Copyright © Smita Aloni
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Phad paintings, a distinctive style of scroll artwork, have roots in Rajasthan, India and are widely practised there today. The term “Phad” describes a lengthy cloth used as a canvas for portraying the region’s folk deities, primarily Pabuji and Devnarayan.
The paintings depict tales inspired by religious texts such as Ramcharitmanas, Gita Govinda, Bhagavad Gita, and Hanuman Chalisa, and function as portable sanctuaries for these folk gods.
Phad painting has a rich history dating back to 700 years, passed down through generations within a single family in Shahpura, near Bhilwara, Rajasthan.
This form of scroll painting tells intricate religious tales of regional gods and deities. Traditionally, these paintings were used as travelling temples by the Bhopas and Bhopis of the Rabari tribe.
The priests would sing and perform stories of Devnarayanji (a reincarnation of Vishnu) and Pabuji (a local hero) while unrolling the Phad painting in front of the village.
The performances typically took place after sunset and lasted until late at night. The word “Phad” in the local dialect means “fold,” which references the unfolding of the painting during performances.
Phad paintings, a distinctive style of scroll artwork, have roots in Rajasthan, India and are widely practised there today. The term “Phad” describes a lengthy cloth used as a canvas for portraying the region’s folk deities, primarily Pabuji and Devnarayan.
The paintings depict tales inspired by religious texts such as Ramcharitmanas, Gita Govinda, Bhagavad Gita, and Hanuman Chalisa, and function as portable sanctuaries for these folk gods.
Phad painting has a rich history dating back to 700 years, passed down through generations within a single family in Shahpura, near Bhilwara, Rajasthan.
This form of scroll painting tells intricate religious tales of regional gods and deities. Traditionally, these paintings were used as travelling temples by the Bhopas and Bhopis of the Rabari tribe.
The priests would sing and perform stories of Devnarayanji (a reincarnation of Vishnu) and Pabuji (a local hero) while unrolling the Phad painting in front of the village.
The performances typically took place after sunset and lasted until late at night. The word “Phad” in the local dialect means “fold,” which references the unfolding of the painting during performances.
Phad is a type of long cloth painting that illustrates the events of the King Pabuji epic, created around 1500 A.D. in India. The epic is an oral tradition in the local language, still performed today in North India.
North Indian rulers, Rajputs, had their stories and tales recorded by poets under royal patrons, but due to the caste system, people from lower castes were excluded. The epic of King Pabuji was started by the people to honour his efforts in helping villagers improve their livelihoods.
The cult of Pabuji features a ritual performance of the hero-god’s life, death, and avenging by singer priests. The term ‘Phad’ means scroll in the local language. The original Phad painting is 15 feet long and 4-5 feet high, depicting scenes as the storyteller scrolls it out for the audience.
The natural stone-based pigments used in the painting have helped it last for many years and its unique shape and figures still attract attention as a stunning example of Indian art.
Phad is a type of long cloth painting that illustrates the events of the King Pabuji epic, created around 1500 A.D. in India. The epic is an oral tradition in the local language, still performed today in North India.
North Indian rulers, Rajputs, had their stories and tales recorded by poets under royal patrons, but due to the caste system, people from lower castes were excluded. The epic of King Pabuji was started by the people to honour his efforts in helping villagers improve their livelihoods.
The cult of Pabuji features a ritual performance of the hero-god’s life, death, and avenging by singer priests. The term ‘Phad’ means scroll in the local language. The original Phad painting is 15 feet long and 4-5 feet high, depicting scenes as the storyteller scrolls it out for the audience.
The natural stone-based pigments used in the painting have helped it last for many years and its unique shape and figures still attract attention as a stunning example of Indian art.
Phad paintings are created on hand-woven coarse cotton cloth, soaked overnight in cold water to thicken the threads and left to dry till the morning.
While still damp, it is submerged in a homemade starch solution (made of flour and water), stretched and then dried in bright sunlight.
The side exposed to the sun is then rubbed with smooth glass to give the cloth a shining and unique texture. The canvas is then ironed on the reverse side and is ready for painting.
All colours used are natural and prepared by the artist. As they are derived from natural stone colours, there is a limited palette, including brown from red clay (also known as Orpiment) and blue from indigo.
To prepare the colour, 100 g of the colour stone is mixed with 1 litre of water gradually, taking from 15 days to a month to achieve a smooth colour.
The colour can be stored for many years by just adding water and gum solution. In the absence of natural colours, synthetic colours may be used.
The finishing touch is the application of black outlines. The addition of eyes to the main deity is the most crucial step in the process, giving the artwork life and making it suitable for worship.
The figures in Phad paintings are balanced and arranged with size reflecting the figure’s social status and role in the story being depicted.
Phad paintings are created on hand-woven coarse cotton cloth, soaked overnight in cold water to thicken the threads and left to dry till the morning.
While still damp, it is submerged in a homemade starch solution (made of flour and water), stretched and then dried in bright sunlight.
The side exposed to the sun is then rubbed with smooth glass to give the cloth a shining and unique texture. The canvas is then ironed on the reverse side and is ready for painting.
All colours used are natural and prepared by the artist. As they are derived from natural stone colours, there is a limited palette, including brown from red clay (also known as Orpiment) and blue from indigo.
To prepare the colour, 100 g of the colour stone is mixed with 1 litre of water gradually, taking from 15 days to a month to achieve a smooth colour.
The colour can be stored for many years by just adding water and gum solution. In the absence of natural colours, synthetic colours may be used.
The finishing touch is the application of black outlines. The addition of eyes to the main deity is the most crucial step in the process, giving the artwork life and making it suitable for worship.
The figures in Phad paintings are balanced and arranged with size reflecting the figure’s social status and role in the story being depicted.