PATNA
National Institute Of Fashion Technology राष्ट्रीय फैशन टे क्नालॉजी संस्थान
1
2
3
PATNA
Published in August 2018 by the Fashion communication Department(2016 - 20) National Institute Of Fashion Technology Patna, Mithapurs farms, Patna Bihar, 800001 Documented by: Apurwa, Priya Gill, Abhishek Madhukar, Ramadugu Rakesh, Sayee Ambekar, Tanya Sinha All rights are reserved by NIFT Patna. No part of this publication can be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical or photocopy without prior permission. Printed in India.
ACKNOWLEDGEMENT
We would like to express our gratitude towards National Institute of Fashion Technology for giving us the opportunity to familiarize ourselves with the craft cluster present in the Madhubani district of Bihar. It was indeed a very memorable and knowledgeable experience. We would like to thank our mentors Mrs. Rashmi Thakur, Mr. Deep Sagar Verma and Mr. Kumar Vikas for their guidance and apt suggestions. Also, the research would not have been possible without the help of all the co-operative and welcoming artisans of Madhubani who provided interesting and honest information without any hesitation and with utter enthusiasm. Lastly, we would like to thank our Director, Prof. Sanjay Srivastava for making this visit possible and helping us learn more about the craft and culture of the State.
TEAM MEMBERS
Abhishek
Photography and videography
Rakesh
Graphics and photography
Apurwa
Content writing and editing
Sayee
Layouting and editing
Priya Gill
Primary research and content writing
Tanya Sinha
Illustrations and research
PREFACE
Through the craft cluster initiative taken by National Institute of Fashion Technology, we were given the opportunity to visit the creative hub of Bihar which is Madhubani. The land which was once a part of Mithilanchal has maintained its individuality with its age old possession i.e., handicrafts. We as communication designers, tried to observe, analyse and learn maximum about the traditional folk art of Madhubani painting. We have come forth with research about the craft by not just going through books but also by having a hands on experience in the field. We met the craftsmen, heard their stories and understood the craft and their surroundings. This document on Madhubani painting, contains research about the craft, its current position in the domestic as well as international market, the problems and benefits enjoyed by its artists .We have tried to figure out the hindrances in the way of Madhubani and provide suitable suggestions so that this craft, apart from gaining global recognition, helps the country to build a better economy.
CONTENTS
The Making
Essentials of Madhubani painting
Madhubani painting- the Mithila Art
The Handicraft Hub
A walk through Madhubani
Way to Madhubani
38
30 26 22
Madhubani- the Land of Creativity
Blissful Bihar
16 10
48
52 55
The constituents of Madhubani painting
62
Creative minds in the field
74
Madhubani today
78
The Analysis
86
Our take on Madhubani
92 96
The final chapter
Glossary and Bibliography
BLISSFUL BIHAR
10
11
BIHAR
Bihar, the ancient land of Buddha, has witnessed golden period of Indian history. It is the same land where the seeds of the first republic were sown and which cultivated the first crop of democracy. Such fertile is the soil that has given birth to innumerous intellectuals which spread the light of knowledge and wisdom not only in the country but in the whole world. The state has its capital at Patna, which is situated on the bank of the holy river Ganga. Bihar is one of the strongest agricultural states. The percentage of population employed
in agricultural production in Bihar is around 80 per cent, which is much higher than the national average. The state enjoys a unique location specific advantage because of its proximity to the vast markets of eastern and northern India, access to ports such as Kolkata and Haldia and to raw material sources and mineral reserves from the neighbouring states. The state has a large base of cost effective industrial labour, making it an ideal destination for a wide range of industries.
Map of Bihar 12
FESTIVALS AND FAIRS:
Each state of the country has some festivals that are a unique part of its cultural heritage and are different from the rest. It fascinating to witness these festivities. Bihar wholeheartedly celebrates festivals like Durga Puja, Bhaiya Dooj, Holi, Saraswati Puja etc. But there is one festival that is uniquely associated with Bihar, and that is the festival of Chhath. Chatth puja is an ancient Hindu festival which is dedicated to the Sun God, Surya, and take place 6 days after Diwali. Basically, this festival is the prayer of nature.
