Nestled in the heart of Jharkhand lies Chiruddi, a small village that breathes art. Here, the walls of houses are more than just structures — they are canvases. Every year, women in the village bring these walls to life with vibrant Sohrai paintings, a traditional indigenous art form inspired by the environment, animals, and flowers. Even tree trunks, electric poles, and towels carry this colourful art.
The tradition is deeply tied to the festival of Sohrai, celebrated just after Diwali. The village transforms into an open-air gallery as women and young girls paint their homes and surroundings during this time.
It’s more than just art — it’s a living legacy passed down through generations. Mothers gently guide their daughters, beginning with simple sketches on paper, and over the years, these drawings bloom into stunning wall designs. Each stroke of paint carries the warmth of tradition, bound together by love and time.
“I remember watching my mother and grandmother paint during festivals,” shares Anita Devi, a senior artist in the village and a mother of three. “They would use natural colours from the soil and sit for hours creating patterns on the walls. It was like a ritual, something we did every year.”
But why does this tradition hold such significance?
In the past, Sohrai art was simple, featuring circles, flowers, and tribal motifs. Over time, figurative elements inspired by ancient cave paintings were introduced, bringing new life into the tradition.
“When I was young, Sohrai was mostly circles and flowers,” recalls Meena Kumari, a local artist. “Now we include human figures and scenes from everyday life. It’s like painting stories on our walls.”
Cows, central to rural livelihoods, take the spotlight during Goru Puja (Cattle Worship). The festival, coinciding with Govardhan Puja, is celebrated across Jharkhand, Bihar, Odisha, Chhattisgarh, and West Bengal.
On the day, cattle including bullocks, buffaloes, goats, and sheep are decorated with flowers and turmeric, and their horns are painted. They are bathed, fed special meals, and honoured for their role in the community.
For the women of Chiruddi, the Sohrai Festival is not just a celebration; it’s a heartfelt ritual that connects them to their roots, honours the legacy of their ancestors, and allows them to express their true selves through the vibrant language of art. It’s a deeply personal journey of heritage and pride.
A fading tradition and a bold revival
As rural communities shifted from traditional mud houses to more durable plastered walls, the art of Sohrai painting began to fade. Mud walls, while eco-friendly, required constant upkeep due to weather damage. Plastered walls, being more resilient and low-maintenance, became the norm. However, this transition threatened the survival of the vibrant tradition. But then, local artist Mahto Manish Kumar couldn’t stand to see it slip away.
“I wanted to help women earn money from their art,” says Manish. “It’s our heritage, and it shouldn’t be forgotten.”
“It was heartbreaking to watch it disappear,” Manish recalls, the sadness of losing something so deeply connected to his roots evident in his words.
For Manish, who is now recognised as an international artist, Sohrai was much more than just a form of art — it was an integral part of his identity. “This was part of our lives growing up,” he shares, his voice tinged with nostalgia. “I would see my mother and other women painting patterns with natural mitti. Back then, every house would boast these beautiful designs, each one telling a story.”
In April 2024, Manish knew he had to do something. Determined to keep this heritage alive, he took action and began organising competitions in his village to reignite interest in the craft.
“Initially, many women were hesitant. They didn’t see the value in it,” he explains, remembering the doubts that clouded their minds. “But I encouraged them, showing them how their art could reach people beyond the village, how their work could bring pride and recognition to our community.”
Through his relentless passion, Manish was able to reignite the spark of Sohrai, helping the women reclaim their art and their heritage.
A new beginning: steady income for the women
Today, about 15 women are actively involved, and the number is growing. Young girls also participate, learning the art alongside their studies.
“Before, I never imagined I could earn money from Sohrai painting,” says Meena Devi, a local artist. “It’s not a lot, but I’m proud to be doing something of my own.”
The women now paint more than just walls. They’ve started creating designs on towels and saris, with orders coming in through social media. Recently, they received an order for 1,000 painted towels. Each towel fetches Rs 150, providing these women with a steady income.
“Earlier, we only painted during festivals, but now it has become something we do every day,” says Sunita Kumari. “When I see my designs on saris and towels, I feel nice. Who would have thought our work would reach homes far from Chiruddi?”
Earlier, natural pigments like dhudhi mitti (white), lal mitti (red oxide), and kaali mitti (manganese black) were used. Today, synthetic paints have taken over, adapting to the plastered walls.
Reviving the tradition wasn’t easy
“Some people mocked us initially, saying this wouldn’t lead to anything,” says Manish. “But I reminded the women that this art is their heritage and deserves to be celebrated.”
Support from the government or NGOs has been minimal, but Manish is undeterred. “We’re planning to showcase our work at exhibitions and even set up a museum where visitors can see these paintings and learn their history,” he says.
For now, the focus is on expanding the reach of Sohrai art. Social media has been a game-changer, connecting Chiruddi’s artists to buyers across the country.
Manish’s efforts are not just a revival of art but more about empowering women. “Every wall painted, every towel designed carries the name of the artist,” he says proudly. “This is their story, their legacy.”
| Edited by Leila Badyari Castelino |
