Indian folk paintings are a reflection of the country's history, practiced by rural communities for centuries. These paintings often depict mythology, nature, daily life, and rituals, using natural pigments on cloth, paper, or walls. Each region has its own distinct style—Madhubani from Bihar is known for intricate patterns and bold colors, Warli from Maharashtra features minimalist tribal figures, while Mata Ni Pachedi portrays the devotion towards “Mata”. Read more about the 10 popular Indian folk paintings here
1. Mata ni Pachedi, Ahmedabad
Mata Ni Pachedi is a handmade textile from Gujarat, traditionally offered in temple shrines dedicated to the Mother Goddess. The name comes from the Gujarati words ‘Mata’ (mother goddess), ‘Ni’ (belonging to), and ‘Pachedi’ (back). Originally, it was used as a temple hanging, but today, it is also displayed as wall art in homes.
The craft originated when the Devipujak community, restricted from entering temples, painted images of the goddess on cloth and worshipped them outside temple walls. This portable shrine, historically used by the nomadic Vagharis, dates back 500 years. The goddess is the central figure in the design, surrounded by elements of her story. Artisans create these textiles using block printing and freehand drawing, assembling different blocks for various body parts of the goddess. Mata-ni-Pachedis, up to three meters long, depict goddesses, myths, and religious narratives. Alongside the goddess, figures like Bhuva, Purvaj, Panihari, and mythological characters such as Sita, Ram, and Krishna feature prominently.
Traditionally, maroon and black were the primary colors—maroon symbolizing Mother Earth’s healing powers and black warding off evil. These colours were derived from natural dyes like alizarin and oxidized metal. Over time, other natural colours and later pigment dyes entered the palette as Gujarat’s textile industry evolved. Despite its rich heritage, Mata Ni Pachedi has remained relatively obscure compared to other Indian temple textiles. With the rise of posters and idols, its sacred significance in Gujarat is gradually fading.
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2. Phad Painting, Bhilwara
Phad painting is a centuries-old folk art tradition from Rajasthan, India, that combines storytelling and visual narration. Traditionally, these paintings are created on long pieces of cloth or canvas and serve as portable temples for religious performances by the Bhopa community. The stories depicted in Phad paintings revolve around local deities, historical heroes, and epic legends, with the most well-known Phads dedicated to Devnarayan Ji and Pabuji. These artworks are not merely decorative; they are deeply tied to oral traditions, with Bhopas using them as visual aids to recount myths, historical events, and moral lessons, often in village gatherings under the night sky. The performances, known as Phadbanchana, involve storytelling, music, and dance, making Phad an immersive cultural experience rather than just an art form.
The style of Phad paintings is distinctive, characterized by bold lines, vibrant colours, and a unique spatial arrangement that does not follow linear storytelling but instead maps out epic geography. The main deity or hero is depicted centrally, with supporting characters and significant events illustrated around them. Artists belong to the Joshi community, who have been the traditional custodians of this art. Originally, natural mineral and vegetable colours were used, ensuring the longevity of the artwork, but modern adaptations now incorporate synthetic colours for wider accessibility. The art form also reflects regional influences, incorporating elements from the Marwar, Mewar, and Shekhawati styles, with figures adorned in traditional attire and intricate jewellery that reflect Rajasthani heritage.
In contemporary times, Phad painting has evolved beyond its traditional religious and storytelling role to become a sought-after form of wall decor and artistic expression. Artisans now create smaller versions on fabric or paper to cater to urban aesthetics while preserving the essence of the craft.
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3. Sohrai Painting, Jharkhand
Sohrai art is a tribal art. Its practice started many years ago in the Badam area of Hazaribagh district. Samples of this art can still be seen in the caves of the Isco hills of this region. It is said that the Badam kings encouraged this art a lot. Due to which this art was successful in getting out of the walls of the caves and making its place in the walls of the houses. The word ‘Sohrai’ is taken from the Paleolithic term ‘soro’ which present the idea of ‘to drive with a stick’. Sohrai, also known as livestock celebration, it is a harvest celebration celebrated in the areas of Jharkhand, Bihar, Chhattisgarh, Odisha and West Bengal. This festival is mostly celebrated by Prajapati community, Kurmi community, Santal community, Munda community and Oraon community of the area. Sohrai is celebrated on the Purnima day in the Hindu calendar month of Kartik which arises during the time of October-November. Sideways with the festival of Diwali, Sohrai is performed to welcome the wintertime harvest and to worship livestock and nature as a way of thanks for the crop. The status of Sohrai art in Jharkhandi culture has been there for periods.