Sonepur Cattle fair
SHRAVANI MELAThis festival or Mela is observed every during the month of Shravan (JulyAugust). Prayer of god Shiva and its Shiv-Ling. SONEPUR CATTLE FAIR: The Sonepur Cattle fair is the Asia’s largest cattle fair which takes place in the town of Sonepur in Bihar. It is held on Kartik Purnima.
Chatth Puja
MAKAR SANKRANTI MELA: Makar Sankranti is a festival which falls on the same day (14th march) every year as it follows the solar calendar. PITRAPAKSHA MELA: This mela is held in Gaya each year, in the month of September. In this fair, people from all parts of the country come to worship their ancestors as part of the Shraddha ritual.
Pitrapaksha Mela
Laai
Balushahi
Fish fry
Khaja
Dahi chura and Tilkut
Bhojpuri thali
Anarsha
Gulab jamun
Litti Chokha
Thekua
Naivedyam laddoo
Parval ki mithai
FOOD:
The historically rich land of Bihar is equally famous for the plethora of delicacies that feature in its cuisine. The scrumptious and exotic Bihari dishes are highly capable of tingling the taste bud of every food connoisseur. Here is a list of must-try Bihari food dishes, dishes which are beyond the staple Sattu or Parval ki Mithai, which will surely leave you craving for more. Bhojpuri thali: Bhojpuri meal will contain rice, roti, achar, chutney,dals, sattu paratha and vegetable curries. Sweets like laung latta, balushahi, mal pua etc are famous in this state.
Chandrakala
Laung lattika
Malpua
16
MADHUBANITHE LAND OF CREATIVITY
17
A typical house in the village of Jitwarpur
Madhubani, once a part of old Darbhanga district was separated from it in the year 1972 as a result of reorganisation of the districts of Bihar. Madhubani represents the centre of the territory, once known as Mithila. It has maintained a distinct individuality of its own and the reason somewhere lies in the traditional handicrafts that its residents have kept alive. This place is actually a hub of creative artists.
People and Lifestyle:
Since India is an agro-based economy, the 56% of the Indian population is involved in agriculture. So to create a source of non-agricultural income, the All India Handicrafts Board and the Government of India have been encouraging the women artists in Madhubani to produce their traditional paintings on handmade paper for commercial sale. The recognition of Mithila painting around the world is the tribute to resourcefulness of women in Madhubani who are running their families with the 18
help of their talent.
Demographics:
The district has a total population of 3575281; out of which urban population is 3.5 per cent. Its population growth rate over the decade 2001-2011 was 25.19 per cent. Madhubani has a sex ratio of 925 females / 1000 males, and a literacy rate of 60.9 per cent.
Geography:
It occupies a total area of 3501 sq km. Its northern boundary touches Nepal; the southern to Darbhanga, western end has the district of Sitamarhi where as eastern by Supaul. Madhubani town is the administrative headquarters of this district. The district is a part of Darbhanga Division and it occupies an area of 3501 km² and has a population of 3,570,651 (as of 2001).
Climatic conditions:
The climate of this district is generally healthy. There are three well marked seasons, viz, a pleasant cold season, a hot, dry summer and the rainy season. The cold weather begins in November and continues up to February, though March is also some- what cool. Westerly winds and dust storms begin to blow and the temperature goes up to about 42oC. Rains set in towards the middle of June when the temperature begins to fall and humidity rises. Though the rains continue till the end of September or the middle of October, these months are not so hot.
A temple of Lord Shiva in Ranti
Communications:
The district has a well-knit communications system via road and railways. It is served by the North Eastern Railway. A bus Depot of the Bihar State Road Transport Corporation is also functioning at the district headquarters. Before that private buses used to ply in major parts of the district. The district is covered by broad gauge railway between Darbhanga and Jainagar, Darbhanga to Nirmali and Darbhanga to Laukaha. A landing ground for aircraft has also been constructed.
