Patna

CRAFT RESEARCH AND DOCUMENTATION ON

PAITKAR PAINTING
Submitted by
Kumail Hasan, Kumar Keshav, Mamta Kumari, Mishi Yadav,
Mrityunjay Kumar Bharti, Nahida Afreen, Navya Angel

Faculty Mentor
Mr. Navanendra Singh
(Assistant Professor)
Nift Patna

Year of Submission
2023

Report Submitted to
Department of Fashion Technology
Batch 2021-2025
National Institute of Fashion Technology
Patna-800001
Copyright 2023

Kumail Hasan- Content Writing

Kumar Keshav- Research Work
Mamta Kumari- Design & Graphics
Mishi Yadav- Documentation and editing
Mrityunjay Kumar Bharti- Content Sourcing
Nahida Afreen- Photography & Graphics
Navya Angel- Documentation & Layouting
 ACKNOWLEDGEMENT
We would like to thank our esteemed college, the National Institute of Fashion Technology, Patna for providing us with the necessary
resources. A special thanks to our Director, Col. Rahul Sharma, and to the Indian Ministry of Textiles for giving us the opportunity to do the
research on the handicrafts that are such an influential/integral part of the identity of India. This project was only possible with the
mentorship of our perceptive and helpful faculty Mr. Navanendra Singh and under the guidance of our class coordinator Ms. Nilima Regina
Topno. We are very honored to be able to work on this pivotal document that will help the tribal artisans of our country to be able to sell
their work to the larger audience with the help of ergonomics, ideas for connectivity and creating a marketplace with new innovation done
by us, the 5th semester students of the Department of Fashion Technology,
Batch 2021-2025.
 CERTIFICATION
“This is to certify that the Craft Research and Documentation Report on “Paitkar Paintings” submitted by Kumail Hasan, Kumar Keshav,
Mamta Kumari, Mishi Yadav, Mritunjay Kumar Bharti, Nahida Afreen, Navya Angel fulfillment of the CRD curriculum of the 5th Semester of
“Bachelor of Fashion Technology” at National Institute of Fashion Technology is their original work done under my guidance. As far as
I’m aware, the matter is externalized in the project and has not been submitted to any other Institute and neither any part of this work
has been copied from some other sources. All help received from various sources has been duly acknowledged.”
Date:02/08/2023

Signature:

(Mr. Navanendra Singh)

Assistant Professor
Department of Fashion Technology
Nift Patna
 OBJECTIVE
The Craft Research Documentation’s goals are to increase awareness of the craft industry’s realities and provide information on the sensibility,
diversity, resources, and environment of the region. Our goal is to raise public awareness and sensibility about the integration of crafts into
fashion and vice versa through this research. We have collaborated with the artisans and carried our task that how we can help them in
marketing strategies, ergonomically changes proposed by us.
 ABSTRACT

In our CRD, we started our journey from our NIFT Campus in Patna and reached Ranchi railway station. After that, we traveled from Ranchi
railway station to Amadubi by bus. Upon reaching there, Paitkar painting was the first craft we discovered. We met Vijay Chitrakar
(Artisan) who enlightened us about Paitkar paintings. Upon seeing these beautiful artworks, we were amazed by how these paintings are
created, what raw materials are used for making them, and the techniques employed in their creation. He showed us his paintings, some
of which were scroll paintings. These scroll paintings contain stories that were narrated through singing. He informed us that they use their
thumbprints as signatures for their paintings.

He also shared his childhood experiences with his grandfather. After his grandfather's passing, he moved to Amadubi with his family and
rekindled the art of Paitkar painting. During the times of COVID-19, he faced numerous challenges and shared that he had barely
enough money for sustenance. He sells his paintings to Kalamandir and often showcases them at workshops and fairs. The cost of a
painting, he explained, depends on its size and uniqueness.

