Symbols of Chittara and its Contextual Relevance in the Society

SYMBOLS OF CHITTARA AND ITS CONTEXTUAL RELEVANCE IN THE SOCIETY

BIJU K CHACKO

Department of Media Studies, Christ University

SINGAM BASANT

Co-Author

Master of Arts in Media and Communication Studies, Department of Media Studies,

Christ University, Bangalore 560029

The purpose of this research is to study the symbols of Chittara and to call the attention

required in preserving the dying folk art with the help of its contextual relevance to the society

as structured by the Deewaru community folks. The researcher proceeded in meeting the

experts for an interview due to the unavailability of rich literature and the absence of an in-

depth relevant study of the symbols. Though there’s a book based on Deewaru Community,

only selected symbols have been studied at a superficial level and some unpublished notes

which deconstructs the meaning, some of them has not gone beyond what the symbols mean

and how it conveys a message over time for the generations that existed, that exists at the

moment and the ones to come. Meeting the experts was quite challenging due to certain barriers

in the language protocol and reluctant attitude towards the researcher based on their previous

experiences. During the interview, the researcher analyzed every symbol carefully and tried his

best to delve deeper into the meaning hid behind each of it and has inferred certain contextual

relevance of the symbols accordingly. This research is aimed to throw light of the dying folk art

and help the art get its pulse back.

Keywords: Deewaru, Hase Chittara, Community, Floor art, Wall art

Introduction

Deep in the forests of Karnataka, in southern

part of India, the Malnad region of Sagara, Shimoga,

lives a small tribe called Deewaru. People of this

tribal community have a beautiful folk art called

Chittara, which is a mix of music, painting and

lifestyle. This painting, which used to be done

only by women, was always accompanied with a

song. Traditionally Deewaru women painted the

mud walls of their huts on special occasions such

as weddings, festivals and auspicious days. The

art form represents hustle bustle of their village

life, various ceremonies, the birds and animals

around them, the toys children plays with, the

flowers used for pooja etc

Deewaru are agrarian folks and worship

nature with utmost reverence. “They mainly

cultivate rice, sugar cane and areca nut. They are

mostly tenants of farm lands; illiterate and

financially backward. It is a matriarchal society

where women are highly respected and controls

most of the activities. This power relationship

between men and women is also manifested in

social practices like wedding ceremonies where

the bride’s family commands higher respect. The

community is culturally integrated by unique

customs and ritualistic practices. These practices

reflect their interaction and profound relationship

with environment. The traditions and ritualistic

practices of the community are incomplete

without the art practice of Chittara.”(De, 2014)

“The entire Chittara painting consists of

different units and segments. Although there are

different kinds of Chittara, the quadrilateral

Chittara is prominent and the practiced one. The

painting is the reaction of the creativity to capture

the intense and the actual experienced moments

of the Deewaru Woman’s life.”(Chandragutti,

2008) Although Chittara is one whole painting, it

consists of several lines and symbols. “With her

creativity and her boundless experiences of life,

she draws these lines with great wisdom,

knowledge, dexterity and judgment. The painting

is Deewaru’s greatest joy which gives them the

experience of mental satisfaction. For them

marital life not just a genealogical act of family

growth, but it is lovely celebration and

pleasurable excitement. Sigmund Freud also has

2

expressed his concurrence to this view – for

details refer Totem and Jaboo in his basic writings.

Art should give happiness.” (Translation), 2008)

Review of Literature

Center for Revival of Indigenous Art (CFRIA)

is a voluntary nonprofit Organization that is

committed towards preserving and reviving

Indigenous Art practices in India. Most

significantly, the center is concerned with

upliftment of the Artist community whilst

safeguarding the Socio-Cultural and Ecological

aspects of this practice, that mutually benefit them

and the environment that surrounds them.

Currently, CFRIA is working towards two

indigenous art practices. Chittara which is a social

cultural practice done on the walls of the houses,

primarily during marriage ceremonies, and

ritualistic purposes. Manikyamala is an ancient

Art form of making exquisite garland made of

fresh flowers.

Their website gives a quick insight about

Chittara art. It defines the Chittara art form and

from where & how the art form originated.

Besides the representation of auspicious

ceremony, rituals of life, symbolized geometric

patterns, the art form requires a certain

understanding of ratios and proportions which

the Deewaru community has been using with

great dexterity. In the present world of

commercialization, the art is said to be never a

profession, but a practice that has artistic and

socio-cultural value. Looking at the paintings they

are made of symbols representing their physical

environment and they are made of eco-friendly

natural resources. (Bhat, 2014)

“Chittara is not just an art; it is a part of life.”

