RESEARCH
In 2006, Pratibha Rane-Wagh was awarded the prestigious Senior Fellowship in Visual Art by the Indian Tourism and Cultural Department. Her objective was to revive one of the nearly extinct folk art form of Maharashtra - Chitrakathi. This opportunity not only provided her with the platform to showcase her work but also allowed her to delve into extensive research at prominent heritage sites and museums, notably the Raja Dinkar Kelkar Museum in Pune, housing the largest collection of Chitrakathi paintings and leather puppets.
For her research, Pratibha Rane-Wagh ventured to the Rameshwar Temple in Devgadh, Maharashtra. The outer wall of the temple adorned with beautiful paintings, although faded by heavy rain and direct sunlight, and the interior displaying a fusion of Western and Indian styles with mythological subjects and color schemes reminiscent of Chitrakathi paintings. Pratibha's comprehensive exploration involved not only documenting these artworks but also conducting workshops and discussions with the younger generation, introducing them to the traditional art form of Chitrakathi. This dedicated pursuit aimed at both preserving the art form and fostering the continuation of the cherished tradition.
Inspiration by Female Folk Artists
Folk art has always been a source of inspiration for Pratibha Rane-Wagh. The enchanting color palette, bold brushstrokes, and freedom of expression have deeply inspired Pratibha, igniting a longing within her to capture a similar essence in her own artistic pursuits. She holds profound respect for the tireless efforts of the tribal women who engage in a myriad of tasks throughout the day – from breaking stones and cutting wood to undertaking mercenary work, participating in agricultural activities, managing household affairs, nurturing their families yet maintaining a continuous and admirable commitment to their artistic creations.
Residing in the urban landscape, acquiring formal education in art, relishing modern comforts, and efficiently balancing both a job and home responsibilities, Pratibha passionately dedicates herself to the creation of art. The widespread admiration for her artistic endeavors led her to perceive a sense of uniqueness. However, upon closer examination of the tribal women, she realized that this feeling of being extraordinary was indeed unfounded.
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Pratibha reflects, witnessing women resiliently creating art amidst natural calamities and enduring challenging lives, she acknowledges their unwavering passion to preserve their artistic traditions, making her aware of her own artistic rawness. The compelling notion that these tribal women and their artistic endeavors deserved recognition spurred her into action. It was from this inspiration that the article series Chitrakarti was conceived in Loksatta (Chaturanga).
