Scrolls of India: reviving the narrative arts of phad, manjusha, and cheriyal

India’s Ancient Graphic Novels: The Living Tradition of Scroll Painting

Imagine a time before cinema or comic books, where epic tales of gods, heroes, and folklore unfolded not on a screen, but on magnificent scrolls of cloth, brought to life by the song and narration of an itinerant storyteller. This was the world of Indian scroll painting, a vibrant tradition of audio-visual storytelling that continues to breathe in pockets of the country. Among these, the Phad paintings of Rajasthan, Manjusha art of Bihar, and Cheriyal scrolls of Telangana stand out as powerful repositories of cultural memory, each with a unique style and narrative depth.

While these art forms have faced the threat of extinction, a combination of community resilience, government initiatives, and modern adaptation is scripting a new chapter in their centuries-old story. Recent years have seen a concerted push for their revival, with artists gaining national recognition and the art forms themselves receiving legal protection.

Phad Painting: The Mobile Temples of Rajasthan

Originating over 700 years ago in Shahpura, Rajasthan, Phad painting is a tradition of creating elaborate narrative scrolls that function as mobile temples. These are not mere paintings but sacred backdrops for performances by priest-singers known as Bhopas and Bhopis. Traditionally, these scrolls, which can be up to 30 feet long, depict the epic lives of folk deities like Pabuji and Devnarayan.

As the Bhopa narrates and sings the epic, the Bhopi illuminates the relevant panel on the Phad with a lamp, creating a dynamic and immersive experience. The paintings themselves are characterized by bold lines, large expressive eyes, round faces, and a vibrant palette of natural colors. Figures are often shown in profile, and the scale of characters depends on their social status in the story. In a significant effort to promote the state’s cultural heritage, the Rajasthan government in August 2023 launched the ‘Lok Kalakar Protsahan Yojana’ to provide financial assistance and guaranteed performance opportunities to folk artists, including those who practice Phad.

Analogy: Think of a Phad performance as an ancient precursor to a modern documentary screening, where the painted scroll is the ‘film’ and the Bhopa is the live narrator and background musician, all rolled into one.

Manjusha Art: The Serpent Saga of Bihar

Also known as ‘Angika Kala’ or ‘Snake Painting’, Manjusha art is a deeply symbolic folk art from the Bhagalpur region of Bihar. Its narrative core is the folklore of Bihula-Bishari, a tale of a wife’s devotion to save her husband from a snakebite, and the worship of the snake goddess Mansa. What makes Manjusha art visually distinct is its disciplined use of only three colors: pink, green, and yellow, representing sacrifice, nature, and happiness, respectively.

The art form is characterized by its linear, line-drawing style, with characters often displayed in a distinctive ‘X’ shape. A major recent milestone for this art was receiving the Geographical Indication (GI) tag in 2021, a crucial step in protecting its authenticity and preventing unauthorized commercialization. To further promote the art, in February 2025, local artists created unique Manjusha paintings on Bhagalpur’s famous Tussar silk to be presented to national dignitaries, highlighting a fusion of two of the region’s iconic products.

Fun Fact: The name ‘Manjusha’ refers to the temple-shaped boxes made of bamboo and paper, which are used during the Bishari Puja festival and are elaborately painted with the story’s motifs.

Cheriyal Scrolls: Telangana’s Comic Strips of Yore

Indigenous to Telangana, Cheriyal scroll painting is a stylized form of Nakashi art, known for its long, vertical scrolls that narrate stories from Hindu epics and Puranas like a continuous comic strip. The scrolls, which can extend up to 45 feet, were traditionally used by storytelling communities to educate and entertain rural audiences. The art is characterized by its brilliant colors, with a dominant red in the background, and its depiction of the daily lives of the common people—farmers, women, and artisans—within the larger mythological narrative.

This art form received its GI tag in 2010, and continuous efforts are being made for its revival. For instance, the Secunderabad Railway Station now features large Cheriyal paintings on its platforms, bringing this heritage into the public eye in a major urban setting. Artists are also innovating by creating smaller paintings, masks, and toys, making the art accessible to a wider audience.

Statistic: The traditional Cheriyal scroll painting community has dwindled significantly, with only a few families, primarily from the D. Vaikuntam lineage, now practicing and preserving this 400-year-old art form.

Comparative Overview of Scroll Painting Traditions

Mnemonic for Remembering Origins: To recall the state of origin for each art form, remember the phrase: Royal Phads, Bihari Mythology, Telangana’s Chronicles. (Rajasthan-Phad, Bihar-Manjusha, Telangana-Cheriyal)

Critical Policy Appraisal

Analytical Lens: UPSC Focus (Mains & Prelims)

Conceptual Basis: The primary legal framework supporting these art forms today is the Geographical Indications of Goods (Registration and Protection) Act, 1999. This Act provides legal protection to goods that originate from a specific geographical area and possess qualities or a reputation attributable to that origin. Additionally, various schemes under the Ministry of Culture and the Ministry of Textiles, such as the Guru-Shishya Parampara scheme, aim to preserve and promote these traditions.