The articl revolves around two aspects; one being

on Chittara art form and other one on Mr. Ishwar

Naik, who is instrumental in upholding the folk

art Chittara. About the art form, the article tells

the researcher about how the art form is an

indigenous one and how this art form as relatively

as old as the cave age paintings, where man began

expressing himself through images. The

observations made in the line painting of the

Chittara art are very similar to cave paintings.

This art is given more importance during

wedding, where it’s hung on the wall of the house

called ‘hassegode’. These paintings symbolically

depict the important moments of the Indian

wedding and the marriage. For instance, the

columns in the paintings symbolize the walls of

the household. It also lets the researcher know

about the colours used in the painting and how

the colours are formed. The art form seems to be

declining due to the gap between those who have

mastered the art and the younger generation. The

youths are influenced by television and new

media and are inclining towards it. This has

created lack of interest in the art form in the

youth.(TheAlternative.In, 2014)

This is about research like article on Paddy art

which has a small introduction about Chittara.

The traditional folk art is depicted as mural

painting known as Hase Chittara in Sagara village

of Shimoga. The article tells that the unique folk

art is mainly practiced by tribal women during

their leisure time. All the themes of Hase Chittara

are inspired by nature. The art included aesthetic

designs of tribal figures and geometric patterns

that are intricately painted with natural grass

brush and natural colors. This particular religious

art is majorly practiced during weddings and

local ritual occasions.(Mr. Mahesh, 2014)

“Chittara beyond traditional confines”- the

article is about how Chittara art is a way of

expressions. The researcher understands how

when denied education, women used to express

themselves through Hase Chittaras. The art form

was experimented on cloth and paper than just

painting them on mud walls. This expanded the

scope of the art and the same was printed on

paper files, pen stands, invitations and greeting

cards.(M, 2012)

“Chittara paintings showcased in Japan”- the

article is has a very small introduction about how

rare traditional art forms get extinct. It further

tells the researcher about CFRIA that conducted a

field survey to study and understand the history,

structure, and importance of this art form.

Extensive interviews were conducted among the

artists by Mohan Chandragutti, a doctorate in

Deewaru culture from Hampi University, for an

in depth understanding of the practice, the

problems faced by the community and the

possibility of reviving the art form. The research

findings were presented at InSEA 2007, Asian

Regional Congress, South Korea, International

Conference on Asia Pacific Art Education, 2007 -

Taiwan, and at the World Congress, Osaka 2008.

CFRIA, in association with Gallery Ohkura,

3

organised the First International India-Japan

Chittara Painting exhibition at Fujinomiya Shimin

Bunka Kaikan, Shizuoka Pref. Japan last

month.(Hindu, 2015)

“Where art is a way of Life” - the article tells

the researcher that Chittara is generally practiced

by women of the matriarchal, agrarian Deevaru

community; the age-old art of chittara is passed

on from one generation to the other effortlessly.

For Chittara artist Lakshmavva, life is a

celebration of all things natural, artistic and

beautiful. So much so that Chittara art is a way of

life with them. Be it a simple arati offered to god,

or a joyous occasion like a marriage or a naming

ceremony, it is Chittara art that the Deevaru

community likes to celebrate it with. The intricate,

geometric patterns of Chittara art, drawn on arati

trays, pots and walls of houses, complete any

celebration of the Deevaru community.

Lakshmavva further states, “Chittara art is a

source of great joy, beauty and creativity for us.

After a long day of toiling in the fields, we

assemble in the evening at the place that needs to

be spruced up by Chittara art and start preparing

the colours by either grinding rice or roasting

them, and drawing the desired patterns,

depending on the occasion, all the while singing

folk songs and sharing notes till late in the night.

In fact, Chittara art helps us, women of the

community, bond. After all, it’s a community art.”

It also talks about the art finding wide appeal

beyond Shimoga, reaching the other parts of the

country and abroad too.(Herald, 2011)

The blog has brief details on all the aspects of

the Chittara art except for what symbols mean

and their relevance. It gives additional

information that the walls are colored with red

mud found abundantly in the region and designs

are drawn in white paint derived from rice paste

and white mud. While the designs on the

paintings are common across the entire

community the paintings are divided in to three

types according to the use of colours. They are bili

hase, kappu hase, kemmannu hase.(Uday, 2011)

The website states that Chittara bears a close

resemblance to Warli art, the Chittara can be

distinguished by their elaborate geometric

designs.The "Theru Chittara" painting takes you

to the temple chariot festival where devotees

piously pull the chariot through the streets. The

painting with the square shaped motif captures

both the solemnity and festivity of marriage and

the picture in triangular form symbolises a person

seated cross-legged, deep in yogic meditation.

