Vivid hues of life

THE FIGURES in the paintings spring to life with the taut movement and stylised delicacy of pre-historic cave paintings, man's first burgeoning expression of creativity. And perhaps, the Pithora wall paintings done by the Rathwa, Bhilal and Nayaka Adivasis of central Gujarat do go back to the dawn of civilisation. The Lakharas or traditional Pithora painters, inheritors of an oral tradition, only know that the wall painting is the very fabric of their life, legend and lore, harbinger of peace and happiness and thanksgiving to Pithora Baba for vows fulfilled. And what a magic field the paintings create on the walls of tribal huts: stunning silhouettes of horse and man, animals and birds, witches and ghosts, depicting the myth of creation! A veritable tapestry of colour, movement and sheer vitality, all done with bamboo stick brushes in vivid blues, greens, reds, black and indigo.

The Pithora wall painting is confined within a rectangular, ornately-bordered space with three symbolic rows. Featuring the marriage of their god Pithora Baba and Pithori, the space is shared by a vibrant dancing melange of tigers, monkeys, peacocks and parrots, men and women: worshipping, dancing, hunting and working. There are 'modern intrusions' as well, such as aeroplanes, and guns and soldiers in uniform. In Adivasi villages, while the Lakharas paint on the walls, the Badhwas or priests perform pujas, sing, chant and go into a trance.

Bringing this unique ritualistic craft form to Chennai, last week, was a Pithora Painting Workshop organised by the National Folk Support Centre in collboration with the National Museum, Chennai. Participating in the workshop, involving around 40 enthusiastic learners, were Lakhara Mansing Dharji Rathwa and Badhwa Koshar Bhai, vital links in the preservation and perpetuation of an ancient tribal art form.

They describe the special features of this style of painting...

Koshar Bhai, how is Pithora painting initiated?

With a vow. It could be for business, to have a child or anything else. When a person takes a vow he marks five dots on one end of the wall called 'tipna.' If the vow is fulfilled the Badhwa does Pithora puja and the lakharas start the painting. Traditionally, only the men are allowed to paint.

How is the painting actually done on the walls of your houses?

The wall is treated with two layers of cowdung and a layer of chalk powder. This process is called 'lipna.' The main painting is done on a special wall. We make outlines with bamboo twigs and fill it with colour. In fact, I couldn't hold a pencil or piece of chalk in my hands when I started to teach at the workshop! We use stencils for horses which are sacred to us, and for animals, birds and figures. We use silver paint and dots to give the finishing touches, replies Mansing Rathwa.

Are the colours natural?

We use rangoli powder colours which we buy from the bazaar. Earlier, we used to mix them with milk and the sap of the Mahudha tree. The colours used are yellow, indigo, orange, green, vermillion, red and silver, says Koshar.

Does the painting have special motifs, stories etc?

The sacred space, Rathwa explains, is painted with the stories of the Rathwas, which have been passed down to us by our forefathers. We paint the marriage of Pithora Baba and Pithori and other stories from our mythology. We also paint animals and human beings and their lives.

Do the symbolic motifs change?

Yes, every 10 miles, he adds.

Do you paint the Pithora motifs and legends on any other surface?

Nowadays, he continues, we paint on cloth as the painting can be used as a wall hanging. But we make a few changes in these paintings because our motifs are never used on clothes, artefacts, linen etc. Our art form is divine and must not be misused.

What happens when the paintings fade on the walls of your homes?

We apply water and rub it off, says Koshar Bhai. A painting is done again when a vow is made, though well-off people sometimes re-do a painting after performing only a puja and without making a vow.

Does the government encourage this unique style?

There are organisations like the Bhasha and Tejgarh Tribal Academy. My son teaches at the Bhasha Kendra of Gujarat Tribal Art. All our sons are proficient painters.

Any other occupation that you pursue?

We are farmers owning three to four acres. We usually paint during the rainy season, says Rathwa.

Are you happy to teach your art to others at workshops like this?

This is our first trip outside our state and we are very happy, say both the painters.

(An exhibition-cum-sale of the artists' work on cloth was held at Amethyst Sundar Mahal, Rani Padmavathy Road, Gopalapuram, recently. They can be seen there still.)

PUSHPA CHARI

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