After this interaction, we gained insight into the challenges faced by the artisans during the painting process. We conducted research
and aimed to address these issues, offering suggestions that could enhance their efficiency in creating paintings, expand their reach in
the current market, and encourage innovation within this art form.
CONTENTS
HISTORY OF
JHARKHAND  CRAFTS OF
JHARKHAND

ETHNOGRAPHY
 ABOUT
JHARKHAND 
 ABOUT AMADUBI
 ORIGIN OF
 OUR JOURNEY PAITKAR PAINTING
PAITKAR PAINTING

 
DETAILED
PROCESS  TOOLS

TECHNIQUE OF
 PAINTING  ADAPTATION
 COSTING OF  INTERVIEW OF 
PAITKAR PAINTING VIJAY CHITRAKAR
ABOUT THE NEW IDEAS
 PAINTER  PROPOSED BY US

 
 SWOT APPLICATION

ERGONOMICS
 BIPONI

GROUP PHOTO  REFERENCE 
 CONCLUSION 
 IMAGE REFERENCE

IMAGE NO.. CAPTION PAGE NO

1. JHARKHAND MAP 1
2. TRIBEL JEWELLERY 5
3. DOKRA 5
4. TERACOTTA MASK 5
5. GRASS MAT 6
6. BAMBOO CRAFT 6
7. AMADUBI-PANJIA RURAL 12
8. PAITKAR PAINTING 14
9. PAITKAR PAINTING 14
10. PAITKAR PAINTING 14
11. PAITKAR PAINTING 14
12. PAITKAR PAINTING OF DURGA 15
13. DANSAI PAITKAR PAINTING 16
14. PAINTING OF PAITKAR 22
15. PAITKAR PAINTING 24
16. PAITKAR PAINTING 26
17. PAITKAR PAINTING 26
18. PAITKAR PAINTING 26
19. PAITKAR PAINTING 26
20. VIJAY CHITRAKAR WITH HIS PAITKAR PAINTING 27
21. VIJAY CHITRAKAR HONOURING THE CERTIFICATE 28
22. NATIONAL KHADI AND HASTSHILP MAHOTSAV CERTIFICATE 29
23. FOLK AND TRIBEL ART CAMP CERTIFICATE 29
24. DHALBHUM FOREST DIVISION 29
25. NATIONAL TRIBEL CRAFT MELA 2014 29
26. JHARCRAFT 29
27. HAZARIBAGH WEST FOREST DIVISION 29
28. KESHAV WITH VIJAY CHITRAKAR 30
29. BEFORE INVENTING THE ERGONOMICS 34
30. AFTER INVENTION OF ERGONOMICS 34
31. BIPONI STORE 43
 Amadubi, Kalamandir Panijiya

1 1.JHARKHAND MAP
Historians believe that Jharkhand existed After India gained independence in 1947, efforts
before Magadha as a distinct geopolitical were made to integrate various tribal areas into
and cultural entity. According to the Hindu the newly formed nation. The region of Jharkhand
epic "Bavishya Purana," tribal monarchs was initially part of the state of Bihar. Over the
known as Munda Rajas governed Jharkhand. years, demands for a separate state intensified
Jharkhand was a part of Magadha, Anga, due to the economic and cultural disparities
Banga, Kalinga, Kashi, and Vajji during the faced by the tribal communities.
Mahajanapadas period in 500 BC.

Jharkhand was ruled by the royal houses of On November 15, 2000, Jharkhand was carved
Shah Deos, Palamau, Kunda, Munda Rajas, out of Bihar to become the 28th state of India. In
and Kothi until the British crown seized the order to respond to local tribal population's
state. Even the Mughals ruled over this forested requests for better governance and development,
land. Jharkhand's indigenous clans were a new state has been created. That's how
involved in many revolts against the British until Jharkhand got formed.
Indian independence.

