Sohrai

Hazaribagh

Origins and Historical Background

Sohrai and Khovar paintings are among the most significant indigenous art forms of the tribal communities in Hazaribagh, Jharkhand. Their roots can be traced back to prehistoric rock art found in the Isko rock shelter, a Meso-chalcolithic site where ancient wall paintings depict motifs similar to those seen in modern Sohrai and Khovar murals (Bulu Imam, Painted Houses of Hazaribagh, 2002). These paintings reflect an uninterrupted artistic lineage dating back to at least 7000-4000 BC, indicating a strong cultural continuity.

The motifs and symbols used in these paintings are strikingly similar to those in Paleolithic cave paintings found in other regions, suggesting that they are an evolution of early human artistic expressions (Bulu Imam, Painted Houses of Hazaribagh, 2002). Scholars have observed parallels between these traditional wall paintings and the prehistoric symbols of early agrarian societies (Sohrai Art - The Tribal Art Form of Jharkhand - Dr Shanta Rani Kerketta). The tradition has been nurtured over centuries by the indigenous communities, evolving to incorporate newer influences while maintaining its foundational symbolism.

Archaeological evidence from the rock art sites of Hazaribagh indicates that early inhabitants of the region used natural ochres and charcoal to create paintings that closely resemble contemporary Sohrai murals. The persistence of similar motifs, such as the Sun, Moon, and animal figures, signifies a deep-rooted continuity between past and present traditions (Sohrai the tribal art, Arunim Kumar Srivastava). The artistic practices were likely passed down through oral traditions, with mothers teaching their daughters the techniques and symbolic meanings behind each design. This continuity has ensured that the essence of these paintings remains intact despite the passage of time.

Additionally, Sohrai and Khovar paintings have been influenced by ecological and cultural transitions in the region. While earlier paintings were exclusively linked to sacred rituals, over time, they have evolved into a broader form of expression that integrates community narratives, local myths, and contemporary experiences. The impact of environmental changes has also influenced the choice of colors and materials used, with artists adapting their methods to the availability of local natural pigments (Bulu Imam, Painted Houses of Hazaribagh, 2002).

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References:

THE PAINTED HOUSES OF HAZARIBAGH, Bulu Imam (2002), Sanskriti Publishing, Hazaribagh
Sohrai Art - The Tribal Art Form of Jharkhand - Dr Shanta Rani Kerketta, Associate Professor (Economics), Home Science Department, Lady Irwin College, Delhi University.
Sohrai the tribal art, Arunim Kumar Srivastava, DOI: https://doi.org/10.22271/allresearch.2021.v7.i10c.9037

Wheeled Animal, Isco rock-art, Hazaribagh, C. 5,000 B.C

Sohrae Khuntan, Harappa, c.2000 BC

“The Toreador Fresco”, Cretan, 1500 B.C

Sohrai Khumtan, Bhelwara, Hazaribagh, (Contemporary)

Cultural and Spiritual Significance

The Sohrai and Khovar paintings are not merely decorative but carry profound cultural and spiritual significance. They serve as living traditions that encapsulate the spiritual beliefs and social customs of the indigenous communities of Hazaribagh.

Sohrai

Paintings

and

Agrarian

Symbolism

Sohrai paintings are intrinsically tied to the Sohrai festival, which is celebrated in the month of Kartik (October-November) following the autumn harvest. The festival is dedicated to cattle worship, reinforcing the agrarian and pastoral connections of the community (Sohrai Art - The Tribal Art Form of Jharkhand - Dr Shanta Rani Kerketta). The name 'Sohrai' originates from 'soro,' meaning 'to drive cattle,' emphasizing its deep-rooted association with agricultural abundance.

The murals created during this time symbolize renewal, fertility, and gratitude towards nature, invoking blessings from ancestral spirits and deities (Sohrai the tribal art, Arunim Kumar Srivastava). The motifs frequently depict bulls, cows, trees, and celestial elements such as the sun and moon, reflecting the cyclic nature of agrarian life. According to Bulu Imam (Bulu Imam, Painted Houses of Hazaribagh, 2002), Sohrai paintings also act as protective charms, safeguarding homes and livestock from malevolent spirits.

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Khovar

Paintings

and

Marriage

Traditions

Khovar paintings, on the other hand, are linked to the marital customs of the region. The term 'Khovar' is derived from 'Kho' (cave or house) and 'Var' (bridegroom), indicating its connection to the nuptial chamber (Bulu Imam, Painted Houses of Hazaribagh, 2002). The art is created by the bride's family to bless the newlyweds with prosperity, fertility, and longevity. These paintings are predominantly monochromatic, employing a comb-cutting technique where artists etch intricate patterns onto a white or cream top layer, revealing the dark base underneath. This symbolizes the union of contrasting forces—male and female, light and dark, earth and sky (Sohrai the tribal art, Arunim Kumar Srivastava).

