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【研究ノート】よみがえるカリガト絵とポト絵の変容
https://kbu.repo.nii.ac.jp/records/2000217
https://kbu.repo.nii.ac.jp/records/20002177479d2fa-94d9-4876-8f28-3d7c7e4bf5cc
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
sr26_15_kim.pdf (1.6 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||
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| 公開日 | 2025-03-27 | |||||||||
| タイトル | ||||||||||
| タイトル | 【研究ノート】よみがえるカリガト絵とポト絵の変容 | |||||||||
| 言語 | ja | |||||||||
| タイトル | ||||||||||
| タイトル | The Revival of Kalighat Paintings and the Transformation of Pat Paintings | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| キーワード | ||||||||||
| 言語 | en | |||||||||
| 主題 | Patua | |||||||||
| キーワード | ||||||||||
| 言語 | en | |||||||||
| 主題 | Kalighat paintings | |||||||||
| キーワード | ||||||||||
| 言語 | en | |||||||||
| 主題 | Transformation | |||||||||
| 資源タイプ | ||||||||||
| 資源タイプ | departmental bulletin paper | |||||||||
| 著者 |
金 基淑
× 金 基淑
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| 著者（英） | ||||||||||
| 姓名 | Kisook KIM | |||||||||
| 言語 | en | |||||||||
| 言語 | en | |||||||||
| 言語 | en | |||||||||
| 言語 | en | |||||||||
| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | In Bengal, India, the Patua or Chitrakar caste has traditionally made a living by painting picture scrolls and narrating stories through images. Some members of this caste continue to practice this unique art form. Pat paintings come in two types: picture scrolls (jorano pat: long pictures) and single-panel pictures (chouka pat: square pictures). While they serve different purposes, picture scrolls were originally intended for storytelling, while single-panel pictures were designed to decorate altars or rooms. The painters of picture scrolls often depict fragments of Hindu mythology from the great epics Ramayana and Mahabharata, as well as stories of divine miracles. They also illustrate Islamic saint (pir) worship, the life of Jesus Christ, and various historical and social events. While picture scrolls are not sold, single-panel pictures, such as Kalighat paintings, are created for commercial sale. As door-to-door storytelling has declined, picture scrolls are now primarily produced for sale. Kalighat paintings became popular in the early 19th century, created by painters who migrated from central and southwestern Bengal to the Kalighat Temple area in Kolkata. Initially, these paintings served as souvenirs for worshippers and visitors. However, in the latter half of the 20th century, demand for Kalighat paintings sharply declined due to the rise of modern printing technology and oil paintings, leading to their eventual fall. After a long hiatus, Kalighat paintings were revived around 1995 by K. Chitrakar, an artist from the Murshidabad district. Today, many painters in N village in the Medinipur district produce and sell them. This paper, based on materials from my recent survey, examines the background of this revival and the transformation of Kalighat paintings. Early Kalighat paintings were made using handmade pigments on rough, handmade paper. Over time, artists began using imported watercolors and factory-made paper, which enhanced productivity. Kalighat paintings are easily distinguishable from picture scrolls. While some subjects overlap, Kalighat works often satirize the changing lives of urban residents and the decline of traditional morals under Western influence, showcasing a unique and humorous style. Distinctive features of Kalighat paintings include the use of shadows, rounded forms, and the absence of background paintings and borders. In contrast, picture scrolls typically depict detailed backgrounds and bordered forms without shadows. Painters in N village understand these stylistic differences; however, rather than strictly replicating traditional Kalighat art, they often incorporate background paintings and borders that are not part of the original style, sometimes omitting shadows, which are an important element of Kalighat paintings. This indicates a transformation of Kalighat art, as some styles of scroll painting have been integrated. Today's artists appear more focused on self-expression than on mere imitation of their predecessors. Many contemporary painters find themes of satire and wit in modern society, suggesting that Kalighat painting can articulate numerous contemporary issues. As a result, it is likely that new themes will emerge in the future, leading to further transformations in Pat painting. |
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| 言語 | en | |||||||||
| bibliographic_information |
ja : 総合社会学部研究紀要 en : Bulletin of the Faculty of Social Relations 巻 26, p. 109-119, 発行日 2025-03-31 |
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| 出版者 | ||||||||||
| 出版者 | 京都文教大学 | |||||||||
| 言語 | ja | |||||||||
| 出版者 | ||||||||||
| 出版者 | KYOTO BUNKYO UNIVERSITY | |||||||||
| 言語 | en | |||||||||
| item_10002_source_id_9 | ||||||||||
| 収録物識別子タイプ | ISSN | |||||||||
| 収録物識別子 | 2759-2413 | |||||||||