2
3
 ABOUT JHARKHAND

In Jharkhand, there are rich mineral One of India's newest states,

resources like coal, iron ore and mica Jharkhand, was split off from Bihar's
that have a significant role to play in the southern region in 2000. The
state's economy. Both economic growth achievement of statehood was the
and environmental challenges have result of a protracted battle
developed as a result of industrialization spearheaded mostly by the Adivasis,
and mining activities. Jharkhand boasts also known as Scheduled Tribes (an
a rich cultural heritage, including official phrase used to refer to
traditional art forms, music, dance, and indigenous tribes that do not come
festivals of the indigenous tribes. The under the prevailing Indian caste
state's diverse cuisine, handicrafts, and order). In the 1980s, the tribal
folk traditions contribute to its vibrant organisations became more adamant
cultural identiy. in their quest for Jharkhand’s
independence. The secession
The population of Jharkhand consists of
movement expanded to non-tribal
various ethnic groups and communities,
areas in the 1990s, ultimately leading
predominantly including indigenous tribal
to the foundation of a new state.
communities. These tribal communities
28,833 square miles or 74,677 square
have unique cultures, traditions, and
kilometers. Pop. (2011) 32,966,238.
languages, contributing to the state's rich
cultural diversity. Ranchi is the capital city
of Jharkhand and also the largest city in
the state. Jharkhand's economy relies
heavily on agriculture, mining, and
industries such as steel, cement, and
textile.

4
 CRAFTS OF JHARKHAND

TRIBAL JEWELLERY

TERACOTTA
DOKRA
2.TRIBEL JEWELLERY 3.DOKRA 4.TERACOTTA MASK

Tribal people of Jharkhand are People from Jharkhand's Tentri and The unique collection of handcrafted
renowned for their distinctive Malhar ethnic groups are highly Terracotta Tribal Mask Wall Hangings
jewellery, which is frequently made known for their expertise in is a rare and exceptional example of
from materials including beads, metalworking and wide range of locally produced, entirely assembled
precious stones, bell metal, and products. These talented craftsmanship from various regions of
brass. Some of the most exquisite craftspeople create ethnic products Jharkhand. Clay, a harmless earthy
jewellery worn by indigenous including weapons, hunting gear, substance, is used to make goods,
cultures includes necklaces, agricultural machinery, and and the resulting goods are heated
earrings, anklets, bracelets, and decorative items that pay homage to harden them.
bangles. to the state's rich tribal history.

5
 BAMBOO CRAFT
GRASS MAT
5.GRASS MAT 6.BAMBOO CRAFT

Weaving of grass mat is a source of Jharkhand is renowned for its distinctive

livelihood for many tribals residing in the bamboo goods due to its natural
Janumdih. They are trained to create abundance of bamboo. Forests with a
textiles from local grass fibers and high density of people and bamboo
cotton fibers weaving on a loom to groves can be found on the Chhota
create a lawn carpet. These woven Nagpur Plateau. Bamboo has been
lawn mats are then used create various used by the tribal people of Jharkhand
lifestyle products and accessories such to create everyday objects like baskets,
as - curtains, floor mats, decorative vases, fishing gear, and other
items, Cover folders, yoga mat and decorative items since ancient times.
more. The thicker bamboo stems are utilised to
manufacture stronger products.

6
 CULTURE FOOD

The folk dances of Jharkhand are a People of Jharkhand prefer rice,

colorful display of its culture and vegetables and pickles and they
history. In the state of Jharkhand, are cooked in almost every
several folk dances are performed household. Dhuska, Koinar Sag,
during harvest, festivals and social Dubki, Udad Dal, Kurthi Dal,
events. Jhumair, Mardana Jhumair, Litti-Chokha, Sattu Paratha, Pitha,
Janani Jhumair, Domkach, Lahasua, Khapada, Roti, Arsa, Mitha Pitha
Jhumta, Fagua, Paika, Chhau, Firkal, and Kudurum Ki Chatni are the
Mundari and Santali are some of the famous recipes of the state which
folk and tribal dances performed in are preferred by local people.
Jharkhand.

7
 FESTIVAL LANGUAGE

The state of Jharkhand celebrates The article analyzes various key aspects
many festivals that celebrate harmony of Jharkhand and languages.
and prosperity throughout the year. Knowledge of Jharkhand languages is
Some famous festivals of Jharkhand very important in General Knowledge
are: Karam, Sarhul, Makar, Rohini and subject. The main language spoken in
Sohrai. These include Chhath Puja, Jharkhand is Khortha. This language is
which is a Hindu and Vedic festival also known as Eastern Magah. Apart
dedicated to the sun god Surya. from this, several other languages like
Next is the Jani-Shikaar performed in Magahi and Bhojpuri are also spoken in
honor of the Kurukhi women of different parts of Jharkhand.
Rohtasgarh to drive away the
Mohameddens who tried to capture
the fort during the Sharhul festival.
Last but not the least, Hal Punhya
starts in the fall of the winter season.
The first day of the month of Maghi,
known like "Hal Punhya" or "Akhain
Jatra".
8
 OUR JOURNEY
Patna to Ranchi