19
Economy:
The predominant economic activities of the district include agriculture, makhana cultivation, fisheries, Mithila Painting, Sikki and Mouni, handicrafts and weaving. The exports include fish, handloom cloth, Makhana (fox nuts), mangoes, sugar-cane, litchi, paddy, and brass metal articles to various places. It imports - medicine, machine, fine clothes, shoes and cosmetic materials from other places. Madhubani has been an important centre for trade with Nepal for cotton, sugar, silk, betel nut and tobacco, since the latter part of the 19th century. In order to create a source of non-agricultural
A child in the village of Jitwarpur 20
income, the All India Handicrafts Board and the Government of India have been encouraging the women artists to produce their traditional paintings on handmade paper for commercial sale. Madhubani painting has become a primary source of income for scores of families. The continuing market in this art throughout the world is a tribute to the resourcefulness of the women of Mithila who have successfully transferred their techniques of bhitti chitra or wall painting to the medium of paper.
A woman from Jitwarpur 21
PATNA AIRPORT
PATNA JUNCTION
MADHUBANI STATION MADHUBANI BUS STAND
22
PATNA BUS STAND
WAY TO MADHUBANI 23
BY FLIGHT Madhubani does not have an airport. Nearest airport is Patna Airport. Madhubani is 128 km away from Patna airport (PAT), Patna, Bihar Madhubani is 208 km away from Gaya airport (GAY), Gaya, Bihar BY TRAIN You can easily get regular trains to Madhubani from other major cities of the country. Railway Station(s): Rajanagar (RJA), Lalit Lakshmipur (LLPR), Madhubani (MBI) BY BUS There are regular buses from other major cities of the country to Madhubani. Bus Station(s): Madhubani , Madhuban
24
Madhubani railway station decorated with paintings
Walls of a school decorated with paintings
A WALK THROUGH MADHUBANI
26
27
Side view of Navlakha Palace
Front view of Navlakha Palace
Murlimanohar Temple
Nagar Fort (Naulakha Palace)
Built by Maharaja Shri Rameshwar Singh, the Nagar Fort is popularly known as the Naulakha Palace. The fort had to suffer tremendous destruction owing to the severe earthquake in the year 1934, since then, this once magnificent structure which used to be the residence of the royal family now just stands there like a khandahar. The palace is of huge interest to the historians and archaeologists. Still, the palace is like a fantasy world to the tourists.
Saurath
On the road from Madhubani to Jaynagar, Saurath is a roadside village, known for the popular Somnath Mahadev Temple. It owes its importance to the annual Sabha held by Maithili Brahmins for negotiating marriages. Many Panjikars who keep the genealogical records of the different families reside here and outside.
Uchaitha
The village in Benipatti block is noted for its temple of Bhagwati on the western bank of river Thumne. According to a legend, the renowned Sanskrit poet and dramatist Kalidas was blessed by Bhagwati at this place.
Kapileshwar Sthan
A village situated nine kilometers from Madhubani District Head Quarter. The village is known for its Shiva Temple, also known as Kapileswarsthan. Numerous devotees congregate at the temple every Monday and particularly in the month of Shravan. A large fair is also held on the occasion of Maha Shiva Ratri.
Bhawanipur
It is a large village situated 5kms from the block headquarter of Pandaul, the village is known for its temple of Ugaranath and traditional association with famous poet, Vidyapati.
29
THE HANDICRAFT HUB
31
MADHUBANI CRAFT CLUSTER MADHUBANI DISTRICT To the north of the Ganga lies the Madhubani metacluster that comprises of the Madhubani district of Bihar. People of Madhubani district are blessed with different handicrafts. They earn their livelihood by practising the crafts like Madhubani Painting, Sikki Craft, Lac Bangles, Paper-mache, Terracotta.
