Kalighat situated in Kolkata,
West Bengal,
Kali Temple in Kolkata, which has a profound religious implication among the Hindus all over the world. Kalighat also happens to be the place of origin of a renowned outline of
Indian painting – the Kalighat Painting. This particular type of painting has its heredity in the cultural upheavals of nineteenth century colonial
Bengal. The
potters of Bengal and
scroll painters and the
scroll paintings of West Bengal India who had migrated from the
rural Bengal and settled in and around the holy place, practiced this sort of painting mainly. They made use of watercolors and painted on mill papers. Brushes were prepared with the help of hairs of some animals like squirrel and calf. The low-priced pigments were applied in crystal clear tones in contrast to traditional
tempera painting of India or obscure colors. The figures attained a plaque-like consequence on a neutral unpainted ground with articulated gesture and movement and shaded contours. The style is characterized by linear and official economy, class brushwork and perfect recurring strokes and considerable gestures. Kalighat paintings also started on with a sacred message like most other Indian forms of art.
Hindu Gods and Goddesses along with their incarnations were painted by the dedicated painters. Progressively, with developing time, public sentiments began to be expressed by means of paper and colors. Kalighat painting was the initial of its kind in the subcontinent of
India directly expressing subaltern sentiment and addressed customers. During that period of time,
Calcutta (present Kolkata) was the capital of
British India. Perceptible changes in the attitudes and minds of the-then Bengalis were brought by close association with the west, stretch of
Renaissance of Bengal and English education. Although a few pursued dignified causes, the greater part merely aped the British and became the butt of public satires. This mocking gaze at the altering social order, changing lifestyles and industrial evolution finds expression in Kalighat paintings. Thus was created a new typology of men and women. The
loose woman and the Bengali Babu symbolized for them the eroding of conventional Indian ethics. There are many views about the authority and character on Kalighat painting. Despite some who say that they have a typical British influence, others opine that local system and social settings are totally liable for the Kalighat style of painting. Yet, it is now approved that Kalighat painting is a heritage that informs us about the ancient times that might have been mislaid in the stupor, if it had not been for the
paintings of Kalighat. It is remarkable to note that for ages critics and scholars alike ignored this
folk art in India. The
antique Sanskrit texts mainly served as the benchmark for judging the value of art forms. The written word was considered much more significant than expressions through pictures. Rural visual art forms of the Kalighat Paintings sort were considered disintegrate expressions and was not worthy of any notice as they lacked the power of the sacred text. This form of art started receiving the interest and admiration that it deserves around the twentieth century.
Traditional art form of Bengal India was under an impending risk from the hostile western civilization, and the protection of traditional Indian art, henceforth, became a major concern. Local traditions abruptly assumed supreme significance and there arose a keen requirement for documenting, shielding and revitalizing rural art. This chiefly led to Kalighat Paintings coming into the center of attraction in
India and abroad.
is eminent as a seat of Hindu pilgrimage. It houses the
