for generations. Generations of pattachitra artists in this village have passed down their skills through apprenticeship within the family. Bijay Kumar Behera, from Raghurajpur, Odisha, is one of the most respected Pattachitra practitioners working today and teaches the Pattachitra course on Rooftop alongside fellow master artist Rabindra Behera, also from Raghurajpur, who brings decades of hereditary practice to his teaching. Mangu Maharana of Raghurajpur is a National Award-winning artist known for his refined line work and complex multi-panel compositions. In West Bengal, the Chitrakar community - often referred to as Patuas - has produced celebrated artists including Anwar Chitrakar of the Midnapur region, who is known for both traditional scroll paintings and contemporary social commentary works. Collectively, these artists have kept the tradition alive through decades of change, adapting formats for modern audiences while preserving the core techniques.