32A woman working at the training center in Jitwarpur
LAC BANGLES
PAPER-MACHE
Lac Bangles are perennially in demand as they are considered an auspicious sign of marriage (suhag) by women, cutting across caste and community lines. The bangles have an inner core of refuse lac and outer core of high quality lac. Hot lac mixed with pigments and chemicals is rolled and stretched on a shaping mandrel that corresponds to the size desired. Embellishments values are also added which changes the market value of lac bangles. During festivals and wedding season, the demand of Lac bangles increases.
Paper-mache is especially practised in Rati village of Madhubani district. The products are precisely for the reason that they have a raw, earthy appeal. There is no requirement of any tool to make product, except sandpaper to impart a finish. Most of the products are hand-painted with Madhubani motifs and styles. Forms of god and goddesses, animals, toys and dolls are generally made using this technique. The market for paper-mache products picks up around festivals and wedding seasons.
Lac bangles
Paper-mache palanquin
33
MADHUBANI PAINTING This painting is originally a form of bhitti-chitra or wall art and it is a heritage rooted in the rhythms of Hindu ritual life. There are types of Madhubani painting that are practised in different areas according to caste and areas in Madhubani district. The themes and motifs are predominantly inspired by mythical figures, gods and goddesses, ritual and daily activities and most importantly, local flora and fauna like fishes, snakes, lotus, turtle, banyan trees and so on. The motifs are usually owned with symbolic meanings-the turtle is also a symbol of Vishnu in one of his avatar and long life, and the bamboo and the lotus signify feminine and masculine sexuality respectively.
Madhubani painting
A woman working in Jitwarpur
34
SIKKI CRAFT Sikki Craft is practised in Madhubani. Sikki is a plant which grows along the banks of rivers. The places where there is moisture are also suitable for the growth of this plant. This grass is used to make products like trays (Dagra), small baskets and toys for children. Traditionally, according to social customs and manner of its manufacture, one comes to the conclusion that sikki craft is closely connected with the marriage ceremonies. It is essential that the young bride should learn the art of making objects out of sikki from her childhood, so that at the time of her valediction, she could carry goods with her. Nowadays, new designs have started to develop in the field of art and craft.
Sikki lamp shade
35
A woman working at the training center in Jitwarpur
36
DOLL MAKING
TERRACOTTA
Doll making was an age old craft in which dolls were made out of cotton balls and old clothes and hence it was a sustainable handicraft. This craft was associated with Hindu custom where mother in law of the girl had to give the doll to her on the occasion of Vat-Savitri puja. This craft is on the verge of extinction as no one makes it even for the sake of custom.
Terracotta products are made with black and yellow clay. The potters of Madhubani have a wide repertoire –a large number of ritual based objects, toys, pots, utensils, animals and birds are made. Terracotta products are always in demand of the local markets. For decorating objects, Madhubani painting is done on the objects and thus the price of the painted product increases.
Doll making
Terracotta pot used to churn buttermilk
37
38
MADHUBANI PAINTINGTHE MITHILA ART
39
ABOUT MADHUBANI PAINTING Originally Madhubani painting is a form of bhitti Chitra which means wall art and this ancient art form of Madhubani is a heritage rooted in the rhythms of Hindu ritual life. Generally, a feminine expression, the themes and motifs of Madhubani are drawn from a palette of mythical figures, gods and goddesses, ritual activity and very importantly local flora and fauna and story of local heroes. The region of Mithila is a lowlying land which is generally flooded in wet seasons and this inspired the women of Madhubani to draw their staple motifs of puren: lotus, fish, snake, bamboo and other elements of aquatic life. These symbols are not only used because of the regional status but also due to its symbolic meaning in Hindu rituals. This traditional art form was freed from its yoke to ritual life in 1966 due to a drought which stopped the progress and economic life of Mithila. Government officials who were touring the region for relief work were astounded by way of Madhubani painted walls. A few women were persuaded to paint on paper and from here Madhubani painting has never looked back since.