The people’s reverence for "Mother Earth" is also

established in paintings as they consider their

lives inextricably woven with that of hers. Music

is a constant companion of their

art.(Kalamadhyam, 2014)

Warli Painting, the art is said to be wonderful

journey of triangles. This art bears a close

resemblance with Chittara art form. The history of

this art indicates that there are no records of the

exact origins of this art, its roots may be traced to

as early as the 10th century AD. Research suggests

that the tribals are the propagators of a tradition

which originated sometime in the Neolithic

period between 2,500 BC and 3,000 BC. Their

extremely rudimentary wall paintings use a very

basic graphic vocabulary: a circle, a triangle and a

square. The researcher found that the circle and

triangle come from their observation of nature;

the circle representing the sun and the moon, the

triangle derived from mountains and pointed

trees. Only the square seems to obey a different

logic and seems to be a human invention,

indicating a sacred enclosure or a piece of land. So

the central motive in each ritual painting is the

square, the chauk; inside it we find Palaghata, the

mother goddess, symbolizing fertility.

It’s an art by tribal women. Tribals are the

Warli, Malkhar koli, Kathodi, Kokana, Dhodi

tribes found on the northern outskirts of Mumbai,

in Western India. This art was first explored in the

early seventies & from then it was named as

‘Warli art’. Tribal people express themselves in

vivid styles through paintings which they execute

on the walls of their house. It is found that the

painting is that it does not depict mythological

characters or images of deities, but depict social

life. The central motif in these ritual paintings is

surrounded by scenes portraying hunting, fishing

and farming, festivals and dances, trees and

animals. Human and animal bodies are

represented by two triangles joined at the tip; the

upper triangle depicts the trunk and the lower

triangle the pelvis.(Warli.in, 2014)

The website indicates that the art is the name

of the largest tribe found on the northern outskirts

of Mumbai, in Western India. In Warli paintings

it is rare to see a straight line. A series of dots and

dashes make one line. The artists have recently

4

started to draw straight lines in their paintings.

These days, even men have taken to painting and

they are often done on paper incorporating

traditional decorative Warli motifs with modern

elements such as the bicycle etc. It is believed that

these paintings invoke powers of the

Gods.(India.gov.in, 2014)

The book takes the reader through the entire

journey of Deewaru community folks, right from

their birth to eternity. However, there’s a chapter

dedicated to the Chittara painting per se. The

chapter begins emphasizing on the painting,

which consists of different units and segments

that are not fully independent but are united as

whole of the painting. It further unfolds the

different kinds of Chittara paintings, but states

that the quadrilateral Chittara is prominent and is

in practice. These paintings stem from the

reaction of the creativity from the Deewaru

women to capture the intense and the actual

experienced moments of their life. Besides

creativity, it is also based on their boundless

experiences of life, wisdom, knowledge, dexterity

and judgment. Some of the symbol’s meanings are

deconstructed but are just a handful of them. It

sheds light on how the art has become

commercialized and how it has acclimatized to

the modern changes for survival. The chapter

ends with explanations of the different types of

Chittara paintings, some of the traditions

followed by them and existing folk art forms in

Malnad region.(Chandragutti, 2008)

Methodology

This was a scientific study hence the

researcher carefully reviewed the available

literature which implies collection of materials.

Having done the first major task, the researcher

then proceeded in meeting the experts in Sagara,

where the art form is originated from. He stayed

there for about 2 days and observed the culture of

the Deewaru community and did capture some of

the daily activities of their lifestyle via

photographs. During his stay, with constant

interaction with the experts, he was able to infer

some subtle meanings of the Chittara symbols

and also through the observations. He also

attended a 2 day workshop about Chittara

painting conducted in Christ University, where

he learnt the art to some extent. Going further,

with guidance from the Mentor, the researcher

would like to present more findings (if any)

regularly and systematically.

Analysis of Hase Chittara Symbols

Yaileyh (Symbolizes Subtle

Attraction/Intimate Relationships)

Figure 1 Yaileyh

These are vertical or horizontal ‘lines’ in

Chittara painting. Without these lines, the

Chittara painting cannot be started. The lines

mean subtle attraction between two individuals.

The attraction is due to the feelings between each

other. For instance, the feelings a mother would

have towards her child, the feelings between

married couples, the feelings of losing someone

(memories linger) etc. These feelings are to be

experienced than expressing it through mere

words, for they would lose the beauty of it.

