The paintings range from small geometrical and floral patterns to big animal motifs and human figures are shown hunting, fighting, dancing and doing domestic chores. Most on the walls follow a sequential, horizontal pattern. Colours used are red extracted from iron, brown from copper and white from lime compounds. The characters of the pictographic writings appear to be a mix derived from Mohanzdaro and Brahmi scripts. The Ravana Chhata Rock at Sitabinji in Keonjhar district contains a painting of very high order, depicting the procession scene of a king riding a caparisoned elephant with soldiers holding shafts and banners, followed by a female attendant. This painting carries reminiscence of Ajanta murals. Splendid murals adorn the inside of the Jagannath Temple, the Buddha Vijay painting in the jagamohana of the Lakshmi Temple and the Kanchi Vijay in the jagamohana of the Jagannath temple.
Traditional Paintings of Orissa
Patachitras – The tribal, the folk and the classical are the three streams of the Orissan School of Painting. The classical Orissan painting, pattachitras is painted on a specially prepared cloth (patta), coated with earth to stiffen it and finally finished with lacquer after painting, producing motifs in vibrant colours. Pattas are now used as wall hangings. The subject matter of patta paintings are closely connected with the Jagannath cult and the episodes from Ram and Krishna life. Pattas showing in scenes of Rasa Lila, Vastra Haran, Kaliya Dalan images of Lord Jagannath musical themes of eroticism, nature and wild life and sets of ganjapa cards, small circular cards made in sets of 96 discs, executed in vigorous folk style are special. The traditional chitrakars (painters) have the honour of painting the Puri temple deities and their chariots (cars) every year
Palm leaves (Chitra pothi) have long been used as writing materials. An exclusive indigenous tradition of Orissa, the craft of palm leaf manuscripts dates back to the medieval period. With the help of an iron pen orstylus (lohankantaka), the artist first inscribes the text or design on the surface of palm leaves, then applies a paste of tamarind seed, oil and charcoal. When the residue is rubbed off, the groove stands out distinctly. Usually the legends of the Mahabharat and Ramayan, images of gods and goddess, the nature and wild life themes are presented. The visual effects are enhanced using the vibrant vegetable and mineral colours. Romantic figures drawn on small leaves now serve as book marks, greeting cards and playing cards. Of late, the traditional artists clustered in the village of Raghurajpur, about 50 km from Bhubaneswar have revived this art from.
Originally, Pattachitra artists were settled by the Gajapati King of Puri to paint divine trinity on specially treated clothes to be hung inside the sanctum of Jagannath Temple for the darshan of devotees during Anavasar (retirement in seclusion) when the Lord steps out of the temple alongwith brother Balabhadra and sister Subhadra to mingle with the masses, the occasion of annual Rath Yatra. Originating from this tradition, this art developed and gained popularity.
The village of Dandasahi near Raghurajpur has been identified as another centre. Ananta Moharana and his son Panu Moharana together have added some new elements to Patta paintings.
Orissa Tribal Paintings