ABOUT BHASKAR KULKARNI:
In the mid-sixties Madhubani region underwent to a blistering and its inhabitants have faced widespread starvation. In 1966 after this devastating scene government has sent many officials for relief work and they astounded by way of its painted walls. After that Mr. Bhaskar Kulkarni was sent by All India Handicrafts Board from Mumbai to Madhubani in Bihar for checking the drastic situation of Madhubani and the art. He was main person who motivated the artist of Madhubani to draw traditional wall paintings onto paper. Materials like Paper and colours were supplied to these artists free and the resulting work was sold through government handicraft shops all over the country. A painting by Gayatri Devi 40
41
TYPES OF MADHUBANI PAINTING Aripona
Aripona (Ari means earth and Pona means prayer) is a ritual floor art that is afresh made by the paste of raw rice on auspicious occasions like worship, vows(vratas) and rites of passage (sanskars). Not only the paste of raw rice, turmeric and sindoor (vermillion powder) is also used to depict the symbols of mother Goddess and motifs of nature and everyday life. On these days of ritual making of aripona is important but there is one more deep thinking behind this floor art is spirituality and power. People of Madhubani believes that aripona is the spiritual art of earth and the raw rice is the fuel of earth which helps it in the survival of life.
Bhitti chitra
Bhitti chitra or wall art fall under two main types which comes in other two different styles of Madhubani art. •Wall painting made by the upper caste women of Brahmin and Kayastha and Dushadh paintings made by the Dushadh community. Paintings by the Brahmin and Kayastha women have themes from mainstream Hinduism- the Shaiva, Vaishnav and Shakti cults. They generally made these paintings on the wall of gosain ghar and Kohbar ghar. Gosain ghar is a prayer room and the walls are painted with a large number of deities and religious folk stories. The Kohbar ghar is a nuptial room which is painted at the time of wedding and the process of painting the walls is started from the day of wedding – the newlyweds perform many rituals, especially facing the eastern wall to pray for marital bliss. Now talking about the motif of a wall painting in the Kohbar ghar, the nuptial
42
chamber. A single bamboo stem is encircling with six lotus flowers are the symbols of fertility. Lotus and Bamboo stem signify feminine and masculine sexuality . Motifs like Parrots, fish, turtles, banana and betel leaves, that surround them, all symbolize fertility and regeneration. •Second most important part of bhitti chitra is painting by Dushadh community. The Dushads draw their visual language from a vital oral tradition. Most of the stories in their paintings and mud relief depict the exploits of Raja Sailesh, the hero of their epic. The incident of this epic shows the struggles between the subaltern deities and those of the dominant caste. The motif of elephant appears very commonly in Dushadh painting, along with motifs drawn from nature.
Godna Painting
Godna which means tattoo, is a skilful adaptation of body art motifs into painting. In this art not many motifs are not used at same place; this is mostly made by the repeating or juxtaposing of single motif. Religious symbols are popular, especially those talismanic power, as are geometric designs, nature motifs and lucky charms like the swastika (which means good to be). Motif of buffalo and parrot is also very famous in the Godna style because this motif is the part of their local famous story of natt and natin which means “banjara”. Women of the Madhubani make this tattoo art alive on walls and paper. Godna painting is also done by the Dushads community and this is the most popular style used by Dushad artists.
