Santal Sohrai Wall Art in Purulia – The Traditional Painting Process

The murals were a mix of purely traditional motifs, those that had evolved from the traditional, as well as contemporary designs.

The modern designs were less detailed and not all displayed the same degree of skill. However, irrespective of the complexity or vintage of the motifs, the technique used to paint the walls was the same. The overall effect was soft, subtle and exquisitely poetic.

Different kinds of clay are used for each stage. Repairs and plastering are done with lateritic soil (Kankor mati), and sandy loam (Bele mati) respectively. A lot of effort goes into the creation of perfectly smooth plastered surfaces required for the ornamentation that will follow.

When the wall dries, it provides a dazzling off-white canvas for the final embellishment. Many women, faced with the pressure of harvesting work, do not embellish their walls beyond this stage.

The sweeping lines in traditional stylized motifs are expertly traced in parallel strokes, using three or four fingers. These parallel strokes are the hallmark of traditional Sohrai Likhan motifs. Executing complex motifs require dexterity and experience.

Additional and simpler embellishments are outlined with a single finger and then filled out by gently rubbing on the wet clay with a finger.

Skilfully and meticulously traced geometric patterns instead of motifs are also part of the tradition. Gliding their fingertips along the moistened wall with a soaked rag in their hand, the women create a series of semicircular, rectangular, triangular or other geometric patterns in fluid, rhythmic gestures.

The mud plinth, the hallmark of a Santal home, is painted last. The black dye comes from burnt straw. This plinth or pinde, a remarkable feature of Santal architecture, not only richly offsets the artistry on the wall above, but also doubles as a seat at the base of the wall.