Kalighat Paintings: The Folk Art That Defines Kolkata

Kalighat painting originates from West Bengal. The word Kalighat is given because the paintings were originally sold in the alleys and streets of the Kalighat temple in Kolkata city. The artists were known as Patuas; they were traditional cloth scroll painters. A Kalighat painting can be characterised by these few visual details; it consists of bold outlines, vibrant colours, and a minimal background that gives the colours a slight pop. These are all handmade paintings, and Patua artists are known for their beautiful handiwork. The paintings usually depict mythological figures from Indian culture. Larger-than-life paintings of gods and goddesses, but from time to time also depict the usual rural life of normal people as well; thereby, it addresses the socio-cultural scenario and showcases the shift of culture and everything around that was happening from the 19th to the 20th century.

The artistic roots of Khalighat painting are not that crystal clear since it dates even further back than the 19th century. It is a hot topic to debate about among art experts, historians and art critics.

Moreover, during the 19th century, there was a boom in European immigration as Kolkata became a prosperous economic region during the British rule of India. The Kalighat Temple in southern Kolkata drew a large number of devotees and European visitors. As a result, craftsmen and artisans from nearby villages flocked to the temple in search of work. Among them were the patuas, or artists, from rural West Bengal. These patuas specialized in painting scrolls known as Patachitra. These scroll paintings served not only as a remarkable form of artistic expression but also as a means of storytelling, depicting scenes from mythology and epic tales.

Over time, with the influence of European visitors and the changing urban landscape, Kalighat art began incorporating contemporary social themes, satirical depictions of society, and even colonial influences. Kalighat art shifted from strictly religious themes to sociopolitical satire. Artists began to depict contemporary themes, social injustices, and critiques of colonial power, frequently employing humour and symbolism to convey their thoughts. The use of handmade paper, powerful brushstrokes, and brilliant colours became signature elements of the style. However, as printing technology advanced in the late nineteenth and early twentieth centuries, demand for handcrafted Kalighat paintings decreased. While the original tradition is no longer practised, its impact can still be seen in Indian folk and modern art. Contemporary artists continue to adapt the style, and Kalighat-inspired motifs emerge in textiles, popular culture, and art shows, ensuring that its heritage lives on.

Kalighat paintings have a distinct style of their own. Often characterised by its bold outlines and vibrant use of colours. The artists used sweeping brushstrokes to create smooth, rounded forms, giving the subjects a sense of movement and liveliness.

The drawing is created with a single, lengthy, strong brushstroke that shows no signs of hesitation or even the smallest tremble. It's difficult to determine where the artist's brush originally touched the paper or where the piece was completed because the line frequently encompasses the entire figure.

A key feature of Kalighat art is its minimal background, which allows the central figures to stand out prominently. The compositions were frequently framed with basic motifs that emphasised the subject's attitude and storytelling.

Colours were naturally sourced from leaves, flowers, turmeric, and so on. For example, blue came from the Aparajita flower, black from the oil lamp's soot, and yellow from the crushing of turmeric roots and seeds. Colour was applied smoothly and evenly, providing a striking contrast to the figurines' stark black outlines.

Home-made colours were eventually replaced with imported, British factory-made water colours, which saved time and effort. For binding, bel fruit gum and occasionally crushed tamarind seeds were utilised.

Initially, fabric scrolls and canvas were utilised. However, the mill-produced paper quickly took control. The brushes used were simply constructed from goat tails or squirrel hair.

Kalighat paintings, which emerged in the 19th century around the Kalighat Temple in Kolkata, showcased a diverse range of themes, blending religious devotion with social commentary. These artworks evolved over time, reflecting both the traditional values of Indian society and the changing socio-political landscape under British colonial rule.

• Religious Themes

Since pilgrims visiting the Kalighat Temple often bought these paintings as souvenirs, religious imagery dominated the early works. Artists depicted Hindu deities such as Shiva, Parvati, Lakshmi, Durga, Kartikeya, Ganesha, and Saraswati. Scenes from Hindu epics, including the childhood of Krishna, Radha’s devotion, and the incarnations of Vishnu, were also common. The presence of spiritual figures like Chaitanya Mahaprabhu highlighted the deep religious connection these paintings had with their audience.

• Non-Religious and Socio-Political Themes

As Kalighat artists adapted to their urban surroundings, their subjects expanded beyond religious motifs. They began portraying everyday life, including domestic animals, birds, and fish—likely inspired by Mughal and British artistic traditions. More significantly, Kalighat paintings took a satirical turn, critiquing contemporary social issues. Artists caricatured the Bengali babus—wealthy, westernised men indulging in luxury—often depicting them smoking hookahs, dressed in fine dhotis, and engaging with courtesans. These paintings also highlighted class struggles, hypocrisy among the elite, and the shifting roles of women. By using humour and sharp observation, the artists turned their paintings into a form of social commentary, exposing the follies of colonial-era society.

• Representation of Women

Women played a complex role in Kalighat paintings, appearing in both religious and secular contexts. Goddesses like Kali symbolised power and destruction, while depictions of bibis (women, either as wives or courtesans) reflected changing gender dynamics in 19th-century Bengal. These women were often shown as dominant, confident, and sensual, mirroring the real-life transformation of women in Kolkata during that era. With growing access to education, women were stepping into new social and intellectual roles, shifting from mahila (traditional women) to bhadramahila (educated and respectable women). However, this modern woman was sometimes portrayed negatively, facing criticism for not conforming to societal expectations. These paintings thus captured the contradictions of gender roles in colonial India.

• British Influence and Its Effect on Kalighat Art

During British rule, Kolkata underwent rapid Urbanisation, influencing every aspect of life, including art. Kalighat painters, while maintaining their folk traditions, began incorporating elements of Western aesthetics. Deities were shown wearing Victorian crowns, sitting in noble postures, or playing European musical instruments like the violin instead of the veena. Heavy English-style curtains often adorned the backgrounds, reflecting colonial artistic influences. Despite this adaptation, nationalist artists and collectors later criticised Kalighat paintings for losing their spiritual essence, questioning their authenticity as traditional Indian art. Interestingly, Kalighat artists also depicted Islamic and Christian figures, such as prophets, angels, and taziyas, demonstrating their openness to religious diversity. This blending of traditions created what scholar Milton Singer called a “cosmopolitan folk culture,” merging rural artistic traditions with the modern urban influences of colonial Kolkata.

The popularity of Kalighat paintings began to fade in the early 20th century, as mass-produced, machine-printed lithographs flooded the market. German traders, recognising the high demand for these artworks, created cheaper printed versions that soon replaced the original hand-painted pieces. Unable to compete with these low-cost reproductions, many Kalighat artists abandoned their craft, and the tradition gradually declined.

Although the art form is no longer practised as it once was, modern artists like Anwar Chitrakar are preserving the tradition in some rural areas of Bengal, especially in Medinipur and Birbhum, by using organic dyes, similar to those used in 19th-century patuas, to depict a variety of secular and religious themes.

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