22349 Vande Bharat Bus

Artisian
(Vijay Chitrakar)

9
 Ranchi to Amadubi

Amadubi, Kalamandir Panijiya

Bus

10
11
 ABOUT AMADUBI-PANIJIYA RURAL
TOURISM CENTRE
This place was constructed by the government of Jharkhand in 2013, and
later it was given to the Kalamandir, since then Kalamandir is responsible
for the running of this place.
This tourism center runs on PPP (Public-Private-Partnership). Average 5000
students of top universities and institutions come here for the village
exposure.
Kala means art and Mandir means temple, forming a common combination
of words that means Temple of Art. Kalamandir (Jamshedpur) was
established in 1997. The aim of Kalamandir is to promote the necessity and
availability of art and aesthetics in our daily social life. We continuously
support, nurture and spread a better sense of aesthetics among
individuals, communities, organizations and social groups. Against
monoculture, we seek a creative, dynamic and diverse environment for the
youth of Jharkhand, tribal and non-tribal - who are full of better minds.

Arts, crafts, dance and music are an integral part of Jharkhand life and
traditions. A large part of both tribal and no-tribal population is
dependent on the handicrafts for their livelihood. They use the natural
resources of the towns. Models are created based on what they see. Their
livelihoods, hobbies, rituals and ceremonies reflect the skills that go into
these magnificent handmade creations.

12
7.AMADUBI-PANJIA RURAL
 Paitkar painting, also known as Paitkar scroll painting,
is a traditional art form that originated among the
Paitkar tribal community in the Jharkhand state of
India. It is a unique style of scroll painting that reflects
the cultural and social life of the Paitkar people.
Paitkar paintings are characterized by intricate and
colorful depictions of various themes, including
mythology, rituals, daily life activities, nature, and
tribal beliefs. These paintings are typically created on
long scrolls of paper or cloth, and the artists use
natural pigments and dyes derived from minerals,
plants, and other organic sources to achieve vibrant
colors.

The process of creating Paitkar paintings involves

several steps. First, the canvas is prepared by treating
the cloth or paper with a mixture of cow dung and
clay, which helps to make it more durable. Then, the
artists sketch the outline of the images using a thin
bamboo stick and black paint. After the outline is
complete, they fill in the colors using brushes made
13
from goat hair.
8, 9, 10, 11. PAITKAR PAINTING

14
 ORIGIN OF PAITKAR PAINTING

This story begins in a period when King In the name of the king, 5-6 villages were
Ramachandra Dhal reigned over the shown to the people, one of which was
Dhalbhumgarh region. He had been visited Kolabida. They did not like Kolabida
by a group of 22 Paitkar painters and his because it was full of rainwater, so they
men immediately apprehended them. They chose the village of Amadub because
were brought before the king and those who wanted stones for painting were
presented themselves as painters/singers available there. At that time, the king
who traveled from place to place and donated 628.01 acres of land for them to
gave performances for merchandise. live on. Then, when the British government
came to power, the land of these people
When they performed before the was confiscated again because they did
king, he was so impressed that he not pay land rent. Today, only these
asked them to paint his queen's people have houses left to live in.
bedroom. The painters did an They were given the surname "Gayan"
excellent job, which made the king because of their singing abilities, Gayen
very happy. He gave them a singers are known as Gayen while
permanent piece of land in return for Chitrakaris are known as Chitrakars.
their constant singing in front of the Although the terms Paitkar and Chitrakar
royal palace. Paitkari painters later are interchangeable, most artists use the
settled in Amadubi village in surname Chitrakar, even if they are not
related The Chitrakars. 12. PAITKAR PAINTING OF DURGA

15
Painting: Title: Dansai Medium :
Natural color on paper

Size: 106cm x 40cm

Context: Folklore of Jharkhand
Artist: Harekrishna Talukdar Collaborator
Artist: Vijay Chitrakar

Technique and treatment: It is noteworthy to mention that this

work has been done by collaboratively with Vijay Chitrakar. This
two framed painting is intended to create a variation in
background texture by shifting and curving line.

