Nestled in the quiet heart of West Medinipur’s Pingla block, Naya village appears at first glance as a humble, rustic locale. Yet, behind the quaint facades of its mud homes and narrow alleys lies an extraordinary heritage of art, culture, and tradition. Naya is not only a village; it is a vibrant, living canvas and the birthplace of the enchanting folk art known as Patachitra, a traditional form of scroll painting. The potuas, or artists of Naya, are storytellers who weave history, folklore, and daily life into colorful, intricate paintings on clay pots and scrolls.
The Art of Patachitra: Crafting Stories on Pots
The Patachitra art form, which loosely translates to “cloth painting,” has existed for centuries and is often associated with the Jagannath Temple of Puri in Odisha. However, Bengal has developed its own unique style, particularly in the Naya village of Pingla, where the potuas craft painted scrolls and pots in a tradition that has been passed down for generations.
In the village, it is common to see potuas transforming raw clay pots into beautiful works of art. Each painted pot tells a story, often accompanied by songs sung by the artists themselves, known as Pater Gaan. These stories can range from ancient epics and mythology to tales of contemporary social issues, making Patachitra an ever-evolving art form that is as relevant today as it was centuries ago.
Potuas: The Artists and Storytellers
The potuas of Naya are not just painters; they are custodians of an art form that transcends time. They are skilled in drawing, painting, and singing, which makes them both visual and performing artists. Traditionally, Patachitra was a family trade, with techniques and stories passed down from parents to children. Today, the craft has adapted to contemporary times, with both men and women actively engaging in the art and bringing a modern touch to traditional themes.



The potuas paint on eco-friendly materials such as cloth, paper, and clay, using natural colors derived from locally available sources. Black comes from soot, red from the seeds of the raktachandan tree, and yellow from turmeric – each hue adding depth and life to their narratives. These artists have mastered the use of bold outlines and vibrant colors, making their paintings visually striking and instantly recognizable.
The Songs of the Potuas: Pater Gaan
What truly sets Naya’s Patachitra apart is the accompanying folk music. As the potuas display their scrolls or pots, they sing Pater Gaan, a unique form of storytelling through song. These songs are not only musical but also serve as a narration of the visual story on the scroll. The potuas modulate their voices, adding expressions and tones to bring each scene alive, almost as though the figures on the pot are speaking to the audience.
The lyrics of these songs are often deeply rooted in tradition but sometimes also reflect contemporary issues such as environmental conservation, social injustice, or health awareness. Through their songs, the potuas raise awareness and address the concerns of their community, making Patachitra a form of social commentary as well as a form of art.
Origins and Evolution of the Art
The origins of Patachitra date back several centuries, possibly to ancient India, where painted scrolls were used to narrate mythological tales. In Bengal, Patachitra evolved into a unique folk art form that combined painting with singing. The potuas of Naya traditionally depicted scenes from Hindu epics, such as the Ramayana and Mahabharata, as well as stories of Krishna and other deities.
During the colonial period, the art form experienced a transformation, with the potuas incorporating British influences and secular themes. Today, Naya’s Patachitra reflects a wide variety of subjects, including Islamic and secular motifs, as well as modern themes such as global warming, wildlife conservation, and social justice.
As the world moves towards modernisation, Naya’s potuas have embraced change while keeping their traditions alive. The potuas have become adept at merging traditional styles with contemporary themes, creating pieces that appeal to urban buyers and art collectors from around the world. They now paint smaller scrolls and decorative items that are easy to carry, and some even create Patachitra-inspired jewellery, home decor, and accessories to cater to global audiences.
The Village: A Hub of Cultural Exchange
Over the years, Naya has transformed into a cultural hub, attracting tourists, art enthusiasts, and researchers from across the globe. The potuas, once isolated in their art, now conduct workshops, demonstrations, and cultural exchanges. The government and various NGOs have also taken an interest in preserving and promoting Patachitra, which has brought new opportunities to Naya.


The village hosts an annual Patachitra Mela (Patachitra Festival), a week-long celebration where potuas showcase their art, perform Pater Gaan, and interact with visitors. This event has put Naya on the map as a must-visit destination for those interested in traditional Indian art and folk culture. During the mela, the village becomes a vibrant space filled with colours, music, and the joy of artistic expression.
A Visit to Naya Village: A Timeless Experience
Visiting Naya feels like stepping into a different world where every house is adorned with murals and every lane echoes with the melodies of Pater Gaan. The village is a canvas itself, with mud walls painted in bright colours, depicting scenes from mythology, folklore, and everyday life. Walking through Naya is akin to walking through an open-air art gallery, where every corner holds a story.
Travellers have the unique opportunity to meet the artists, observe their techniques, and even participate in hands-on workshops to try their hand at painting or singing Pater Gaan. The potuas are warm and welcoming, eager to share their craft with visitors and narrate the stories behind each piece.



The people of Naya are proud of their heritage, and it is this pride that has kept Patachitra alive through centuries of change. The potuas are well aware that they are not merely artisans but storytellers who carry forward a legacy of tradition, resilience, and creativity.
Conclusion: Preserving a Living Heritage
Naya village offers a glimpse into a world where art and life intertwine seamlessly. The potuas of Naya have kept alive an ancient craft, adapting it to changing times while staying true to their roots. In a world dominated by digital media, the art of Patachitra reminds us of the power of human creativity and the joy of storytelling.
A journey to Naya is more than just a travel experience; it is an immersion into the soul of Bengal’s folk traditions, where art, song, and community come together in harmony. As you leave the village, the melodies of Pater Gaan linger, and the painted stories stay etched in your memory – a testament to the timeless charm of Naya’s Patachitra.

Amazing. So much to be said for ventures based on one’s own initiative.
You’re right, sir. Thanks.
Wonderful. You really have a penchant for bringing up things which is unusual, yet traditional. Like Rasagolla, Patachitra is another issue that involved ownership conflict between Odisha and West Bengal. However, I understand that both the States have got GI tags on patachitra since both adopted distinct approach in style as well as subject matter and even material used. Even within West Bengal, Medinipur or Bankura Patachitra is different from Kalighat.
Thanks, Manojit for your inputs.
Nice post. You always bring out great posts on seemingly small things. Like it.
Thanks, Sanchita.