Wall painting
Godna painting
43
STORY OF KOHBAR GHAR
Kohbar painting by Abha Das
44
Wall painting
The Kohbar ghar is one of the best examples of ritual symbolism in the Madhubani style. Kohbar ghar is a place for worship which celebrates the married love and union and the motifs of this place reflect the mood. According to the ritual When the newly weds couple worship in Kohbar ghar they get the blessings from divine couples like Shiva-Parvati, Rama-Sita and from other celestial guard. Many fertility symbols present in Kohbar ghar remind the couple of their duty to increase the family line. When the painting of walls of Kohbar ghar is started they light the Diya which lights the Kohbar ghar 24 hours and it can’t be deemed off before Chauthari (fourth day from the starting day of marriage rituals). Kohbar ghar is surrounded by the four women with dhalis (it is a holding pot made up of with bamboo and used for the purpose of holding sindoor and all pooja materials) painted at the four corners of Kohbar wall. These painted women are very important for the ritual of Kohbar ghar because when groom comes in the wedding
by crossing many villages and places enters in the Kohbar and touches these four women then this ritual helps him from negativity which he came across in the journey. After that bride comes in the Kohbar ghar and fill the sindoor in between the Kohbar and mother of bride cover the Kohbar with her aanchal because they believe that at the time of filling sindoor in Kohbar it should not be fall down on the floor because this is not good for the health and wealth of bride and groom. For filling sindoor in Kohbar they use a different sindoor which they call Bhusna sindoor and color of this is pink. After the ritual of bride groom comes and fill the sindoor in the stem of bamboo which is the symbol of masculine sexuality and this ritual also play an important role in the life of bride and groom. Walls of Kohbar ghar is painted by only one color red because Kohbar is always done in Kachni style and they never use black because they believe black color is not good for the worship purpose. Rituals and painting of Kohbar ghar is a great mixture of believe and tradition. 45
TECHNIQUE OF MADHUBANI PAINTING Madhubani painting is made by two famous technique Kachni and Bharni. These are the two technique which is used in any type of Madhubani painting.
Kachni:
Kachni is a style and technique which is also known as “Line painting�. In kachni lots of line, motif and pattern are used to make a whole painting. Fine pattern is made by using hatching and stippling to create painting with fine details.
Kachni is made with only one or two colors and double lines are used to depict the outlines. Bharni: Bharni which means filling. In this technique the filling strategy is used to create the painting, subject is outlined with black and the enclosed areas are filled with vibrant colors like blue, orange, yellow, green, brown etc.
NOTE:
Madhubani painting made not only with these two technique, mixing of these two techniques to create a new one is also very famous. Artisan use this process too.
Kachni technique 46
Bharni technique
Kachni- Bharni technique 47
48
ESSENTIALS OF MADHUBANI PAINTING
49
METHOD:
Madhubani is a simple and aesthetically appealing art form of painting. We don’t need any specialized knowledge and materials but just a creative mind and artistic flair.
MATERIALS REQUIRED:
•Cloth: Silk and cotton / Handmade paper •Tracing paper •Pencil •Fabric colors (for cloth) •Poster colors (for paper) •Black outliner •Carbon sheet •Different types of brushes
An artist working on Kachni technique 50
PROCESS OF EXTRACTING NATURAL COLORS:
Colors play a very important role in Madhubani painting. In older time natural colors were used to paint but in todays time artificial color has taken the place of natural colors and we rarely see the use of natural colors. If anyone want to see the practice of natural colors they can see it in Jitwarpur. This is the village where still some artisan practice natural colors for painting on paper but not on big scale. Now we see the process of extracting natural colors:
Green:
Green color is extracted from the leaf of Tilkor and Broad beans. •First pluck the leaves from the tree. •Mash the leaves and strain out the pulp. •Mix the pulp with gum of Gum Arabic tree. •Mix them well and make the liquid thick and use it as green color.
Yellow:
This color is extracted from Haldi and flower of Singhal. •Boil the flower of Singhal in 500g of water and boil it up to 250g water. •Mash the leaves and strain out the pulp. •Mix the pulp with gum of Gum Arabic tree.
•Mix them well and make the liquid thick and use it as yellow color. NOTE: Blue, Orange and Brown will have extracted with the same process. Blue with fruit of Sikkat, Orange with bark of Peepal and Brown with Beet root and we can use boiling process with all the colors except Green. NOTE: Natural colors are only used for painting on paper not on cloth because natural color is very light and it color goes out very quickly.
