Remembering Pratima Devi: An Enigmatic Woman Who Shaped Sriniketan as an Educational, Cultural, and Sustainable Landscape 

Women have been important contributors in the arts and creative fields throughout history. Despite the challenges and barriers they have faced, women have created their own niche, influenced, and shaped varied artistic, educational, social, and cultural spheres. Women artists have often had to navigate social and cultural expectations that have limited their artistic expression, recognition, and success. However, their creative impulses have persisted, often manifesting in unique and powerful ways that challenge societal norms and conventions to broaden the horizon for them as well as for society.

Santiniketan, the creative-educational hub of early twentieth-century India, has witnessed undeniable contributions of women to Indian art, education, and in bringing social changes. They have been active participants in the vibrant artistic community that flourished in Santiniketan, and have helped to shape the cultural landscape of India. They have also played a key role in the development of educational institutions in the town. Women in Santiniketan – Pratima Devi, Gouri Bhanja, Chitranibha Chowdhury, Annapurna Devi, Sunayani Devi, to name a few – have worked relentlessly to create educational opportunities that reflect their commitment to social justice and equality. The present article is a brief account of the contributions made by Pratima Devi, who, along with Rathindranath Tagore, had established Sriniketan, and had helped Rabindranath Tagore realize his vision of rural reconstruction towards holistic rejuvenation.

   Pratima Devi (1893-1969)

Pratima Devi (1893-1969), the wife of Rathindranath Tagore, was a prominent figure in the field of Indian art and culture. She was a gifted artist and craftsperson and made decisive contributions to reviving and preserving traditional Indian art forms. Pratima Devi made significant contributions to the field of rural reconstruction in India as she believed that traditional Indian art and culture could be used to promote social  and economic development in rural areas.

Pratima Devi was trained as a painter under the supervision of Rabindranath Tagore and Nandalal Bose. Tagore sent her to Paris to study Italian wet fresco and encouraged her to work at the Indian Society of Oriental Art. The artistic endavours of Visva-Bharati at Santiniketan triggered Pratima Devi's interest. She played critical roles in influencing Tagore's dance-dramas. She wrote several books during her lifetime, including Nirbaan, which examined Tagore's final years, Chitralekha,  a  collection  of  poems and otherTagore's final years, Chitralekha, a collection of poems and other writings, Smritichinha, which expresses her opinions about Abanindranath and Rabindranath Tagore, and Nritya, which details the dance customs at Santiniketan.

A year after Visva-Bharati was founded, in 1921, “Vichitra Studio” was established in Sriniketan. A small cadre of artists working under the supervision of Smt. Pratima Devi, Tagore's daughter-in-law, started producing handmade objects and crafts at the available large tin shed in Sriniketan. Without attempting to produce things on a large scale, lacquer and batik work, book-binding, calico printing, etc. were all taught to 

 the local villagers to ensure the sustenance of the local craft and the communities. As a result, in the year 1928, the Hall of Industries was established in Sriniketan with training opportunities in weaving, calico printing, batik, leather work, lacquer work, bookbinding, and carpentry sections.  

Pratima Devi was particularly interested in the development of handloom weaving in rural communities. She saw handloom weaving as a way to create employment opportunities for women in rural areas and to preserve traditional weaving techniques. She worked to establish handloom weaving centers in villages and encouraged local women to take up this craft. Pratima Devi also worked to develop new designs and techniques in handloom weaving, which helped to increase the marketability of these products.

      In addition to her work in handloom weaving, Pratima Devi was also involved in the revival of traditional crafts in rural areas. She worked directly with artisans to promote traditional crafts such as terracotta, pottery, and basket weaving. She also encouraged young people to take up these crafts and provided them with training and support. She was involved in promoting education in rural areas. She believed that education was a key factor in the development of rural communities and worked to establish schools in villages. She encouraged local people to take an active role in the education of their children. Pratima Devi was also involved in the revival of the traditional craft of kantha embroidery. She worked to develop new designs and techniques in kantha embroidery, which had been in decline for many years, and trained young women in this craft, providing them with new economic opportunities.

One of Pratima Devi's most significant contributions was in the field of terracotta sculpture. She was a skilled terracotta artist and worked to revive this ancient craft of India. Pratima Devi was particularly interested in the terracotta temples of Bengal, and she worked to recreate these sculptures using traditional techniques. She also experimented with new forms and styles in her terracotta sculptures.

Rathindranath and his wife Pratimadevi travelled to Europe in the year 1930, where they developed an interest in leather work. Upon their return to the Ashrama, many students flocked there to study this fascinating craft, and the creation of ostentatious leather goods quickly gained popularity. Consequently, the manufacturing of things, which was formerly done only for enjoyment and was started by Pratima Devi and supported by Rathindranath, has resulted in the growth of an institution that offers vocational education. Long before anyone did, Pratima Devi and Rathindranath Tagore understood how important it was to create jobs to ensure economic sustainability.

Pratima Devi played a significant role in the revival and preservation of traditional Indian art forms. Her work in terracotta, kantha embroidery, and painting helped to keep these ancient crafts alive and provided new opportunities for artisans and craftspeople in India. Pratima Devi's contributions to rural reconstruction in India were significant. Her work in promoting handloom weaving, traditional crafts, and education helped to create new opportunities for rural communities and to preserve traditional Indian art and culture. Her legacy still continues at the Department of Silapa-Sadana, Sriniketan as a fully-fledged design wing dedicated towards academia, and her enigmatic persona is still inspiring those who are working toward the development of rural reconstruction in India.

References:

1. "Pratima Devi: The Artisan of Santiniketan." The Indian Express, 9 October 2016, indianexpress.com/article/lifestyle/art-and-culture/pratima-devi-the-artisan-of-santiniketan-3079249/.

2. Gupta, Jyoti. "Revivalist of Terracotta Temples: Pratima Devi Tagore." Indian Women's History Network, 22 June 2020, iwhn.org/2020/06/22/revivalist-of-terracotta-temples-pratima-devi-tagore/.

3. Chakravarty, Uma. "Pratima Devi, Weaving for Development." UNESCO Courier, January 1989, unesdoc.unesco.org/ark:/48223/pf0000073877.

4. Lalit Kala Akademi. "Pratima Devi: The Weaver of Dreams." YouTube, 29 June 2021, youtube.com/watch?v=J-lrSP9TJ1s.

5. Dutta, Madhumita. "Pratima Devi: The Master Craftswoman of Santiniketan." The Quint,  22 September 2021, thequint.com/lifestyle/art-and-culture/pratima-devi-the-master-craftswoman-of-santiniketan.

6. Choudhuri, Prabir. K. "Rathindranath Tagore & Role of Silpa-Sadana, Visva-Bharati, in vocational education", 2019, Education and Development, Publisher: Arpan Publication, New Delhi.