Chalchitra tradition of Bengal being revived - GetBengal story
In Satyajit Ray's Nayak, Arindam, played by Uttam Kumar, said, “Shankar-da used to say that unless there is a dramatic backdrop, an ornate frame, and those wide, glazed eyes, true devotion doesn’t quite arise.” And indeed, when we think of Durga, we remember the grand chalachitra, the intricate decorative arch behind the deity. The canvas, painted in vibrant hues on a base of blue, comes alive with myriad scenes. It transforms the earthen idol into the living goddess. Crafted with clay, chalk, ochre, indigo, yellow, burnt black, and earthy vermillion, these paintings come together as patachitra.
The chalachitra depicts countless stories like Dashamahavidya, Navadurga, tales from the Chandi, the Dashavatara, Krishna Leela, and various events from the Mahabharata and Ramayana.
There are different forms of chalachitra. The Bangla chali style is almost circular and the arch is curving low. The more common modern style is the Markini chali, where the arch takes on a semicircular form. The Mathchouri chali features three spire-like peaks above the goddess’s head, resembling a monastery, hence the name. This can be seen in old traditional pujas such as the Ramlal Nibas (also known as Chatu Babu Latu Babu’s puja) and at the Mitra household in Darjeepara.
Then there is the Tanachouri chali, where the arch lacks separate compartments but has three peaks like a continuous cornice. Sometimes, there are three semicircles. The Dutta Chaudhury family in Andul still uses the Tanachouri design.
Other varieties, like Sarbasundari chali, Girje chali, Dothaki chali, and Khopa chali, have nearly vanished. As joint families break down into nuclear units, the chalachitra becomes a symbolic reminder of unity.
Not just behind Durga idols, the chalachitra adorns the back of almost every deity's idol in Bengal. However, the festival's original flavour is vanishing as Puja rituals get exaggerated, with grand khuti pujas (foundation ceremonies) and intricate themes. Nevertheless, the chalachitra remains a silent reminder of the ancient customs. One can still see it at aristocratic family pujas, but in public (sarbojonin) pujas, where the idol itself has become a part of the theme, the chalachitra is slowly disappearing into sepia-toned memory. This art form, once vibrant, is now on the brink of extinction. Only a few remain as its last torchbearers.
One such person is young artist Sumit Dey from Bishnupur in Bankura. He specializes in the Markini style chalachitra. Primarily, he paints for household Durga Pujas.
On behalf of GetBengal, Sumit shared how he got involved in chalachitra painting. “I have been involved with art since childhood. Professionally, I have been working for about eight years. I don’t come from a lineage of chalachitra artists; rather, I started on my own. I also work on Puja themes.
Last year, I was commissioned to paint a Durga pat for a 200-year-old aristocratic family in Asansol. The chalachitra was a part of the pat. I posted pictures of my work on social media, and someone reached out, asking for a chalachitra. That is when I began studying and researching about chalachitra.
I discovered artist Reba Pal from Ghurni in Krishnanagar, an elderly woman still painting chalachitra. A documentary about her gave me deeper insights into the craft. That is how it all began.”
Sumit also said, chalachitra is traditionally painted with natural dyes on newspaper, but these materials are not always easy to source. So, he adapted the process and now paints on art paper using synthetic colours. He paints them at home and ships them to clients via courier.
Last year, he painted over forty chalachitras. He charges based on the size of the arch and already has a growing number of orders this year. His work is not limited to Durga Puja—he also paints for Jagaddhatri, Saraswati, Annapurna, and other festivals.
He explains, “Many people think the sculptor who makes the idol also paints the chalachitra, that is not true. For a Durga idol, three types of artisans are needed: one for the clay work, one for the decorations (like the foil embellishments), and one for the chalachitra. In places like Kumartuli, everything may be done together, but in private household pujas, the work is divided.”
“From August onwards, the workload increases,” Sumit adds. “Last year, I worked until 3 AM some nights and resumed again by 8 AM the next day.”
Sumit also says, “I do various professional artworks, but my mission is to preserve India's endangered traditional art forms. I teach as well—at least one class a month focused on Indian folk arts, so that these dying styles may survive. Chalachitra is a form of patachitra, a native Indian folk art.”
He is committed to continuing this work. In his words, chalachitra needs youth to survive. Any art form faces decay when two things happen - its use declines, and the number of practicing artists dwindles. These two are deeply connected.
Chalachitra is caught in that spiral now. Themed idols have done away with traditional backdrops. Artists who once painted chalachitra are switching to other professions due to lack of demand. Only a few family pujas still maintain the tradition.
This art form needs the enthusiasm of the younger generation. The more they step in, the stronger it will grow. The goddess standing before the arch will be transformed from a clay form (mrinnmoyi) to a divine presence (chinmoyi). Another proud tradition of Bengal’s Durga Puja will be preserved.
Note : Translated by Debamita Ghosh Sarkar
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