Chennai artist revives rustic Chitrakathi style in Tamil Nadu

CHENNAI: When her parents took her to temples during her childhood in Ramanathapuram, Shanmughapriya used to observe the meticulously crafted paintings and intricate sculptures. With little knowledge of painting, she created an image of a goddess for her village temple at the age of 15, inspired by the fire ignited within her.

It was a time when her parents believed that the only sustainable careers were in medicine and engineering. “Even in my house, we have four engineers, and initially, my parents didn’t allow me to pursue art. However, after recognising my passion for the strokes of the brush, they eventually agreed to my decision,” begins Shanmughapriya, a devoted lover of art.

She moved to Chennai in 2007 to explore her field more deeply, under the guidance of K Thirugnanam. She learned the basics from her master and then wished to try her hand at the traditional arts of India. To realise this ambition, Shanmughapriya became a student of artist Balaji Srinivasan. “I learnt the complexity of the sophisticated Thanjavur paintings. My focus then shifted to the endangered art forms of the country,” she says.

Chitrakathi is a traditional art form from Maharashtra that is on the brink of extinction. This art is used to depict the stories of the Ramayana and Mahabharata and is believed to be over 500 years old. Historically, it was practised by the Thakar, a nomadic tribe. “Balaji sir formed a team for a project that merges Chitrakathi with Tamil Nadu’s traditional folk arts like Therukoothu. It was an intriguing project centred on the captivating tale of the Mahabharata, and my attention turned towards the characterisation of Panchali (Draupadi). Hence, the fundamental image of the art will be Chitrakathi while the ornaments will draw influence from Tamil Nadu,” shares the 48-year-old, who is also well-versed in Pichwai and Pattachitra, among other forms.

Shanmughapriya is among the few artists creating pieces using the rustic Chitrakathi style in Tamil Nadu. “I approach each ancient art as a project, delving deeply into its essence. During the pandemic in 2020, I was quite fascinated with the exquisite paintings from the reign of the Nayaks and began documenting them. I am yet to reach the roots completely and aspire to revive all dying arts in India,” hopes the artist, who has 18 years of experience in the field.

Regarding the impact of Artificial Intelligence in creative disciplines, Shanmughapriya holds a contrasting opinion to the prevailing view. “Undoubtedly, people are currently using AI-generated art. However, the value of traditional art is incomparable. Due to the uniqueness, time investment, and skills required for traditional arts, conventional art and craft are irreplaceable, and there will always be an audience for them,” she believes.

To disseminate her knowledge in the field, Shanmughapriya conducts regular classes for students. “There were comparatively few female artists in the field, but the situation is changing now. Online classes are one of the many factors contributing to this change. This enables passionate working women, homemakers, and middle-aged women to pursue their passions conveniently without disrupting their social and personal lives,” she remarks.

She also believes that social media is a powerful tool for establishing an artist’s presence, and if used appropriately, it can be life-changing for many budding talents.