Tradition of Phad Art

What is the lineage of an art form? Its evolution frames how generations look at itself, or how certain visual traditions permeate our daily aesthetics. Traditions such as Rajasthani, Sikh, and Kangra miniatures may have begun as far as the 13th century A.D- when the Rajputs and other royal states, dispossessed of capital cities such as Delhi began to adjust their life to changed political conditions- to the middle of the 19th century. But unlike the Mughal miniature which is observed from a historical point of view, the rest of Indian paintings cannot be boxed within a timeframe or studied within the framework of static aesthetics as they have traversed the changing tides, as well as held onto the traditions from which they had risen. Art forms such as Rajasthani, and Pahari miniatures, as well as Phad, and Pichwai paintings, sustain cultural practices, philosophical knowledge, and expressions that have actively been transmitted and maintained within communities, thus ensuring their continuity and vitality across generations.

Artworks such as Phad allow the viewer to reflect upon the ongoing cultural and social dynamics of the communities that practice it, as well as to understand the persistent evolution the art forms have undergone over the ages. And intimately acknowledge the relationship art has within communities.

Image Caption- Pabuji ka Phad, Exhibition ‘Body in Art’, National Museum, New Delhi. Image Courtesy of Wikimedia Commons

Phad painting is a traditional style of scroll painting that originated in the state of Rajasthan and has a rich history that dates back to the early 13th century when it emerged as a storytelling art for the Bhats, a community of folk musicians and performers. The Bhats would travel from village to village, unrolling large painted scrolls, known as Phads, to narrate epic tales and legends, particularly those of the folk deity Pabuji. These scrolls served as portable temples and were unfurled in the evenings, illuminated by oil lamps, while the storyteller recounted the heroic tales through song and narration. The task of producing the long scroll Phads was under the Chippa community, to which historically the Joshi clan belonged. The Patron tasked the artists with the creation of the Phad which would then be ceremoniously presented to the Bhopas and Bhopis for their performance.

Image Caption- A Bhopa Bard from Rabbari Tribe Performing in front of a Phad. Image courtesy of Bridge Bharat

This tradition has been passed down through generations within select families of the Chippa community. The artists, known as Phad painters or Phad masters, follow strict guidelines and rules governing the depiction of the narratives and iconography. They use natural pigments derived from minerals, stones, and vegetables, such as indigo, turmeric, and vermilion, to create vibrant colors.

The paintings are executed on a long, rectangular piece of cloth or canvas, usually made from cotton or silk. The subjects of Phad paintings are often religious and mythological narratives, with a particular focus on the heroic deeds of deities or legendary figures. The compositions are divided into several panels, each depicting a specific episode or scene from the narrative.

The central figures are portrayed in bold, stylized forms, with intricate detailing and vibrant colors, while the background is filled with decorative motifs, floral patterns, and geometric designs. Phad painting is a highly skilled and labor-intensive art form, requiring expertise in drawing, composition, and color application which only a select few master artists can perform.

Image Caption- Phad Artist Kalya Joshi at his Studio. Image courtesy of Bridge Bharat

The artists maintain a strong sense of tradition, adhering to the prescribed iconography and storytelling conventions while infusing their individual artistic expression. The paintings are created using traditional materials and techniques, passed down through generations, ensuring the continuity of the style.

The Phad art form has been fiercely protected by the Joshi family of Bhilwara since the 13th century. Born in 1969, Kalyan Joshi began learning the form from his father, Shri Lal Joshi, an acclaimed Padma Shri honouree. He and his brother, Gopal Joshi under the tutelage of their father, expanded the grasp of Phad beyond an exclusive family tradition by running an art school called Chitrashala, established by their father where outsiders can come and learn the form.

Image Caption- Story of Pabuji, Kalyan Joshi, Natural Stone Colors on Canvas, 48 x 120 In. Image courtesy of Bridge Bharat

The artwork Story of Pabuji, hand-painted by Kalyan Joshi, is made in the traditional style of Phad painting. The artist has depicted the epic of Pabuji which is an oral epic in the Rajasthani language illustrating the deeds of the folk hero-deity Pabuji Rathore, who lived in the 14th century. He came from a family of poor farmers but rose to become a powerful Rathore Rajput chieftain and warrior. Traditionally his tales were sung by a group of Bhopha bards and as such the artist has arranged this panorama of medieval Rajasthan where women, horses, arches, kings and queens, and huge black elephants, around the central outsized figure of Pabuji, who is shown on his magnificent black mare, Kesar Kalami, accompanied by his four great companions and brothers-in-arms.

In the present day, Phad painting continues to thrive as an integral part of Rajasthan's living tradition. It is a testament to the continuity, adaptability, and community participation that define such traditions. Passed down through generations, the art of Phad painting continues to thrive, adapting to contemporary sensibilities while staying rooted in its rich cultural heritage. The oral transmission of stories, the active engagement of artists within the community, and the incorporation of new techniques highlight the adaptability of this living tradition. Phad painting is a significant part of the intangible cultural heritage of Rajasthan, reflecting the cultural significance it holds for the Rajput community.