The evolution of Bazar Prints is a fascinating chapter in the history of Indian art, particularly in the context of Calcutta (now Kolkata) during the late 19th and early 20th centuries.
Bazar Prints emerged as a commercial art form following the popularity of Kalighat paintings, which were known for their vibrant depiction of the Babu Culture, satirical scenes, and everyday life in 19th-century Calcutta. The Kalighat paintings often featured courtesans and other figures from contemporary urban life which was passed to these prints as Sundari series.
Sundari images are pin-up or erotic art that were popular in 19th-century Calcutta. The images depict women, particularly the new class of widows, who took up sex work to survive, and are valuable references to understand the position of women in a society that was undergoing drastic shifts.
Each Sundari, literally meaning 'beautiful woman', had a peculiar characteristic, such as playing the tabla, preparing paan, tuning the violin, or posing enticingly with roses. Sundari images depict 19th-century Bengali woman who had to occupy the conflicted identity position of the widow and the courtesan, owing to the series of socio-political disruptions happening during the period. The paintings provide a commentary on the larger social phenomenon of widowhood that forced women into prostitution, which became prevalent during the nineteenth and twentieth centuries in Bengal.
Sundari prints were usually sold as chromolithograph prints. They were produced by popular art studios set up during the 1890s, such as the Chorebagan Art Studio and the Kansaripara Art Studio. The prints were made on inexpensive paper using oil-based inks. The use of vibrant colours made these prints visually striking and appealing to the urban elite.
These paintings were in direct contrast with the religious prints that were being produced around the same time. The religious paintings were placed in temple rooms, mansions and respectable homes, while erotica paintings of Sundaris decorated the private quarters, dancing room of the babus, or the dancing parlours. In most of these paintings, the Sundaris were depicted draped in the widow's garment, the typical white saree.
These prints highlighted the beauty, elegance, and talents of courtesans, who were significant figures in the cultural life of Calcutta. These prints showcased courtesans in various alluring poses and personas, each with a distinctive name such as:
Gulab Sundari (Rose Beauty): Portrayed as a symbol of grace and allure, often depicted holding a rose.
Tabla Sundari: Showcased playing the tabla, emphasizing both her musical talent and sensual appeal.
Some prints depicted contemporary social issues, satirizing the hypocrisies and follies of the emerging Babu culture (Westernized Bengali elites).
While the popularity of Bazar Prints declined with the advent of new art forms and changes in societal norms, their historical significance remains. Today, these prints are prized by collectors and historians for their artistic value and their role in documenting the cultural history of Bengal. Museums and private collections often feature Bazar Prints, preserving this unique art form.
Bazar Prints represent a fascinating intersection of traditional and modern influences in Indian art. Emerging from the rich heritage of Kalighat paintings, they adapted to the demands of a changing society, offering a unique window into the life and culture of colonial Calcutta. Through their vibrant depictions of courtesans and social commentary, Bazar Prints continue to captivate and inform, highlighting the enduring legacy of this remarkable art form.
