24/04/2026
Alongside Raja Salhesh’s story, the visual language of these paintings carries its own history.
Many of the patterns seen here come from Godna, a tattooing practice rooted in Dalit communities like the Dusadhs. Once marked on bodies and walls, these paintings have only been translated to paper more recently. Artists like Channo Devi and Roudi Paswan are especially known to have pioneered the Godna style of painting which originated from the traditional tattoo designs.
During the colonial period, tattooing was further stigmatised when it was used to mark prisoners. By bringing these motifs into their paintings, artists reclaim not just a story, but a practice.
In that sense, what continues here is both memory and method carried forward together.
1-2📜Details of: Smiling Sun in BranchesArtist: Ranjani Srivastava
2004. Natural pigments on paper. Image courtesy of the Museum of Art & Photography (MAP), Bengaluru. PTG.02795
3📜 Raja Salhesh and his younger brother, Korikana, on ElephantsArtist: Jamuna Devi
1981. Natural pigments on paper. Image courtesy of the Museum of Art & Photography (MAP), Bengaluru. PTG.02773
4-5📜 Details of: Raja Salhesh’s Magnificent Palace & GardenArtist: Chano Devi (Dusadh)
n.d. Natural pigments on paper. Image courtesy of the Museum of Art & Photography (MAP), Bengaluru. PTG.02809
6📜 Details of: Elephants in Raja Salhesh’s GardenArtist: Chano Devi (Dusadh)
2004. Natural pigments on paper. Image courtesy of the Museum of Art & Photography (MAP), Bengaluru. PTG.02794
7-8📜 Details of: Krishna/Salhesh, Raas with Dancing Figures, Birds and ElephantsArtist: Anju Devi
2008. Natural pigments on paper. Image courtesy of the Museum of Art & Photography (MAP), Bengaluru. PTG.02769
