It’s believed that King Narasingha Deva established this village comprising of 18-19 families of artist known as Chitrakar’s, who were engaged in service of Lord Jagannath. Pattachitra evolved from Rekha Chitra and Kantha Chitra.
Twice in its chequered history did the craft faced extinction, once after the great famine of 1866, to save their families and earn their livelihoods the artist brought in innovations like Panna, Nakhandia, Choukhunta, Thia and Tikli to pattachitra, these were sold to devotees who visited the lord Jagannath temple as souvenirs and in turn helped propagate the cult of the lord across the shores of Odisha.

Patachitra painting on the walls of an abondoned chitrkar's house at Danda Sahi

The second upheaval came in the 1940’s. Again the art survived, this time with the help of American woman, Mrs Halina Zealey, who patronised the pattachitra artist and helped propagate their work internationally. Subsequently many people have come forward and helped this unique art form to survive.

Pattachitra – derives its name from the piece of cloth (patta) which is straightened and seasoned with gum made of turmeric extract. The colours used are Shankha – white, Hengulo- red, Hartal- yellow, Geru- Brown and Kala- black.
The process of pattachitra art remains the same as it was when it started. After the patta is prepared, sketches are made ( Tipona), then body colours are added (Banoka), then ornaments are given a coat ( Gahona banoka), then ornaments are designed( Rangarekha), then the dresses are given a border( Motokula), then the creases of the dress are done ( Sarukula), then the scenery is beautified(Gacholekha), then the dresses are designed ( Chito), then the border of the painting is done ( Dhadi), then the flowers are added ( Haladia), then the final touch of beautification is given to the paintings (Shankopota).

An artist at Danda Sahi drawing the borders of the Pattachitra