Sohrai art is a tribal art. Its practice started many years ago in the Badam area of Hazaribagh district. Samples of this art can still be seen in the caves of the Isco hills of this region. It is said that the Badam kings encouraged this art a lot. Due to which this art was successful in getting out of the walls of the caves and making its place in the walls of the houses. The word ‘Sohrai’ is taken from the Paleolithic term ‘soro’ which present the idea of ‘to drive with a stick’. Sohrai, also known as livestock celebration, it is a harvest celebration celebrated in the areas of Jharkhand, Bihar, Chhattisgarh, Odisha and West Bengal. This festival is mostly celebrated by Prajapati community, Kurmi community, Santal community, Munda community and Oraon community of the area. Sohrai is celebrated on the Purnima day in the Hindu calendar month of Kartik which arises during the time of October-November. Sideways with the festival of Diwali, Sohrai is performed to welcome the wintertime harvest and to worship livestock and nature as a way of thanks for the crop. The status of Sohrai art in Jharkhandi culture has been there for periods.
Sohrai art is a traditional tribal painting style practiced primarily by the women of Jharkhand, particularly in the Hazaribagh region. This art form is believed to have existed since 10,000–4,000 BC and is closely associated with the Sohrai festival, a harvest celebration among tribal communities like the Santhal, Munda, Prajapati, Khurmi, and Oraon. The art is matriarchal in nature, passed down from mother to daughter, and reflects the close connection between the community and nature. The paintings feature motifs of animals like buffalo, bulls, tigers, and rhinoceroses, along with symbolic elements such as the Tree of Life, lotuses, and birds with their young, emphasizing themes of fertility, protection, and continuity. These murals are considered sacred and are believed to bring good fortune.
The process of creating Sohrai art is unique and deeply symbolic. First, a layer of black earth is applied to the mud walls, representing the womb, followed by a coating of white earth, which symbolizes divinity and life. Sohrai paintings are created using natural pigments derived from different types of soil, such as black, red, white, and yellow earth. Artists use their fingertips or simple tools like cloth swabs to etch intricate designs onto the wet surface. The contrasting colors, bold outlines, and flowing curves give Sohrai paintings their distinctive appearance. Traditionally, the colours were sourced from natural elements, but modern efforts to preserve and promote the art have led to its adaptation onto public buildings and urban spaces using synthetic paints.
4. Madhubani Painting
Madhubani painting, meaning "Forest of Honey," is one of India's most cherished and ancient folk art forms, originating in the Mithila region of Bihar. Deeply rooted in mythology, it is believed to have been first created during the wedding celebrations of Sita and Rama, as mentioned in Tulsidas’ Ramcharitmanas.
Originally, Madhubani paintings adorned walls (Kohabar) and floors (Aripana) of homes, portraying themes of love, fertility, devotion, and nature. Artists used natural dyes extracted from plants, metals, and household ingredients—charcoal for black, turmeric for yellow, flowers for red, and leaves for green—blended with resin and gum for lasting vibrancy. Detailed lines were drawn using fine bamboo twigs, while larger sections were filled with cloth-wrapped twigs.
Distinct styles emerged across different social groups—Brahmin artists favored bold, bright colors, Kayasthas preferred muted shades, and the Harijan tradition included a base coat of cow dung for an earthy texture. Over time, the medium evolved from walls to handmade paper, canvas, and textiles, making the art form more accessible and commercially viable. Madhubani paintings often illustrate Hindu deities, nature, celestial elements, and geometric patterns. Once a sacred practice confined to homes, this traditional art has now gained global recognition, embellishing greeting cards, fabrics, and home decoration.