When a wedding takes place, none of the host

family members would draw the Chittara but

their relatives, friends etc would do it for them

because of the attraction aroused in the feelings

between them. Life is of relationships and these

feelings foster the bonding between the

individuals for a better compatibility.

(Chandrashekar, 2014)

Nilee & Nilee Kochu (Symbol of Strength)

Figure 2 Nilee

Figure 3 Nilee Kochu

In the ancient days, man used bamboos for

shelter. To protect himself from being attacked by

animals and from extremes climatic conditions, he

built the house with the help of the bamboos.

Initially, these bamboos were laid diagonally on

the roof. But when it no longer could withstand

the strong winds, he plastered the bamboos with

mud. And further to reinforce the bamboos laid,

he placed another set of bamboos diagonally in

5

the opposite direction and this is represents Nilee

Kochu. This symbol implies the strength of

teamwork and goes with the popular proverb

“unity is strength”.(Ramappa, 2014)

Bhasinga (Symbol of Divinity)

Figure 4 Bhasinga

This is tied around the Pehta worn by the

bridegroom during the wedding. As it symbolizes

divinity, when it is worn by the bridegroom, he is

considered equal to a god and is considered

divine. This implies that the bridegroom along

with the bride is equivalent to God and the

practices held during the wedding are to be done

meticulously and with utmost

reverence.(Ramappa, 2014)

Bhasinga Nilee

Figure 5 Bhasinga Nilee

This is a strap used to tie the Bhasinga and

this too represents the quality of divinest in

Chittara paintings.(Ramappa, 2014)

Yeythina Bhasinga

Figure 6 Yeythina Bhasinga

This is a type of Bhasinga that is tied around the

forehead of Ox for their worship during

Deepavali.(Ramappa, 2014)

Jelly Saalu (Symbolizes Offering)

Figure 7 Jelly Saalu

This is an offering done in the form of

decorating the bride & the bridegroom. This

implies that we need to offer our gratitude to the

almighty for the blessing received. These

offerings can be in any form, be it through

prayers, social service etc.(Ramappa, 2014)

Thondlu

Figure 8 Thondlu

This is a strap used to tie the Jelly Saalu and

this is put only to the bride.(Ramappa, 2014)

Chanduvina Saalu (Symbol of Friendship)

Figure 9 Chanduvina Saalu

This is a flower which is usually comes in

yellow or orange color but mostly it does in

yellow. This flower is extensively used during the

festivals of Deewaru community folks because it

is believed that this flower is very much liked by

the gods. Besides gods, even animals like them,

especially monkeys which is very much fond of

eating them. More so, yellow color symbolizes

friendship and adds more meaning while during

wedding, which promotes friendship between the

two families. As a remembrance to this, lines of

marigold flowers are drawn in the chittara

painting.

Poopalee (Symbol of Oneness)

6

Figure 10 Poopalee

This represents eyes and also intersecting

layers used on the roof top to cover the open

space. The sense of distinction starts from the eye.

The idea behind this symbol was to convey that

there shouldn’t be any discrimination between

people and that they should be accepted as they

are and nurture brotherhood. (Ramappa, 2014)

“Poopalee, Aarey Poopalee and Bhasinga Nilee

implies man’s life in difficult times and happy

moments, ups and downs, success and failures,

uncertainties of life. Thus each lines are grouped,

connected and linked like scissors.” (Translation),

2008)

Aarey Poopalee (Symbol of Help)

Figure 11 Aarey Poopalee

This was another art of intersecting layers

used while building the house. Besides the

personal space created by the man, he also created

small spaces using this art of layers. This was to

give hospitality to the birds and insects such as

Peeti aka pathanga. This implies not to be selfish

& self centered but to lend out one’s helping hand

to the needy and the helpless.(Ramappa, 2014)

Peeti/Pathanga (Symbol of Guest)

Figure 12 Peeti/Pathanga

This is a butterfly or a bee. Deewaru folks

have a strong association with nature and their

association with it leads to the creation of the

butterfly. This implies one of the sayings “athithi

devoo bhava”, which means to treat the guest

with kindness and render hospitality. (Ramappa,

2014) “In Hase Chittara paintings, the pair of Bees

indicates the presence of abundant sexual desires

after the married life.”(Translation), 2008)

Kholhee (Symbolizes Time & Economic Growth)

Figure 13 Kholhee

In those days, rooster/hen played a very

prominent role to the Deewaru folks by serving

many purposes. Due to dearth of clocks, Hen was

the indicator of time. The setting of the dawn was

marked by the sound of this bird. And they were

also used to serve the guests as an item of food,

selling the eggs & the rooster itself, in exchange of

some money. (Ramappa, 2014) “The Hen and

Cock which features in Hase Chittara paintings

are the symbols of love.”(Translation), 2008)