Narration of the painting: Dansai is a regional festival of

Jharkhand area. The cultural scenario and pattern have been
tried to depict in an innovative way in this painting. This work
depicts the scenes of Bhuang dancers- how they get ready for
the festival bowing down to their elders, their circular pattern of
dance movements in a rhythmic way, their visit at door to door to
the people to acquire payment on the eve of the festival.

13. DANSAI PAITKAR PAINTING

16
 DETAILED PROCESS
Choose a Theme
(Social, Mythological, Contemporary)

Story Writing

Choosing of material for painting

(Fabric/Paper/Canvas)

Apply Cow Dung

Drying of Paper

17
Choosing of Color

Color Making

Painting

Outlining

Drying

18 1
 TECHNIQUE OF PAINTING

1 3
Choose A Theme Write a story Sketch
Choosing a theme is an important part Choose A ThemeTell compelling The artist sketches a pattern with
before starting a painting: stories that revolve around these pencil or charcoal on the base
Social Themes: Discover vibrant tribal fairs themes and let them come to life on material and sketches the shapes
and festivals like Karam Puja, Dansai, canvas. The artist begins by and patterns he wants to paint.
Baha etc. Religious Themes: Take gathering materials, including natural Sketches: Using a bamboo pencil or
inspiration from Hindu epics like pigments (neem gum or babulik are brush, the artist draws a pencil
Ramayana and Mahabharata Current used to set the paint), They also sketch with black ink or paint,
Affairs: Address current affairs, even if need a base material like a piece of creating bold outlines for figures
covered exclusively by government cloth or paper cow dung for the and objects.
sponsorship. hardness of the paper/cloth.

8 19
 5
Fill in colors Adding Details Finishing
Once the sketch is complete, the artist Wet details and fine lines are added to Once the painting is complete, the artist
fills in the figures and patterns with the figure and patterns to enhance the lets it dry properly. Some artists may
bright colors made from natural overall beauty of the artwork. apply a top coat to protect the artwork
pigments. These pigments are usually and extend its longevity.
derived from plants, minerals and other
natural sources. Layering: An artist uses
multiple layers of paint to achieve
depth and richness in a painting.

4 6

20
 TOOLS

Paintbrushes
Paintbrushes are most commonly associated
with painting on canvas, paper, or other
surfaces.

Bamboo pens
Bamboo pens are adept at creating fine lines
and outlines, which are crucial for defining the
shapes and forms in Paitkar paintings. Artists
use these pens to draw the initial sketches of
the subjects and scenes they plan to depict.

Sil pather
Stone grinder is used to grind down rocks,
minerals, or plant matter to create colors. These
colors could then be mixed with binders to
create the colorful paints used in Paitkar
painting.

21
 22

NATURAL COLOR SOURCE

L
am eave igo mp Suut
rme
r ic
Se s he
ru Ston
e Ind La
Tu G
14. PAINTING OF PAITKAR
 ADAPTATION

1) Earlier painters are making their own paint brushes

with the goat hairs, but know they are using paint
brushes that are available in the market.

2) In olden times painters only use fabrics for paintings,

but now they are using hand made paper are canvas
along with the fabric.

3) Earlier paitkar painting are only seen in the form of

scripts but now artists are making the paintings on the
bags, pillow covers etc.

2 23 1
 24
15. PAITKAR PAINTING
 COSTING OF PAINTING

MATERIALS NAME MATERIALS NAME MATERIALS NAME

HAND MADE PAPER 12 X12” ₹17

COW DUNG EASILY AVAILABLE IN NATURE

WHITE SOIL 50 GM ₹5 (PER KG)

LABOUR COST 1 PERSON ₹200 (for 1sqr feet)

PLAS FLOWER (ORANGE
5 EASILY AVAILABLE IN NATURE
COLOR)
GHERU (BROWN COLOR) 30 gm EASILY AVAILABLE IN NATURE
CHILLI LEAVES (LIGHT
10 gm EASILY AVAILABLE IN NATURE
GREEN COLOR)
BEAN LEAVES (GREEN
15 gm EASILY AVAILABLE IN NATURE
COLOR)
PAPER CUTTING 1 ₹2

