A STUDY OF SCROLL PAINTING IN INDIAN ART WITH SPECIAL REFERENCE OF WEST BENGAL FOLK ART

Paintings by patua women exploring various themes are currently found in museums and private collections worldwide. They have recently been on display at museums, galleries, art markets and fairs in various parts of the world. Today's patua women have participated in a wide range of artistic and social projects, and some have been either the central or secondary subjects of academic research. In recent decades the dissemination and recognition of these women's work have been impressive. This is particularly true not only in terms of its global reach, but also from the perspective of the diversity of the venues that have shown an interest in the women's work. In their various live presentations locally and internationally, these women are capable of an exemplary interweaving of localism and cosmopolitanism when they perform traditional or contemporary themes while unrolling jarano paintings and singing in rural Bengali. A sketch of the recent trajectories of Naya women painters or their paintings gives the impression that the world has “discovered” these women and their patachitra work. However, by merely acknowledging these trajectories, one does not gain a sense of the subjectivities of Naya patua artisans, specifically in the case of the women painters. In his work exploring the existence of differentiated cosmopolitanisms, Velho (2010) emphasizes the relevance of stressing the various consequences of globalization dynamics in the world today. He offers the example of two people from different generations who live in the same urban setting but who have different trajectories and understandings of their own accomplishments. He points out that it is important to draw attention to the diversity of people's trajectories, to the particular activities in their lives, and to the specific meanings people give to them. In rural Naya, women recently started pursuing trajectories similar to those of patua men. Thus, to begin my discussion of patua women's own perspectives on what they currently do, I will first briefly introduce a figure who played a key role in establishing women's visibility as patua artisans. Dukhushyam Chitrakar is a patua master who exemplifies the supportive role played by some men in the development and recognition of the women's activities, and his worldview frames the relationship between tradition and cosmopolitanism in the contemporary work of Naya's patua. This will be followed by a brief exploration of some of the women's own views. Some chose territories of Indian work of art have been taken to investigate and to show the expressive highlights of lines. Those are cavern painting of Ajanta, Mughal smaller than usual, Rajasthani scaled down, Pahari painting, Bengal school of craftsmanship and some individual specialists of present-day time span. The examination likewise suggests that the components of custom workmanship and people artistic creations of India how reflect in the canvases of Bengal, Bihar, Odisha, and Assam. These artistic creations are wealthy in society components. Use of lines, hues, European impacts all are talked about. Goal of the examination is to distinguish the famous workmanship themes delineating in the composition just as direct quality. Complex highlights, topics, components of patachitra works of art are examined.