Yayni (Symbol of Support & Awareness)

Figure 14 Yayni

This depicted that the married couple climb

the ladder of life with complete awareness for a

better future and also indicated the importance of

support.(Ramappa, 2014)

Madhumaga & Madhnageethi (Symbol of Eternal

Bonding)

7

Figure 15 Madhumaga & Madhnageethi

This is the concept on which the entire

Chittara painting is based on: Bride with the

Bridegroom, an epitome of unconditional

love.(Ramappa, 2014)

Magey Saalu (Symbol of Fragrance)

Figure 16 Magey Saalu

The first stage of the flowers is bud and this is

a string of budding jasmine flowers. It is used to

decorate the palanquin and the women of

Deewaru community wear small garlands made

of these bud during happy occasions. These buds

of jasmine are also woven beautifully on the

banana stem and the groom wears it on the

wedding day. It evokes one’s senses by the

fragrance it produces and also eradicates any

sorts of bad smell. It gives a pleasant feeling to the

one sitting inside the palanquin and the people

around. It implies that instead of using room

fresheners at home, which are dangerous to one’s

health, we can keep these jasmine flowers and

enjoy the smell of freshness the room gets filled

with.(Ramappa, 2014)

Garagasa Saalu (Symbol of Sharpness)

Figure 17 Garagasa Saalu

This was mainly used to cut the bamboos and

other objects while constructing the houses. It

implies that without being sharp in life it’s

difficult to break through the obstacles. A sharp

mind helps one think quickly and act without

delay, which is nothing but being

efficient.(Ramappa, 2014)

Yelleyh Bhalliee (Symbol of Prosperity)

Figure 18 Yelleyh Bhalliee

For any ritual practices in the Deewaru

community, the betel leaf was required.

Consuming of the betel leaves after meals, helps

absorption and it likewise has other medical

advantages. Beetle leaf is considered auspicious

in Hindu customs.(Ramappa, 2014)

Gonabhey (Symbol of Prosperous Womb)

Figure 19 Gonabhey

Amid harvest, a large portion of the harvests

are assembled in mass, rather a pile of paddy

before differentiating it from the plant. This is to

preserve the crops from being washed away in the

rain. It implies one of the techniques used in the

storage of crops and mainly indicates a blessing of

prosperous womb to the bride. (Ramappa,

2014)(Ramappa, 2014) (Translation), 2008)

Bhaley Maarah (Symbol of Fulfillment)

Figure 20 Bhaley Maarah

In Hindu culture, individuals consume from

banana leaf which is an alluring serving platter

due to its size and toughness. It is to a great extent

utilized as a part of relational unions (weddings)

and different capacities (other functions). Pretty

much as the aluminum foil, it goes about as a

sustenance wrapper which helps in drying,

8

staying and holding hotness of the food. The

entire reason behind this was to advance good

dieting propensities. Amid those days, there were

no plates and these banana leaves were effectively

accessible and were sufficiently huge to contain

all the nourishment. It has numerous medical

advantages which are demonstrated deductively

as well.(Ramappa, 2014)

Muley Aarthi (Symbol of Light)

Figure 21 Muley Aarthi

Light played a significant role in their lives. It

was used for purposes such as worship, cooking,

bathing and for survival against darkness. This

implied that light is the source of life, which

dispels the darkness of ignorance and leads to the

path of knowledge and self realization.(Ramappa,

2014)

Muthina Bhatoo (Symbol of Femininity)

Figure 22 Muthina Bhatoo

Wearing a nose ring is a custom common

among Hindu ladies. As per the Deewaru

community, it reflects the marital status of a

woman. This implies that wearing a nose ring is

one of the feminine touches of being a complete

woman.(Ramappa, 2014)

Merakoolu

Figure 23 Merakoolu

This is a farming tool that is used to remove a

particular kind of grass at the time of cultivation.

It implies use of certain specific recommended

techniques to combat certain

problems.(Ramappa, 2014)

Yelaki Goney

Figure 24 Yelaki Goney

This is a type of Banana grown in the malnad

region.

Basavana Pada (Symbol of Worship)

Figure 25 Basavana Pada

This is a symbol of holy feet drawn in front of

the cowshed during the worship of the oxen. And,

those who did not have Basava/Bull at their home;

they used to draw the feet of Basava, imagine the

presence of it through the symbol as such and

worship them. This implies a form of worship

followed in Hindu culture. Besides Basava, the ox

per se holds a great significance in the lives of

Deewaru community folks.(Ramappa, 2014)

Hulina Oreyh (Symbol of Opportunity)

Figure 26 Hulina Oreyh

It's a sort of grass that has been cut, dried and

put away for utilization as cattle grub. This

implies a famous saying, “make hay while the sun

shines”. If you have an opportunity to do

something, do it before it expires.(Ramappa, 2014)

Marah (Symbol of Nature)

9

Figure 27 Marah

The Deewaru community folks are nature

lovers and the same was expressed by including

them in Chittara. It implies the importance of tress

in preserving the Mother Nature for our existence.