Typical motifs in Khovar paintings include peacocks, vines, and elephants, which represent fertility, growth, and strength. The act of painting is also considered a form of ritual purification, reinforcing the sanctity of the marital home.

Ritualistic

and

Protective

Functions

Beyond their aesthetic appeal, both Sohrai and Khovar paintings hold ritualistic and protective functions. Houses adorned with these murals are believed to be blessed spaces, repelling negative energies and ensuring harmony within the household (Sohrai Art - The Tribal Art Form of Jharkhand - Dr Shanta Rani Kerketta). The paintings also serve as a medium of storytelling, preserving oral histories, myths, and ancestral wisdom through visual representation.

Through their intricate designs and spiritual essence, Sohrai and Khovar paintings continue to be vital cultural expressions, keeping the traditions of Jharkhand’s tribal communities alive.

Communities

These paintings are predominantly created by women from various indigenous groups such as the Kurmi, Oraon, Santhal, Munda, Ganju, and Malhar tribes (Bulu Imam, Painted Houses of Hazaribagh, 2002). Passed down from mothers to daughters, this art form serves as a vital cultural education and a source of social bonding. Different regions of Hazaribagh have developed their own stylistic variations, with motifs inspired by local flora, fauna, and mythology (Sohrai Art - The Tribal Art Form of Jharkhand - Dr Shanta Rani Kerketta).

Villages near the Damodar River often depict aquatic themes, while those in Barkagaon incorporate animal figures like elephants and peacocks, representing spiritual guardianship. Some areas emphasize geometric patterns symbolizing fertility and protection (Sohrai the tribal art, Arunim Kumar Srivastava). These stylistic differences highlight the adaptability and localized significance of the paintings.

Regional Variations

According to Bulu Imam (Bulu Imam, Painted Houses of Hazaribagh, 2002), there are thirteen distinct categories of Sohrai paintings based on the communities practicing them -

1. Kurmi Sohrai – Characterized by bold, geometric patterns and prominent cattle motifs. This style reflects the Kurmi community's deep agricultural roots and reverence for livestock. The cattle figures symbolize prosperity and fertility, often depicted in striking black and white contrasts.

2. Ganju Sohrai – Inspired by agrarian life, this style showcases agricultural tools, bulls, and plows. The Ganju people are traditionally associated with farming, and their paintings emphasize the seasonal cycles of sowing and harvesting, often accompanied by depictions of the Sun and rain clouds to invoke a good yield.

3. Santhal Sohrai – This variation prominently features tribal deities and hunting scenes. The Santhal community, known for their rich folklore and traditions, integrates elements of their animistic belief system into the paintings, often depicting guardian spirits, forests, and traditional hunting weapons.

4. Munda Sohrai – Focused on birds, particularly peacocks, alongside floral patterns, Munda Sohrai paintings embody nature worship. The peacock, often illustrated with intricate feather details, is considered a sacred and auspicious bird in Munda mythology, symbolizing beauty and protection.

5. Oraon Sohrai – This style revolves around village life, rituals, and spiritual symbols. Oraon Sohrai paintings frequently depict people engaged in daily activities such as dancing, performing religious ceremonies, and harvesting, all of which emphasize community and cultural unity.

6. Maler Sohrai – Rich in jungle landscapes and wild animal motifs, Maler Sohrai paintings reflect the Maler tribe's strong connection to the forests. Tigers, deer, and serpents are common themes, representing strength, survival, and the spiritual significance of the wilderness.

7. Ghatwal Sohrai – This category highlights warrior figures and traditional weapons, drawing inspiration from the Ghatwal community's historical role as protectors of territories. Shields, swords, and horses are commonly illustrated, symbolizing valor and duty.

8. Kharwar Sohrai – A distinctive blend of animal figures and sun motifs, Kharwar Sohrai paintings celebrate cosmic energy and the relationship between humans and nature. The sun is often portrayed with radiating patterns, signifying life, power, and the cycle of seasons.

9. Teli Sohrai – This style is associated with the oil-pressing community and showcases themes of oil extraction and storage pots. The paintings depict oil mills, large containers, and rural trade practices, reflecting the importance of traditional craftsmanship.

10. Prajapati Sohrai – Rooted in pottery-making traditions, Prajapati Sohrai paintings emphasize divine symbols, earthen pots, and depictions of deities believed to bless artisans. The patterns are often symmetrical and intricately detailed, representing the sacred nature of their craft.

11. Dhangar Sohrai – Featuring pastoral themes, goat herding, and depictions of nomadic life, this style represents the Dhangar community's lifestyle. Paintings often include goats, shepherds, and scenes of migration, symbolizing sustenance and mobility.