FRAME 1 ₹330

TOTAL (WITH FRAME) ₹564

TOTAL (WITHOUT FRAME) 564 –330 = 234

MRP ₹1200

25
 MRP OF THE PAITKAR PAINTING

₹ 700 ₹ 400

₹ 500

₹ 1700
24”X6”

18”X6”

26
16,17,18,19. PAITKAR PAINTING
 ABOUT THE PAINTER

Vijay was born in Jhargram- West Bengal and learned the art
(Chitrakari) from his grandfather. After his grandfather had passed
away, he moved with the family to a village called Amadubi ( an artist's
village) at Dhalbhumgarh in Jharkhand. In his childhood, he helped his
grandfather who moved from village to village singing the kathas
painted in the scroll.

Vijay, an unassuming person, has been working for this art in

Dhalbhumgarh ( near Jamshedpur) since his childhood. There are
about 40 families in the village and all are engaged either as painters
or as singers( Chitrakar or Gayen) these titles has been given by the
king of Dhalbhumgarh. Vijay belongs to the family of Chitrakar
(painters).

Vijay has already done several exhibitions and workshops in the

country at places such as Shantiniketan, Hyderabad, Delhi Pragati
maidan- Jharkhand Pavilion, Bhubneshwar, Bhopal, Ranchi and at many
events in Jamshedpur. Has brought laurels for himself as well as for the
state and for the art.
District: East Singhbhuin
Village: Panjia
Address: Amadubi Village, Post Panduda, Block Dhalbhumgardh,
East Singhbhuin,Jharkhand
Phone No.: 9608474637

Certifications received
Certification of Participation in National Tribal Craft Mela, at Tribal
Museum, SCSTRTI, Bhubaneswar
Certification at FOLK AND TRIBAL ART CAMP, Jamshedpur

27

20.VIJAY CHITRAKAR WITH HIS PAITKAR PAINTING

 STORY OF VIJAY CHITRAKAR
In his early teens, he used to work with his grandfather. His grandfather used
to take him to the place where the paintings were made. His grandfather also
taught him how to extract colors from stones, tree bark, or plants. They both
used to go to the forest daily to explore the types of colors they could use
for creating different paintings. He was deeply attached to his grandfather
and his work. He took a keen interest in the process of making paintings. His
grandfather taught him that the paintings are a visual representation of
particular stories.

After his grandfather’s death, he became very silent. He spent most of his time
sitting, hoping that one day his grandfather would come back, but we all
know that was not possible. After one or two months, he realized that sitting
idle was not a solution to this situation. He then took the initiative to carry
forward the art of Paitkar paintings. He gathered all the artists and
explained to them the importance of Paitkar paintings, motivating them to
continue the work.

Years passed, and the work of Paitkar paintings was going great. However,
this happiness was short-lived. During the time of COVID, he lost all his
progress in the work. The artists went back to their villages in search of a
better lifestyle. During this time, he wasn’t able to focus on his work. He lost all
of his earnings at that time, and there was a period when he didn't even
have money to buy food. So, how could he continue his paintings?

Nevertheless, he persisted, working hard and getting his work back on track.
Undoubtedly, he was very hardworking and focused on his work, and his
efforts earned him numerous awards and trophies.

21. VIJAY CHITRAKAR HONOURING THE CERTIFICATE

28
 ACHIEVEMENT OF VIJAY CHITRAKAR

22 . NATIONAL KHADI AND HASTSHILP MAHOTSAV CERTIFICATE 23. FOLK AND TRIBEL ART CAMP CERTIFICATE 24. DHALBHUM FOREST DIVISION

25. NATIONAL TRIBEL CRAFT MELA 2014 26. JHARCRAFT 27.HAZARIBAGH WEST FOREST DIVISION

29
 INTERVIEW OF VIJAY CHITRAKAR

While interviewing Vijay Chitrakar, we all learned about the age-old history of
Paitkar painting. He emphasized that 'Paitkar' painting is more than just a term; it
encapsulates a profound emotion for all members of his community. He conveyed
the significance of Paitkar paintings in their lives. It was evident that he became
emotional while describing the paintings to us, struggling to contain his feelings.
Their affection for these paintings is matched only by their deep reverence.