(Ramappa, 2014)

Vanki (Symbol of Cure)

Figure 28 Vanki

It means Tulasi plant. Besides the religious

significance, it implied on the importance of

having the plant at our homes for medicinal

purposes too. (Ramappa, 2014)

Kouli Matti (Symbol of Decoration)

Figure 29 Kouli Matti

This implied a kind of tree that bears kouli

fruits. The importance of this was used mainly for

decoration and cooking (was used as a substitute

against lemon to add the flavor of sour) purposes

only. It implies to have an aesthetic appeal in

whatever we do.(Ramappa, 2014)

Bisanigey (Symbol of Air)

Figure 30 Bisanigey

This was a hand held fan to induce the airflow

for the purpose of cooling or refreshing oneself.

Even to this day, we use this very significantly.

(Ramappa, 2014)

Vasthra (Symbol of Coverage)

Figure 31 Vasthra

It’s a cloth that was used to wrap objects in the

absence of boxes those days and also the clothes

given to the wedding couple. It implies the

importance of clothing to protect ourselves

against shame & adverse climatic conditions

during winter.(Ramappa, 2014)

Chikal Bhakal Chinani (Symbol of Posture)

Figure 32 Chikal Bhakal Chinani

This is the sign of sitting cross legged and is

drawn on either sides of the wall in Chittara

painting.(Ramappa, 2014)

Lingadha Gudi (Symbol of Sanctum Santorum)

Figure 33 Lingadha Gudi

This refers to the holiest place. It implies that

we need not go in search of the holiest places but

our hearts and also to seek the almighty’s blessing

before we begin any work.(Ramappa, 2014)

10

Gadhey Sasi (Symbol of Growth)

Figure 34 Gadhey Sasi

This is paddy saplings. (Ramappa, 2014)

Adikey Maara

Figure 35 Adikey Maara

This is one of the main commercial crops of

Malnad region. (Ramappa, 2014)

Jhogi Jadey (Symbol of Separation)

Figure 36 Jhogi Jadey

These are unwanted plants grown in

competition with cultivated plants. This implies

to weed out unnecessary distractions in one’s Life.

(Ramappa, 2014)

Bhachanigey

Figure 37 Bhachanigey

This is a Comb.

Aaladha Heedi (Symbol of Management) –

Figure 38 Aaladha Heedi

A farming tool used to brush aside the

unwanted particle gathered on the field. It implies

that one needs to brush aside unwanted things in

life for a harmonious living. (Ramappa, 2014)

Noga

Figure 39 Noga

This is a farming tool. (Ramappa, 2014)

Dhandigey (Symbol of Highness)

Figure 40 Dhandigey

It's a kind of human fueled transport, for the

vehicle of very adored persons. This is one of the

most important aspects of Chittara painting

besides Madhumaga & Madhnageethi. The Gods

and the Kings are carried in the palanquin as a

mark of respect and honor. Accordingly, this was

implied to the wedding couple who were treated

to royal standards as a matter of being equivalent

to the gods. (Ramappa, 2014) “The person who is

inside the Dhandigey should relish/enjoy slowly

with ample time, only then, the marital life stands

11

out. With this imagination in mind, she gets down

to painting.” (Translation), 2008)

Dhandigey Kholu (Symbol of Relief)

Figure 41 Dhandigey Kholu

Men carry the palanquin by placing it on their

shoulders. However; when they could no longer

bear the burden on their shoulders while going far

distances, they use Dhandigey Kholu by placing

the palanquin on it and carrying it with their

hands than on the shoulders. This gave them a

sigh of relief. It implies that in life, if one is unable

to bear the burden on his shoulders

(responsibilities, problems etc) he can find

alternatives and heave a sigh of relief to keep

going without giving up. (Ramappa, 2014)

Sithey Mudi (Symbol of Disciplined Attire)

Figure 42 Sithey Mudi

One of the processes followed while draping

a sari. This implies that a style in dressing should

have a disciplined approach and not any random

way of dressing would do. (Ramappa, 2014)

Gombhey Saalu (Symbol of Offspring)

Figure 43 Gombhey Saalu

In Chittara, this represents a line of offspring.