12. Bhuinya Sohrai – Strongly connected to earth worship and agricultural cycles, Bhuinya Sohrai paintings feature plowed fields, sacred groves, and women performing rituals to honor the land. The use of deep earthen hues in the motifs represents fertility and abundance.

13. Rajput Sohrai – Influenced by royal themes, Rajput Sohrai paintings incorporate grand imagery of elephants, palaces, and warrior kings. The detailed ornamental patterns and elaborate compositions reflect aristocratic grandeur and historical narratives of the Rajput community.

Techniques and Materials

The painting process follows a unique and labor-intensive method passed down through generations. Artists use a combination of natural pigments, each carefully sourced from the local environment (Sohrai Art - The Tribal Art Form of Jharkhand - Dr Shanta Rani Kerketta). These pigments include:

1. Kali Matti (Manganese black) for deep backgrounds, particularly in Khovar paintings.

2. Duddhi Matti (White clay) used for the top layer in Khovar, often scraped away to create contrasting patterns.

3. Lal Matti/Geru (Red ochre) for bold detailing and highlighting figures.

4. Pila Matti (Yellow ochre) used sparingly for adding warmth to designs.

Process

The preparation of the painting surface is an equally significant part of the process. The walls are initially coated with a mixture of mud and dung, creating a firm and smooth base that preserves the artwork for months (Sohrai the tribal art, Arunim Kumar Srivastava). Once the surface is ready, different techniques are employed based on the type of painting:

Sohrai Painting: The process begins with the preparation of the wall, where a layer of mud mixed with dung is applied to create a firm base. Once dried, artists use natural pigments derived from local minerals and plants. The primary colors—black, red, yellow, and white—are prepared using kali matti (manganese black), geru (red ochre), pila matti (yellow ochre), and duddhi matti (white clay). Artists use twigs, chewed sticks, cloth swabs, or even their fingers to apply colors in free-flowing, expressive designs. The composition typically follows a storytelling format, depicting elements of agrarian life, nature, and folklore. Sohrai murals often feature motifs of animals, birds, agricultural scenes, and celestial symbols, all of which serve as blessings for prosperity and protection.

Khovar Painting: The making of Khovar paintings follows a distinctive process that involves multiple stages of preparation, requiring skill, patience, and cultural knowledge. The process begins with the preparation of the painting surface. Walls are coated with a thick layer of kali matti (black manganese-rich clay) to create a dark background. Once this base layer is dry, a duddhi matti (white or cream clay) slip is applied over it, forming a soft top layer.

The defining feature of Khovar painting is the comb-cutting technique, where artists use a piece of bamboo, a fine-toothed comb, or their fingernails to scrape away parts of the upper white layer, revealing the dark background underneath. This technique creates intricate, high-contrast patterns that are both visually striking and deeply symbolic (Bulu Imam, Painted Houses of Hazaribagh, 2002).

Khovar paintings are traditionally inspired by fertility and marriage, with motifs including peacocks (symbolizing beauty and prosperity), vines (representing growth and fertility), elephants (denoting strength and protection), and geometric patterns that symbolize the interconnectedness of life.

The act of painting is often collaborative, with older women guiding younger generations while explaining the cultural meanings behind the designs (Sohrai Art - The Tribal Art Form of Jharkhand - Dr Shanta Rani Kerketta). Unlike Sohrai paintings, which are seasonal and often temporary, Khovar paintings remain on the walls of homes for extended periods, reinforcing their association with stability and long-lasting marital blessings. Over time, Khovar paintings have also been adapted to paper and textiles, allowing for their preservation and wider appreciation (Sohrai the tribal art, Arunim Kumar Srivastava).

Design & Patterns - Bishnugargh Block

Design & Patterns - Churchu block

Design & Patterns - Tatijharia Block

Products

Wall Art

Jute Bags

Wall Art and Book Marks

Wooden Trays

Jute Bags

Sohrai Saree

Ledra: The Traditional Quilting Art of Jharkhand

Ledra is a traditional handmade quilt crafted by the indigenous communities of Jharkhand, particularly in the Hazaribagh region. Unlike mainstream quilting techniques, Ledra is known for its sustainable and resourceful approach, as it is made using layers of old, discarded fabrics stitched together with meticulous hand embroidery. This practice not only reflects the artistic ingenuity of tribal women but also embodies the community's philosophy of reusing and repurposing textiles (Bulu Imam, Painted Houses of Hazaribagh, 2002).

The tradition of Ledra quilting dates back several generations and is primarily practiced by women of the Kurmi, Santhal, and Munda communities. In Jharkhand, where winters can be harsh, Ledra serves as an essential household item, providing warmth and comfort during cold months (Bulu Imam, Painted Houses of Hazaribagh, 2002). The making of Ledra is a communal activity, where women sit together to sew and share stories, strengthening social bonds while passing down the knowledge to younger generations.

