Reviving
the forgotten aesthetics
of Kalighat painting in a
contemporary language
– Dinesh Khemani
Kalam Patua’s recent exhibition at Gallery Espace is varied and
striking. A simple postmaster by profession, underneath there beats
the heart of a true artist. His works range from humble depictions and
aspirations of rural life, to satirizing the sudden emergence of urban
middle class and their hypocritical social value systems, to body and
sexuality. Imbibing the patua traditions of Kalighat painting with
their vigorous lines and curves, Patua infuses his repertoire with a
unique harmonious blend of the old and the new. Aesthetically his
work stems from the now almost defunct style of Kalighat painting
prolifically practiced in the late eighteen and nineteenth century of
colonial Calcutta.
The Kalighat style flourished in 19th century Bengal where
artists travelled from one village to other painting either on cloth
or pata also known as scroll paintings. They depicted conventional
images of Kali, Durga and tales from epics like Rama Chitra Manas.
However the narrative then expanded to satirise the middle class
babus’ trying to imitate and adopt Westernized ideas and values,
Patua’s art goes beyond his lineage. He is extremely vocal in his
language of scoffing the new urban middle class obsession with
commodities or consumerism. In one of his works titled, ‘Ladies
Tailor’ a woman positioned in the centre is trying out new dresses
with her husband admiring her and the tailor seated at the right of
the frame looking at her. It captures the idea of looking good and
presentable in a society that has adopted these materialistic values
that considers clothes, possessions, property, wealth to be the sole
means to appear respectable in society. These superficial ideas are
attacked by Patua in a charming way that beset the viewer with a lot
of questions about man’s relationship with society in contemporary
times.

One of his quirky works titled, ‘The Group Show’ satirises the
farcical and superficial culture often seen in the art world, especially
during art exhibitions. It seems no one is interested in engaging with
paintings deeply but in frivolous conversations. This is the plight of
folk art in the country where folk and tribal artists are not respected,
often alienated or thrive on the edges, whereas contemporary artists
are given full attention and encouragement. This work seems a
personal take on the art scenario in the country.
The deft flowing lines, vital and bold figures and fluid flow of
water- colours are typical of Kalighat aesthetics that Patua infuses
with keen observations and wit of his immediate surroundings.
Some of his works also reflect personal experiences and aspirations
as a child growing up in rural Bengal. One of his works titled, ‘I want
to fly in a Plane’’ portrays a father, mother and a child in the veranda
with a plane flying overhead and the child pointing in the direction
of the plane.
He also discusses erotica and sexuality, the art of love making that
have seen abundant renditions way back in history. There are images
of women indulging in sexual acts with each other but each line and
curve possesses a force, vitality and do not appear to be obscene. The
expression on their face is serene and at the same time their body
depicted in an arousing manner. Such a fine combination of form
and expression is truly distinctive and Patua could be regarded as the
only exponent of the lost rich tradition of Kalighat painting.