Wednesday, April 1st
Hazaribagh
I’ve got a meet-up with Adam Iman, a guide and painter. He picks me up from the hotel at 10 AM. Another traveler from Bangalore is supposed to join us, but while we wait for them to arrive, Adam takes me to see the paintings done by his mother and sister at Hazaribagh station.
The town became famous thanks to these murals, which you can also find in several nearby villages. This art form has earned a recognition label and is now protected, a sign of its cultural importance.
Once the visit is over, we go pick up the other traveler and then hit the road to our first village: Belwara, where Sohrai art is practiced. At the entrance, a sign proudly announces that we’re entering an artists’ village, where this art is created by women organized into micro-enterprises. Some even offer workshops for those who’d like to learn this tradition.

Sohrai art is tied to the harvest season, from October to mid-November. The motifs, in natural colors, celebrate fertility and abundance. The artists use pigments from the earth: red oxides, ochre, white kaolin, and black manganese. On the walls, you’ll see animals, fish, birds—all symbols of life and prosperity.
Looking closer at the murals, I gradually realize that each motif tells a story. The large animals, like cows or bulls, often take center stage. Their bodies are filled with intricate, almost hypnotic patterns. They symbolize wealth and prosperity for the household, as well as the deep respect for cattle, which are essential to daily life. On some facades, elephants stand out, massive and decorated with the same precision: they evoke quiet strength and a form of protection.
But it’s when I stop in front of one of the houses that I really take the time to look. The wall, a soft ochre, is entirely covered in murals. Two large animals stretch out on either side of the door, their elongated bodies fitting the length of the wall. Their silhouettes are filled with geometric patterns and incredibly fine curved lines, as if every space had been patiently filled. Around them, stylized plants, flowers, and small decorative elements fill every gap. The dark, worn door becomes almost the silent center of the composition, framed by these living, protective forms. To the right, a more colorful motif catches the eye—a flower or a stylized lamp—like a touch of light on the earth. The whole thing gives an impression of perfect balance, between the rigor of the patterns and the freedom of the gesture.

Elsewhere, birds and freer forms bring movement. Peacocks, recognizable by their stylized silhouettes, embody beauty and vitality, while fish symbolize water, fertility, and the continuity of life.

On some paintings, the scenes become almost narrative: you can make out figures, everyday gestures, like a memory of the village inscribed in the walls. The decorative frames around the doors aren’t left to chance either—they symbolically protect the house, like a boundary between the inside and the outside world.



During the Sohrai festival, cattle are taken into the jungle early in the morning. Meanwhile, the women finish the aripans—those floor paintings—and continue the wall murals. Around noon, the animals return to the village; their horns are then coated with oil and vermilion in a gesture of gratitude, amid the vibrant colors adorning the houses.
We visit several artists, including Parvat Devi, a renowned woman who has received many awards. Her arms are adorned with intriguing tattoos, which I’ll take the time to talk about in more detail later.

On another wall, the style changes completely. Here, no massive animals—just birds occupying the space, light and slender, as if caught in mid-movement. Two silhouettes face each other, their long necks arched almost like mirrors, while their spread wings seem to vibrate with the patterns that compose them.

The drawing is more graphic, almost airy. The lines are smoother, more fluid, as if traced in a single confident stroke. The birds’ bodies aren’t solid—they’re filled with repetitive motifs—scales, stylized feathers, spirals—that give an impression of continuous movement. Around them, everything comes to life: flowers burst open, arabesques swirl, and even the simplest shapes seem alive.
What strikes me here is the sense of lightness. Where the large animals evoked stability and grounding, these birds bring something freer, almost joyful. They seem to embody movement, the circulation of life, like a breath passing through the village.

The colors remain the same—deep reds, intense blacks, and chalky white—but the rhythm is different. Faster, more spontaneous. As if each wall had its own personality, while still speaking the same language.
On another wall, the style changes completely. Here, no massive animals—just birds occupying the space, light and slender, as if caught in mid-movement. Two silhouettes face each other, their long necks arched almost like mirrors, while their spread wings seem to vibrate with the patterns that compose them.
The drawing is more graphic, almost airy. The lines are smooth, fluid, as if traced in a single stroke. The birds’ bodies are filled with repetitive motifs—scales, stylized feathers, spirals—that give an impression of continuous movement. Around them, everything comes to life: flowers burst open, arabesques swirl, and even the simplest shapes seem alive.
What strikes me here is the sense of lightness. Where the large animals evoked stability and grounding, these birds bring something freer, almost joyful. They embody movement, the circulation of life, like a breath passing through the village.
The colors stay the same—deep reds, intense blacks, and chalky white—but the rhythm is different. Faster, more spontaneous. As if each wall had its own personality, while still speaking the same language.
That’s maybe why I’m so touched. I’d heard about these paintings from my friend Raja, and last year, I saw an exhibition in a village near my home. That first encounter made me want to come here. But seeing them in person is a whole different experience.
These paintings are unique. This ancient art is passed down from mother to daughter, or mother-in-law to daughter-in-law, in a silent yet deeply alive continuity. At first glance, it might seem almost childlike in its simplicity and pared-down forms. And yet, everything is thought out, balanced, mastered. Nothing is left to chance.

This apparent simplicity, combined with such rich symbolism, moves me deeply. There’s something sincere and essential in these walls—and that’s probably what touches me so much.