Folk Art and Nationalism in the 20th Century India

The issue with admiring the static idea of society workmanship is that it shields the craftsmen from improving their lives, at the danger of forsaking their work to search out other financial chances. Through the authentic case of the people painters of West Bengal, called patuas, this paper plans to show how the safeguarding of society workmanship relies upon finding some kind of harmony between adjusting to stay applicable and hence monetarily practical to a given culture, and protecting an association with its chronicled roots. By clarifying how patua painting, likewise called patachitra, has explored the social movements of the most recent two centuries and endure, I would like to show the convoluted relationship India has with its own masterful history, and how people craftsmen can keep on making their employment off of their customary specialty. Patachitra, in its numerous structures, demonstrates that the best trust in people workmanship is conservation through adjustment.