Patna Kalam: An Offshoot of Company Painting
Patna Kalam is a school of painting, also called Patna Qalaam, or the Patna School of Painting. It developed in the 18th and 19th centuries, with its centres in the Patna, Danapur and Arrah districts of Bihar. It depicts the daily lives of common people, called ‘Firka’ (sets of occupations): bhishti, gadivaan, tangewala, potter, carpenter etc. Other popular motifs were local festivals, weddings, birds and bazaars. These miniature paintings were made on demand by descendants of artists from the Mughal painting tradition, who set up their studios in Patna.
Patna Kalam is a local branch of the Company paintings, with other local centres like Benaras Kalam, Delhi Kalam, Awadh Kalam and Murshidabad Kalam. Patna Kalam was developed by the artists who migrated from Delhi to Murshidabad after being persecuted by Aurangzeb, whose anti-Hindu sentiment also extended to arts and artists. After the Battle of Plassey in 1757, Murshidabad was no longer an option, compelling these artists to find another resort- Patna.
These artists were supported by the Nawabs, East India Company officers and other rich patrons- doctors, lawyers, merchants etc. These artists belonged to the Mughal painting tradition, combining that with the in-demand European picturesque developed a new style of painting. It differentiated from both the Mughal and the European styles by not including the Royals as its motifs, instead using only common everyday themes.
Patna Kalam is characterised by its precise contours; absence of any landscape, background or foreground; muted use of colours, stark expressions and formal style. The artists directly painted with a brush without outlining with pencil first, this technique was called Kajli Seahi. Artists made their own brushes from the hair of squirrels, goats, buffalos etc., were used. The pigments were extracted from natural sources. The most used colours were blue, yellow, black, crimson, orange, pink, and gold; these were then mixed with Arabic glue.
All these colours, although bright in nature, were used in a subdued manner to emulate the aesthetic of the muted European style. Off-white for clothes, with a dark brown to match the skin colour of its subjects, and a subdued blue for the almost absent skies are some of the prominent features of the Patna Kalam.
Among the major artists of Patna Kalam was Sewak Ram, who is credited for inventing the Kajli Seahi style. Shiva Lal, also called the Shahi Musavvir (Imperial Artist), painted many birds and scenes of daily life on paper and ivory. One of his most remarkable works is the series of drawings of the manufacturing process of the Opium trade commissioned by a Company officer, DR Lyall. Shiva Dayal Lal was the cousin of Shiva Lal. He also painted on ivory, and both the cousins had their art studios in Patna, although he was not as prolific as the other.
The most documented and famous artist is Ishwari Prasad. His memoirs trace the history and origins of the Patna Kalam from the paintings of the Rajasthani style, which assimilated into the Mughal style around the 16th century. With the help of his memoirs, the British Museum art collector, PC Manuk was able to bring the Patna Kalam to the public in 1943.
Ishwari Lal was also the last known artist of the now-lost art form. Patna Kalam began to decline in the early 20th century. Major causes seem to be Indian and British patrons losing interest and the advent of photography, which made miniatures and portraits easily available and more accurate. Most of the paintings are in Victoria and Albert Museum, and those available in India are in Khuda Baksh Library, Patna; Patna College of Arts and Crafts; Patna Museum; and National Museum, New Delhi.