It implied, a blessing given to the newlywed

couples by their elders in advance.

Bhathadha Saalu (Symbol of Uniformity)

Figure 44 Bhathadha Saalu

These are Paddy saplings in a row. (Ramappa,

2014)

Geedha Budikey (Symbolizes Music)

Figure 45 Geedha Budikey

It's a musical instrument of Lord Shiva called

as 'Damaru'. It speaks to the cadenced beat of this

universe. It is accepted that Shiva made the

Damaru to deliver profound sounds by which this

entire universe has been made and controlled.

(Ramappa, 2014)

Goodina Hakki (Symbol of Loyalty)

Figure 46 Goodina Hakki

This represents a female bird in its nest,

waiting for the male bird while she is incubating

& safeguarding the eggs. She has sent her

husband to gather some food grains and is

waiting anxiously to his return. It implies that a

woman should be loyal to her husband and vice a

versa. After a colorful married life, one prepares

for the inevitable family life. It gives the

12

experience of involvement and satisfaction.

(Ramappa, 2014) (Translation), 2008)

Maadhana Kai (Symbol of Marital Bliss)

Figure 47 Maadhana Kai

This represents Hindu god of love, attraction

& sexuality. This is to invoke the lord’s blessing

on the newlywed couples so that they have a

blissful married life ahead. And also this indicates

to reach the supreme excellence in the union of

married couples. (Ramappa, 2014)

Aarali Yeleyh (Symbol of Cure)

Figure 48 Aarali Yeleyh

Peepal tree has a great medicinal value. It is

utilized as a customary prescription for around 50

sorts of clutters including asthma, diabetes, the

runs, epilepsy, gastric issues, incendiary issue,

irresistible and sexual issue. (Ramappa, 2014)

Gadigey/Kumba (Symbol of Purity)

Figure 49 Gadigey/Kumba

During the wedding affairs, the bridegroom is

given holy bath. The holy water is stored in the

container Kumba and this water is protected from

any kind of foreign entries to preserve the sanctity

of the water. This implies one to have a pure heart

for the welfare of oneself and the others around.

(Ramappa, 2014)

Maavina Goney – These are a bunch of mango

leaves. (Ramappa, 2014)

Dibanada Jana (Symbol of Gathering)

Figure 50 Dibanada Jana

A wedding celebration would be incomplete

without the guests. This implies the importance of

the guests at any occasion for a complete

celebration. (Ramappa, 2014)

Vaalghadawaru (Symbol of Musical Harmony)

Figure 51 Vaalghadawaru

In the Hindu weddings, music is given of

utmost importance and this is rendered by a

particular set of musicians. It is a sign of good

omen. This implies how music can create an

interesting ambience at special occasions.

(Ramappa, 2014)

Halku

Figure 52 Halku

13

This is a farming tool. After using the Aaladha

Heedi, this tool is used weed out growth of

unwanted plants.(Ramappa, 2014)

Negilu (Plough)

Figure 53 Negilu

A large farming implement with one or more

blades fixed in a frame, drawn over soil to turn it

over and cut furrows in preparation for the

planting of seeds. (Ramappa, 2014)

Hartheyguntey

Figure 54 Hartheyguntey

This tool is used weed out growth of

unwanted plants. (Ramappa, 2014)

Yethu (Oxen)

Figure 55 Yethu

A domesticated bovine animal kept for milk

and one of the strongest assets of Deewaru

community; a cow or bull. (Ramappa, 2014)

Bandi (Bullock Cart)

Figure 56 Bandi

A two-wheeled or four-wheeled vehicle

pulled by bulls. It is a method for transportation

utilized since antiquated times in numerous parts

of the world. They are still utilized today where

present day vehicles are excessively costly or the

foundation/infrastructure does not support

them.(Ramappa, 2014)

Karabandha Gadigey (Symbol of Wish

Fulfillment)

Figure 57 Karabandha Gadigey

A huge earthen pot used to cook a large

quantity of food. During woman’s pregnancy, a

ritual is performed wherein they fulfill the wished

of the pregnant woman by cooking the food she

desires. While so, this earthen pot is used to cook

the desired food. (Ramappa, 2014)

Bhootu

Figure 58 Bhootu

Women of Deewaru community soak their

fingers in the paint and place it on the

boomanabooti to decorate them. And also, the

main entrance of the house is decorated as a sign

of religious markings. It is either made from

turmeric or saffron. The turmeric is dried and

powdered with a bit of slaked lime, which turns

the rich yellow powder into a red color.

