Muharram In Kalighat Painting

A Typical Kalighat Painting of Tazia

Dr. Mazhar Naqvi

Representation of Muharram in Kalighat style of painting has remained out of the gaze of Azadar world. There is need to create awareness about depiction of Muharram in Kalighat paintings, for they symbolize as to how non-Muslims attached great significance to tragedy of Karbala. Kalighat school of painting had originated in 19^th century in the vicinity of famous temple of Goddess Kali in Kalighat area of Kolkata in Bengal. From early 19^th century till 1940, these paintings were sold as pilgrimage and tourist souvenirs not only at the shops and stalls of Kalighat area but also at other temples of Kolkota, formerly known as Calcutta.  

Professional artists from rural pockets of Bengal known as ‘Patuas’ mostly painted these inexpensive paintings prepared with swift brush strokes on cheap paper initially. Later on, these paintings developed into a distinct school and even the British patronized. The work of Patuas then found place in the home altars of affluent people. Despite its link and origination from a famous Hindu tem­ple, the painters did not restrict themselves to depiction of only Hindu Gods or Goddesses. Rather, they tried to capture in their work popular rituals and customs of other religions as well. As Muharram was observed with grandeur in Bengal from the time of Mughal Governor Shah Shuja, Patuas also included Tazias, Duldul, Processions  and Alams in their paintings.  

Unfortunately, very few such paintings have survived. They were lost as they were prepared on cheap paper or cloth and demise of the Kalighat painting school before independence. In some museums out of India, Kalighat paintings are preserved. University of Pennsylvania Museum is one such place. Maxwell Som­merville had given Kalighat paintings to the university way back in 1895.He was one of the most colorful characters associated with the early days of the Museum. (References available on request. Photo Courtesy-Google Images)