5. Santhal Painting
Santhal paintings, a vibrant folk art form from the Santhal tribe of India, beautifully capture the essence of their daily life, mythology, and deep connection to nature. The santhals are a tribe which are found in bihar, Jharkhand, west Bengal states of India. Traditionally adorning the walls of mud houses, these paintings are characterized by bold outlines, bright colors, and dynamic compositions depicting agricultural scenes, festivals, spiritual beliefs, and village gatherings. The art form, deeply rooted in storytelling, reflects the Santhals’ harmonious relationship with their environment, where elements like trees, animals, and deities hold symbolic significance. Over time, artists have transitioned from natural pigments to commercial paints and canvases, making the art more adaptable while slightly altering its raw, earthy charm.
Despite its cultural richness, Santhal painting faces challenges such as urbanization, economic struggles, and limited market exposure, leading to its gradual decline. However, efforts by government initiatives, NGOs, and online platforms are helping revive interest in this indigenous art. Collaborations with contemporary designers, cultural tourism, and educational programs are also creating new opportunities for Santhal artists to sustain their craft. By promoting and supporting this art form, we can preserve the unique visual narratives of the Santhal community and ensure that their artistic legacy continues to thrive in the modern world.
6. Warli Painting
Warli paintings, a traditional tribal art form from the Warli community in northern Maharashtra, date back as early as the 10th century AD. These paintings, created by various tribes such as Warli, Malharkoli, Kokani, and Katkari in the Thane district, bear a striking resemblance to prehistoric cave paintings in their simplicity and execution. Warli art is two-dimensional, lacking perspective or proportion, and is primarily composed of basic geometric shapes—circles, triangles, and squares. Human and animal figures are represented using two triangles joined at the tip, with the only distinction between men and women being a small hair bun. Traditionally, Warli paintings are created on austere mud walls using white pigment made from rice paste, water, and gum, applied with a bamboo stick chewed at the end to function as a brush. The artwork does not depict mythological figures but instead portrays scenes from daily tribal life, such as farming, hunting, festivals, and village dances, symbolizing the harmony and balance of the universe.
A distinctive feature of Warli art is its symbolic meaning—spiral and concentric circular designs represent the circle of life. Unlike other tribal arts that often focus on religious themes, Warli paintings serve as a means of storytelling, passing down folklore and social traditions to a population that historically lacked a written script. The style of Warli painting has evolved from murals on mud walls to artworks on paper, canvas, and fabric, driven by commercialization and changing artistic practices. The traditional method involved painting directly onto the walls of houses using natural materials, while modern adaptations now use handmade paper, typically in earthy tones like brown or green, with white paint.
7. Gond Painting
Gond painting, a vibrant tribal art form, originates from the Gond tribe, one of the largest Adivasi communities in central India, primarily residing in Madhya Pradesh and Chhattisgarh. Though a relatively new art form in its current style, its roots trace back to ancient traditions, where storytelling was an integral part of Gond culture. Historically, the Pardhans, who served as priests and oral historians, preserved Gond traditions through songs and rituals, invoking the god Bada Dev at the Saja tree while playing the Bana, a sacred instrument. However, changing social structures led to the decline of this oral tradition, prompting the Pardhans to seek alternative livelihoods. This transition gave rise to Gond painting as a visual extension of their lost songs, pioneered by Jangarh Singh Shyam. His artistic journey, which began with drawing in sand and evolved into colourful depictions on paper and canvas, transformed the way the Gond people expressed their folklore, beliefs, and connection with nature.
Gond paintings are characterized by bright acrylic colours, bold flat compositions, and intricate patterns, reminiscent of the tattoos worn by Gond women and the decorative mud paintings, or Digna, adorning their homes. Each painting begins with a rough pencil outline, gradually filled with a meditative rhythm of dots, lines, and dashes that create mesmerizing textures. The subjects of Gond paintings often celebrate nature, with animals like tigers, deer, snakes, and birds blending seamlessly into stylized trees and landscapes. This art form has evolved beyond its village origins and now finds a place in urban galleries, engaging in dialogue with contemporary artistic expressions. Though Jangarh Singh Shyam’s sudden passing was a great loss, his legacy, known as Jangarh Kalam, continues to thrive, with each Gond artist developing a distinct style. Whether using vibrant hues or monochromatic tones, Gond painters continue to narrate the timeless stories of their ancestors, ensuring that their cultural heritage lives on through colour and texture.