What is the most difficult task in the making of Paitkar painting?

The most difficult part of the painting was to search for the stone and extract color
from it, sometimes the stone was easily found while sometimes it took a whole day to
find a single stone. The harder task was to find stones of a desired color.

How much cost does it take to make a painting?

The cost of the paintings depends upon the size of the painting. A scroll painting
may range up to ₹2000 while other minor paintings range from ₹400 to ₹500. the
frame costing is added after the whole process and included in the selling price..
How much time does it take to make a single painting?

Usually, it takes one whole day to make a painting excluding the time of doing
framing. The roll painting usually takes 2 – 3 days because of its story. If we include
the time of doing framing it takes 2 days almost

28.KESAV WITH VIJAY CHITRAKAR 30

 Other Artisan

1. Bijay Chitrakar (Age: 39)

2. Kishore Gayan(Age: 45)

3. Anil Chitrakar (Age: 71)

4. Shubash Chitrakar (Age: 59)

5. Ganesh Gayan (Age: 41)

6. Moli Chitrakar (Age: 35)

31
NEW IDEAS PROPOSED BY US

32 3
 ERGONOMICS

This Ergonomic evaluation in Paitkar (which increases the risk of MSD)

Painting aims to answer some of the while painting. This is because of
problems and the lack of knowledge about main-
taining a proper posture while
1.To assess the work-related health painting. Many artisans sit on the
problems in these occupations. mats(ground) and do their work,
which involves bending of neck and
2.To design and develop bending of back that causes
ergonomically efficient chair and work strains, back pain and neck pain.
station to improve occupational We have given the basic knowl-
health and reduce the risk of strains edge to maintain proper posture
and awkward posture. while painting and setup a tempo-
Phases of study - Two phases that are rary work station with the things
assessment phase(observation) and which are present in his house.
intervention phase (working on
problem) has been done.

In our CRD of Paitkar Painting, while

speaking with the artisans we have
analyze, that many artisans are
suffering from strains, back pain, neck
pain and awkward posture

33
 BEFORE

AFTER

34

29. BEFORE INVENTING THE ERGONOMICS 30. AFTER INVENTION OF ERGONOMICS

 DESIGNED WORKSTATION

We have designed a table with inclined adjustable top (which can be adjusted at an angle between 0 – 50 degree) with adjustable
height and a chair with neck vand back support with thighs and support for thighs and side flaps for better seating, where back can
be inclined at some angle to reduce the force on neck and back. Removable wheels adjustable heights and portable are other keys.

Ergonomics Costing

S.no. Equipment Cost of Products

Chair with back
1 ₹3500
support
2 Inclined table ₹5000
Tripod Canvas
3 ₹1589
Stand

35
 Adjustable Lamp

Neck Support
Adjustable Table

Back Support
0-50°

27”
17”

Workstation desined by us

Suggestion 36
 CONNECTIVITY

The use of technology and digital platforms to expand the artists' networks, increase their
visibility and connect with a wider audience is usually described as an enhanced
connection for artists. There are some ways in which artists can better connect with each
other:

1. Social media
Artists may use social networking sites such as Instagram, Twitter and Facebook to share
their work, interact with followers and meet other artists and potential clients.

2. Online Portfolios
Creating a professional website or using portfolio platforms like Dribble helps artists
showcase their artwork and reach a global audience. Virtual events and exhibitions:
artists can network with collectors, galleries, and art lovers from different parts of the
world by participating in virtual art fairs, exhibitions, and webinars.

3. Virtual events and exhibitions

The participation of artists enables them to connect with collectors, gallery owners or art
lovers from all over the world by taking part in virtual Art Fairs, Exhibitions and Webinars.

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4. Online courses and training
Allowing artists to learn new techniques as well as to develop contacts with teachers and peers
by taking part or hosting virtual workshops and training camps.

5. Art streaming and Livestreaming

Audiences can be engaged through streaming of art making processes on platforms such as
Twitch or YouTube, which provides a direct interaction with live viewers.

6. Podcasts & Interviews

It is possible for artists to share their journey, thoughts and creative inspiration with the help of a
podcasting or an interview.