Unlike industrial quilts, Ledra holds sentimental value, as it is often made using fabric scraps from worn-out sarees, dhotis, and other household textiles. Many families cherish their Ledra quilts for years, considering them heirlooms infused with personal memories and cultural significance (Sohrai Art - The Tribal Art Form of Jharkhand - Dr Shanta Rani Kerketta).

Challenges in the Preservation

Despite their historical significance and contemporary recognition, these indigenous mural art forms are struggling against socio-economic, environmental, and technological changes. The following sections discuss the key challenges affecting the preservation and sustainability of Sohrai and Khovar paintings, as derived from multiple research sources (Sohrai Art - The Tribal Art Form of Jharkhand - Dr Shanta Rani Kerketta), (Sohrai the tribal art, Arunim Kumar Srivastava), (Bulu Imam, Painted Houses of Hazaribagh, 2002).

1. Modernization and Changing Lifestyles

One of the most significant threats to Sohrai and Khovar paintings is modernization. Traditional mud houses, which serve as the canvas for these artworks, are rapidly being replaced by cement and brick structures, leaving little to no space for mural painting (Bulu Imam, Painted Houses of Hazaribagh, 2002). With the expansion of urbanization, younger generations are migrating to cities for education and employment, leading to a decline in practitioners of the art form (Sohrai Art - The Tribal Art Form of Jharkhand - Dr Shanta Rani Kerketta). The shift from rural to urban living also means that traditional festivals like Sohrai, where these paintings are created, are losing prominence.

2. Loss of Traditional Knowledge

The transmission of knowledge from one generation to the next is crucial in maintaining the integrity of Sohrai and Khovar paintings. Traditionally, these arts have been passed down through oral traditions, where experienced women artisans mentor younger girls in their families (Sohrai the tribal art, Arunim Kumar Srivastava). However, the lack of formal documentation and decreasing interest among younger generations are leading to the loss of intricate techniques and symbolic meanings associated with the paintings. If not systematically preserved, much of this knowledge could be lost within a few generations.

3. Environmental and Material Challenges

Sohrai and Khovar paintings rely heavily on natural pigments derived from locally available minerals and plants (Sohrai Art - The Tribal Art Form of Jharkhand - Dr Shanta Rani Kerketta). However, environmental degradation and the depletion of natural resources have made it increasingly difficult to procure high-quality pigments such as kali matti (manganese black), duddhi matti (white clay), and geru (red ochre). In addition, climate change and soil erosion have affected the availability of these raw materials, forcing artists to resort to artificial paints that lack the authenticity and durability of traditional pigments (Bulu Imam, Painted Houses of Hazaribagh, 2002).

4. Commercialization and Artistic Exploitation

While commercialization has provided economic opportunities for Sohrai and Khovar artists, it has also led to artistic exploitation and the dilution of cultural significance (Sohrai the tribal art, Arunim Kumar Srivastava). Many artists are forced to adapt their designs for mass production on paper and textiles, compromising the original aesthetic and ritualistic aspects of the paintings. Additionally, middlemen and commercial art dealers often exploit rural artisans by paying them meager wages while selling their artworks at high prices in urban markets and international exhibitions.

5. Lack of Institutional Support and Policy Interventions

Despite receiving a Geographical Indication (GI) tag in 2020, there has been limited governmental and institutional support for preserving and promoting Sohrai and Khovar paintings (Bulu Imam, Painted Houses of Hazaribagh, 2002). Unlike mainstream Indian art forms, these tribal paintings have not been adequately incorporated into school curriculums, museums, or national art initiatives. Many artists struggle with financial instability, and the lack of structured programs for training new artisans further weakens the sustainability of the art form.

6. Gender and Social Challenges

Since Sohrai and Khovar paintings are predominantly created by women, socio-cultural factors also play a role in their decline. The increasing economic pressures on rural families often force women to prioritize wage labor over artistic pursuits (Sohrai Art - The Tribal Art Form of Jharkhand - Dr Shanta Rani Kerketta). Additionally, gender biases in certain communities may limit women’s access to platforms where they can showcase and sell their work, further reducing incentives for younger generations to learn and practice the art.

7. Competition from Machine-Made Replicas

With the advancement of digital printing and mass production techniques, machine-made replicas of Sohrai and Khovar designs are flooding urban markets (Sohrai the tribal art, Arunim Kumar Srivastava). These imitations, produced on synthetic materials, are more affordable and widely accessible, reducing the demand for authentic, handcrafted murals. Such competition discourages artisans from continuing their practice, as traditional methods require more effort and time with lower financial returns.

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