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8. Pithora Painting
Pithora paintings, an ancient art form of the Rathwa community from the regions bordering Gujarat and Madhya Pradesh, trace their origins back to prehistoric cave paintings. Characterized by seven horses symbolizing the seven hills surrounding the Rathwa settlements, Pithora paintings serve as visual representations of their world. The artwork is enclosed within a rectangular border that maps out the community’s geographical area, extending to the Arabian Sea in the west, Bharuch in the south, and Indore in the north and east. A wavy line depicting the river Narmada cuts through the painting, while depictions of fields, trees, wildlife, and celestial bodies provide a vivid narrative of daily life. Interestingly, modern elements like railway tracks, airplanes, and computers also find a place in these paintings, reflecting the evolving world of the Rathwa people while preserving their ancestral wisdom.
Historically, Pithora paintings were linked to secret maps created by the Rathwas in the 11th century when they served as guides for traders navigating the treacherous routes of Bharuch. The paintings acted as coded maps, with hills symbolized by horses and the river mouth represented by tigers, securing the Rathwas' role as escorts and protectors of the land. Over time, as British rule ended this practice in 1812, Pithora paintings transformed into sacred ritualistic art. They became offerings to Baba Pithora, the community’s deity, with paintings created in homes as a fulfillment of vows or for spiritual healing under the guidance of a Tantrik (witch doctor). With at least 50 known varieties, ranging from small works to massive murals measuring 145×10 feet, Pithora paintings have evolved from secret codes to sacred symbols and, in recent years, rare pieces of commercial art. Despite this evolution, the Rathwa artists have preserved the essence of Pithora painting, keeping its vibrant storytelling and distinctive style alive through generations.
9. Bhil painting
Bhil painting is a traditional tribal art form practiced by the Bhil community, one of the largest indigenous groups in India, predominantly found in Madhya Pradesh, Rajasthan, Gujarat, and Maharashtra. The art form is deeply rooted in the Bhil people's daily lives, myths, and nature-centric beliefs. Characterized by vibrant colors and intricate dot patterns, Bhil paintings often depict deities, animals, trees, and village scenes, reflecting their spiritual connection to the natural world. The technique involves layering hundreds of tiny, uniform dots in rhythmic patterns, creating a visually rich and textured effect. Natural pigments derived from leaves, flowers, clay, and charcoal were traditionally used, though modern artists also incorporate acrylics and synthetic colors to enhance durability and brightness.
The themes often revolve around festivals, harvests, and significant life events, with motifs symbolizing prosperity, protection, and harmony. Gods like Pithora Dev, a revered deity among the Bhils, frequently appear in their artwork, especially in ritualistic murals painted on walls during celebrations. In recent years, Bhil paintings have gained recognition in contemporary art circles, with artists like Bhuri Bai and Lado Bai bringing tribal art into mainstream spaces. Today, Bhil paintings are not just confined to village walls but are also showcased on canvases, textiles, and home décor, making them a celebrated aspect of India's folk art heritage.
10. Saura art, Odisha
Saura art is a traditional tribal painting style originating from the Saura tribe of Odisha, one of India’s oldest indigenous communities mentioned in the Ramayana and Mahabharata. Known for its striking pictographs, Saura art is deeply intertwined with the tribe’s religious beliefs, social customs, and daily life. Unlike decorative art forms, these murals, called Idittal, are sacred and serve as visual scriptures that narrate folklore, spiritual practices, and historical events. Created on mud walls using natural pigments made from rice paste, charcoal, turmeric, and red ochre, these paintings are drawn freehand without preliminary sketches. The figures are characterized by intricate line work, minimal detailing, and a dynamic sense of movement, often arranged in a circular or square format. The paintings primarily depict community activities like hunting, farming, dancing, and religious ceremonies, along with symbolic elements such as the sun, moon, trees, animals, and ancestral spirits. Each motif carries a specific meaning—some are meant to protect homes from evil spirits, while others bless families with prosperity, fertility, or a good harvest.
Historically, Saura paintings were exclusively created by Kudangs (tribal priests) as part of sacred rituals, reinforcing their deep spiritual significance. However, modernization and external influences have led to a decline in these practices, with contemporary artists now adapting the style for commercial markets. Today, efforts are being made to preserve the authenticity of Saura paintings through documentation, exhibitions, and government initiatives.
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