7. Online Competitions
Participating in online art competitions and challenges can help artists to gain recognition and
exposure.

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 DESIGNING MARKETPLACE

We can create an online market place, which is dedicated to the Paitkar painting and where the painters can easily register
themselves. And where they can interact with the buyers and sell their products. In this marketplace there is no middle man or a bride
between the artist and the buyers. Because many websites are exploiting the artist because of the lack of knowledge of the artist
about these platforms, these websites buy the paintings at the cheaper price from the artist and sell them at the higher prices to the
buyers. With the help of this market place buyers can interact with the artist and the artist can make customized painting according
to the details given to them by the buyers.

39
This is our market place where the buyers can by the paintings. This is our online chatting page where buyer can have a chat
with the artist.
40 4
 Strength

Large, diversified and potential market.

Rich in Cultural Heritage.

Need low capital investment.

Ability to create radically different designs and effects.

Customization

Weakness
me consuming.

Lack of infrastructure and communication to

facilities.

Unawareness about international require

ments and market.

Lack of promotion of paintings.

Limited Market Access.

0 41
Opportunities

Development of domestic and international tourism sector.

The rise of online art market place and e-commerce provides an

oppotunity to reach a larger customer base.

Collaboration and Workshops with Institutions, Galleries & Museums.

Threat

Less interest of young people in craft industry.

Lack of Recognition and Support.

42
 Kalamandir Cellulite Chapter Art Foundation and Sri Arjun Munda (then Tribal
Welfare Minister) inaugurated Biponi on 26 December 2001 at Kalamandir area.
On March 26, 2007, it was rebranded as a retail store for handmade and rustic
products in Jamshedpur, India. The aim is to provide an outlet for tribal and
indigenous artisans and artists of Jharkhand to market the unique arts and crafts
that are often part of their lifestyle.
It remained part of Kalamandir, an NGO started in 1997, engaged in various
projects including sustainable livelihood development of tribal/traditional artisans
at the micro level until April 2011, when it was handed over to the
Jamshedpur-based Kalamandir Saksham SHG Federation. . Over the years,
Kalamandir Saksham volunteers have succeeded in reaching and developing
artisans deep in the tribal hinterlands and building a sustainable economic model
for them through Bipon.

State Bank of India, NML. , ISWP, UCIL and Bank of India. Address: 8, 10, n Road,
Bistupur, Jamshedpur-831001
Telephone: 0657-2320109
Fax: 2320457
Email: Biponishgjsr@gmail.com
Website: www.biponi.in

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31. BIPONI STORE
APPLICATION OF PAITKAR PAINTING

Bags
Saree
Portraits
Keychains
Toto bags
Kurtas
Lens cover
Table sheet
Bed sheet
Pillow cover
Curtain

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46
32. GROUP PHOTO WITH VIJAY CHITRAKAR
 CONCLUSION

From the above chapters, it can be noted that Paitkar painting is a living tradition of art performance prevalent in the
Jharkhand area for a very long period of time. This has been found as a form of scroll painting with distinct methods and
techniques traditionally handed down among the people known as ‘chitrakar’ in this area. This minor research has been
done with limited secondary resources, data collection, and draw a final conclusion. This further has implemented a data
creation method to preserve both form and content but in a different context. A creative process has also been
effectively tried to a newer content and so the aesthetic culmination.

46
AKAR
 OUR GROUP MEMBERS

Navya Angel

Mishi Yadav Mrityunjay Kumar Bharti

Kumail Hasan

Nahida Afreen
Mamta Kumari

Kumar Keshav
 CONTENT REFERENCE

•Secondary research done at college resource center

•Field research done during craft visit

•https://maatighar.com/paitkar-paintings-of- jharkhand/#:~:text=Natural%20elements%20such%20as%20-

stones,pictures%20that%20tell%20a%20tale.

For costing of workstation: https://www.amazon.in/Grandink%C2%AE-Artist-Adjustment-Painting-Display/dp/B08QDKGMZK

For ergonomics chair sitting height: https://www.blitzresults.com/en/ergonomic/

IMAGE REFERENCE

•Pictures clicked during craft cluster visit

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