UPSC Integration: Connecting the Dots

• GS Paper 1 (Indian Heritage and Culture): This topic is a direct and crucial part of the syllabus section on Indian painting traditions and folk arts.
• GS Paper 3 (Economy): It connects to Intellectual Property Rights (IPR) through GI tags, the rural economy, promotion of handicrafts under initiatives like ‘Vocal for Local’, and the role of the creative economy in generating livelihoods.
• GS Paper 2 (Governance & Social Justice): It involves analyzing the effectiveness of government policies and schemes for the preservation of cultural heritage and the empowerment of marginalized artisan communities.

Future Impact & Policy Relevance: The future of these narrative arts hinges on a delicate balance between preservation and innovation. Policy focus must shift from mere preservation to creating a sustainable ecosystem where art is economically viable. The integration of these art forms into state tourism circuits, educational materials, and digital archives is essential. The challenge for policymakers is to ensure that commercialization does not dilute the authenticity and ritualistic significance of these traditions. The success of these art forms will be a testament to India’s ability to harmonize its rich past with a dynamic, globalized future.

UPSC Prelims Practice Question (MCQ):

Question: With reference to the Manjusha art of Bihar, which of the following statements is/are correct?

1. It is primarily based on the folklore of Bihula-Bishari and is also known as ‘Snake Painting’.
2. The art form is characterized by the use of a vibrant and extensive color palette derived from minerals and flowers.
3. It was granted the Geographical Indication (GI) tag in 2021.

Select the correct answer using the code given below: (a) 1 only (b) 2 and 3 only (c) 1 and 3 only (d) 1, 2 and 3

Explanation: Statement 1 is correct as Manjusha art is centered around the folklore of Bihula-Bishari and prominently features snake motifs. Statement 2 is incorrect; Manjusha art is distinctly characterized by a limited palette of only three colors: pink, green, and yellow. Statement 3 is correct as it received the GI tag in 2021. Therefore, only statements 1 and 3 are correct. Correct Answer: (c)

UPSC Mains Sample Question (15 Marks):

“While Geographical Indication (GI) tags provide a legal framework for protecting traditional Indian art forms, they are not a panacea for their revival. Critically analyze the challenges that persist in ensuring the socio-economic vitality of artisan communities and suggest a multi-pronged strategy for their sustainable development in the 21st century.”

Mind Map Outline (Revision Structure)

• Indian Scroll Painting Traditions
  • Introduction
    • Concept: Ancient ‘Graphic Novels’ or Audio-Visual Storytelling
    • Focus Art Forms: Phad, Manjusha, Cheriyal
    • Modern Context: Revival and Government Initiatives
  • Specific Painting Styles
    • Phad Painting (Rajasthan)
      • Origin: Shahpura, 700+ years old
      • Function: Mobile temples for Bhopa-Bhopi performances
      • Themes: Folk deities (Pabuji, Devnarayan)
      • Characteristics: Long horizontal scrolls, large eyes, natural colors
      • Recent Update: Lok Kalakar Protsahan Yojana (2023)
    • Manjusha Art (Bihar)
      • Origin: Bhagalpur (‘Angika Kala’)
      • Function: Ritualistic art for Bishari Puja
      • Themes: Folklore of Bihula-Bishari (Snake Goddess)
      • Characteristics: Limited palette (Pink, Green, Yellow), linear style
      • Recent Update: GI Tag (2021), Promotion on Tussar Silk (2025)
    • Cheriyal Scrolls (Telangana)
      • Origin: Cheriyal village (Nakashi Art)
      • Function: Narrative tool for storytellers
      • Themes: Epics, Puranas, rural life
      • Characteristics: Long vertical scrolls, comic-strip format, red background
      • Recent Update: Public display at railway stations, product diversification
  • Comparative and Critical Analysis
    • Comparative Table
      • Origin, Themes, Canvas, Color Palette, Style, GI Status
    • Mnemonic Device
      • “Royal Phads, Bihari Mythology, Telangana’s Chronicles”
    • Critical Policy Appraisal
      • Challenges: Dwindling artists, market access, modern competition
      • Opportunities: Government schemes, GI tags, E-commerce, Innovation
  • UPSC Analytical Framework
    • Legal Basis: GI Act 1999, Ministry of Culture Schemes
    • Inter-Topic Linkages
      • GS-1: Indian Heritage & Culture
      • GS-3: Economy (IPR, Rural Livelihoods)
      • GS-2: Governance (Policy Effectiveness)
    • Practice Questions
      • Prelims MCQ (Based on Manjusha Art)
      • Mains Question (On GI tags and artisan welfare)