Kathakali is a unique form of dance-drama originating from the southern Indian state of Kerala. This theatrical tradition has enchanted the world since the late 16th century* with extravagant retellings of classic Sanskrit epics based on the Mahabharata or Ramayana*. It is a very notable theatrical tradition among both professionals and the general public, especially regarding the vibrant makeup that has become a distinctive symbol of stylized theatrical traditions. Kathakali has been described as the most balanced art form, thus being considered "the perfect blend of five forms" – a blend of acting, dance, literature, music and painting*. Although it is a blend of a wide range of art forms, it is painting, or chithram, that has made this tradition distinctive among others. The traditional set lacks elaborate sets, so the role of painting emerges mainly in the form of makeup, which adds symbolic and purposeful meaning to every Kathakali production. Analyzing the role of chithram in Sir Rabindranath Tagore's production Chitra, it is evident how this particular aspect helps in the introduction and development of typical Kathakali characters. Rabindranath Tagore's Chitra is a non-traditional Kathakali theater production, as it is performed as a one-act play, whereas traditional performances begin at dusk and end at dawn*. Due to time constraints, many of the traditional Kathakali characters were omitted from this particular production. However, this dramatic piece remains true to tradition in other respects, such as the Mahabharata basis of the story*. While the characters are identifiable through their character base, this production… middle of paper… has a specific role in the play. Whether it is an entirely traditional adaptation of the chithram, as in the case of Arjuna, or a more flexible adaptation, as in the case of Chitra, both are able to illustrate to the audience who they really are and what their place is in the whole scheme of chithram. production. All this provides psychological insight into the character and creates aesthetic embellishment, which is an essential factor in all Indian art. Another function of these chithram adaptations to this specific work is that it reveals the flexibility and variations of typical Kathakali characters. Therefore, by understanding "the evolution of symbolic composition, Kathakali becomes more understandable" *, so chithram plays a vital role not only in character development, but in the introduction and development of the performance as a whole in terms of meaning and beauty.. 1639