(Ramappa, 2014)

14

Boomanibooti & Hachamblibooti

Figure 59 Boomanibooti & Hachamblibooti

A large & small baskets respectively in which

they carry pooja materials and specially cooked

food which is offered to the Mother Earth while

performing the rituals during the harvest season.

The basket is very convenient in carrying these

items. The drawings on these baskets will be a

woman carrying the basket, her companions,

Gonabe with ladder, Bullock carts, house, birds

sitting on the plant etc. (Ramappa, 2014)

Hendagooduthi

Figure 60 Hendagoodthi

A tool made of bamboo and was used for

beating the mud and leveling the ground.

(Ramappa, 2014)

Devaru

Figure 61 Devaru

This is the representation of God, the

almighty. (Ramappa, 2014)

Kodey

Figure 62 Kodey

– This is an Umbrella (Ramappa, 2014)

Surya (Symbol of Energy) Sun

Figure 63 Surya

Chandra (Symbol of Tranquility), [Symbol of

Gratefulness] Moon

Figure 64 Chandra

A small platform called Eda Kallu is built in

the kitchen painted in red earth and big water

pots are placed on it. This is the most sacred place

in their house and is considered like a temple.

They paint the Sun and the Moon behind Eda

Kallu symbolizing their ancestors. This is in belief

that their ancestors should shine like the sun and

be composed as the moon and remain with them

forever. This was an act of paying utmost tribute

to the elders in the family, especially the

ancestors. It implied to show reverence and

remembrance to our elders and to be grateful to

them for their efforts in making our Life beautiful.

This also meant to be respectful towards our

teachers. (Ramappa, 2014) (Translation), 2008)

Conclusion

Folk art instils a sense of belongingness

and integrates communities. It is an expression of

15

a particular culture or area and is usually a part of

the community’s identity. Knowing the folk art

can give us an insight into the spirit of the

community. Amidst a lot of developments in the

field of arts and with modernity coming into our

lives, studying the symbols of a folk art and

knowing its contextual relevance will only foster

the Folk Art form and prevents it from dying

away. Traditions and beliefs practiced by our

ancestors and are passed on from one generation

to another and the research paper petitions the

Modern People & Society, with the importance to

preserve the dying form of folk art, craft and

culture.

References

Bhat, G. (2014). Chittara - Folk Art of Karnataka.

Retrieved 10 21, 2014, from Same as

above: http://www.cfria.in/

Chandragutti, D. H. (2008). Deewara Makalu.

Bangalore: Navakarnataka Publications

Private Limited.

Chandrashekar, C. L. (2014, 12). Interview - Audio

Recording. Sagara, Karnataka, India.

De, G. B. (2014). From mother to grandmother's

art (Research Paper). Chittara: an

autochthonous art practice struggling for

survival, 1-5.

Herald, D. (2011). Deccan Herald. Retrieved 10 22,

2014, from Deccan Herald:

http://www.deccanherald.com/content/2

12868/where-art-way-life.html

Hindu, T. (2015). The Hindu. Retrieved 10 22, 2014,

from The Hindu:

http://www.thehindu.com/todays-

paper/tp-national/tp-karnataka/chittara-

paintings-showcased-in-

japan/article1333706.ece

India.gov.in. (2014). India.gov.in. Retrieved 10 26,

2014, from India.gov.in:

http://india.gov.in/topics/art-culture

Kalamadhyam. (2014). Kalamadhyam. Retrieved 10

25, 2014, from Kalamadhyam:

http://www.kalamadhyam.org/news%20

archives.htm

M, V. P. (2012). The Hindu. Retrieved 10 22, 2014,

from The Hindu:

http://www.thehindu.com/todays-

paper/tp-national/tp-karnataka/chittara-

beyond-traditional-

confines/article2972837.ece

Mr. Mahesh, M. T. (2014). D'source. Retrieved 10

21, 2014, from D'source.

Ramappa, C. L. (2014, 12). Interview - Audio

Recording. Sagara, Shimoga, Karnataka,

India.

TheAlternative.In, T. . (2014). The Alternative.IN.

Retrieved 10 21, 2014, from Same as

Above:

http://www.thealternative.in/lifestyle/ish

war-naik-chittara-art-part-

life/?print=print

Translation), H. M. (2008). Deevara Makkalu.

Bangalore: Navakarnataka Publications

Private Limited.

Uday, S. (2011). Buda Folklore. Retrieved 10 25,

2014,

16

from Buda Folklore: http://buda-

honnavar.blogspot.in/2011/07/folk-art-

hase-chittara.html

Warli.in, T. (2014). Warli Painting. Retrieved 10 26,

2014, from Warli Painting:

http://www.warli.in/