The most significant body of drawings and paintings of 19 th century Bengal are the Kalighat pats, created by village clay modellers and painters who settled down in the vicinity of the famous Kali Temple of Kalighat in Kolkata. The curious fact is that these drawings and paintings on sheets of untreated paper surface, with ink and water-soluble opaque colours, were made as cheap souvenirs at throwaway prices for pilgrims to the temple. However, they soon moved up into the realm of Art, as viewers, buyers, collectors and critics observed their dual aesthetic and acerbic qualities. Sardonically witty, they commented on social mores and contemporary life, especially on the life of the Bengali Babu. They style of figuration, the punctuations of flat, pictorial space by rhythmic decorative lines, and the natural aesthetics of colour usage, held out levels of promise that have withstood time and new generations of pat chitrakars. Madhu Chitrakar is one such patua, living unsung in his Bengal village but singing mellifluously through his art.