Narrative Art of Bengal: Patachitra and Tale of Mācher Biye

February 26, 2025February 26, 2025 Pooja Sonowal Bihar, Jharkhand, Odisha, West Bengal

The Patachitra tradition of India is considered a vital folk art form of profound artistic expression that helps visualize different narratives through vibrantly painted scrolls. The art form is commonly practiced in the eastern states of India such as Bihar, Odisha, Jharkhand, and Bengal which are in close proximity to each other and share this artistic tradition, yet layered with distinct styles in technique, medium, themes, and subjects of their own. Amongst these many Patachitra traditions, the Bengal’s Patachitras, in particular, have achieved notable popularity, with regions such as Midnapore, Bankura, Birbhum, and Purulia becoming vibrant centres for the Patua or the Chitrakar communities to practice this traditional art form. Though one cannot exactly point towards the time and period when this art form started, however, oral history refers that it was in practice since the 10^th and 11^th century CE. Initially, patas were created out of leaf or cloth with the term “Patachitra” meaning painted clothes where “pata” means cloth and “chitra” means painting. However, with the easy availability of handmade paper, it has now become the primary medium for their artistic creations. Having incorporated the intangible aspects of performance art, this particular visual media has produced not only skilled artists but also versatile performers. The Patuas possess bardic qualities, composing lyrics and narrating stories while skilfully unfolding their scrolls as they travel from village to village. This unfolding, referred to as Pāt Khelan, is complemented by the recitation known as Pāter-Gān, which consists of three enriching stages: the story itself, and its glorification, followed by the introduction of the narrative.

The themes of the Patachitras encompass Hindu epics, and mythologies, such as the Rāmāyana, Mahābhārata, and Purānas, alongside other significant works popular in Bengal, like the Mangal Kavyas. They also celebrate narratives of great saints, such as Chaitanya Mahaprabhu, and a few tales from Sufi traditions, thus reflecting diverse cultural influences. Moreover, the Patuas have embraced contemporary themes addressing socio-political realities and integrating social awareness issues into their art, addressing topics like female hygiene, rape, and health-related education. By doing so, they not only uphold the traditional Patachitra style but also contribute to the dissemination of vital information within their communities. In this vast ocean of myriad subjects depicted in Bengal’s Patachitra, the tale of “Mācher Biye,” or the “Wedding of the Fish,” stands out as one of the most recurring folktales narrated by the Patuas through their scroll paintings. This narrative adds a humorous perspective while highlighting the cultural significance of fish in Bengali society, featuring an array of fish varieties. The striking depiction of vibrant colourful fishes, and other aquatic animals, combined with elements of musical instruments and light-hearted humour creates a compelling experience for the audience. There are several versions of the narration with different Patuas creatively interchanging the names of the fish, but ensuring that the central context remains intact.

The following lines narrate the whole recitation of this particular story:

Dāriya Mācher Biye Korāte, Cholo O Raṅgeela!