Acrylic and fabric colours 51
THE MAKING
52
53
The very first step to start with the painting is to decide the subject of the painting irrespective of the material whether paper or fabric on which it is to be drawn. Once the subject is chosen, the idea is sketched out with pencil on paper. In order to draw the motifs on fabric they trace the motif from paper to fabric. The shapes or motifs are outlined with black paint (either by using pen – for paper or brush – for fabric). The double borders are the unique identity of this craft. At last, all the motifs are filled either by using solid colours or by drawing lines. The painting is generally full of minute details as artist try to fill every gap and empty space in the painting in order to keep up with the traditional style of this craft. This is the basic process. Other than that, some steps differ from product to product. The product range includes sarees, kurtis, ties, shoes, bags, belts, wall hangings, lampshades, coasters, trays, etc.
A woman working at the training center
54
Drawing basic outline on the fabric
Tracing motifs for repetition
Outlining with black colour
Final output after filling colour
55
THE CONSTITUENTS OF MADHUBANI PAINTING
56
57
FISH: Fish symbolizes fertility, procreation and good luck.
MOON: Moon represents daughter or female figure. 58
TREE: Tree represents symbol of life.
BIRDS: Birds symbolizes spring, birth, new growth and prolonged existence.
SNAKE: The snake is venerated as the guardian of underworld. It is used in Kohbar painting.
SUN: Sun represents son or male figure.
TURTLE: Turtle is a symbol of God Vishnu in one of his avatars.
LOTUS: Lotus signify feminine sexuality.
59
DEER: Fish symbolizes fertility, procreation and good luck.
ELEPHANT: Tree represents symbol of life.
TULSI: It is a symbol of purity and refreshment
MONKEY: Birds symbolizes spring, birth, new growth and prolonged existence.
60
CROW: The snake is venerated as the guardian of underworld. It is used in Kohbar painting.
BAMBOO: Sun represents son or male figure.
PEACOCK: Turtle is a symbol of God Vishnu in one of his avatars.
SWASTIKA: Lotus signify feminine sexuality.
61
CREATIVE MINDS IN THE FIELD
62
63
Dulari Devi Dulari Devi is an artist who got fame through Madhubani painting. She transformed her life from living in extreme poverty as a labourer to a successful and well known Madhubani artist. Her life took a turn in 1984 when she began working as a maid in the house of a famous Madhubani artist, Mahasundari Devi and Karpuri Devi. Fascinated by the art, Dulari Devi asked Mahasundari Devi if she could also learn how to paint. After a training of six months, she started her journey of Madhubani painting. She explored traditional themes of Ramayana, Mahabharata and Kohbar (Kohbar is a type of Madhubani painting which is generally done as a marriage ritual.) But her life
truly changed when she started visualizing and drawing day-to-day scenes. She started painting the daily life of fishermen as she came from that community and knew it very well. She also got a new identity in Madhubani painting due to her standard way of representing the saree and for the painting the God Ganesh images. She is the person who started to paint the images of Ganpati in the Madhubani style. She was bestowed with the state award in 20122013 by the Government of Bihar. But she achieved fame before the state award by Tara book publication who published her paintings in a book. After the state award, she was featured in
64
many books for her incredible work in Madhubani painting. Martin le Coz, a French artist found her work interesting and published it in her book. According to Dulari Devi, learning Madhubani painting is a lot easier now than it was in her time. Today, the students have tables, chairs, good quality of raw materials, tools and comfortable environment of learning. In her initial days many mediators cheated her in the name of government and took away many of her precious paintings for free. But in today’s time these things decreased by the help and support from the Government. She told us that the craft helped the villagers improve their quality of living. She told us that she had painted a painting on kamla pooja (fisher’s wedding ritual) which is in Bihar museum for this painting she got the money from Bihar government and this money helped her to build her a home. Foreigners come from different countries to her house to buy her paintings. Recently she painted the portrait of our Prime Minister of India in Madhubani style. She has been working with Seva Mithila for 16 years and for 7 years, she has been teaching in Mithila Institute of Art. At the age of 53, she has been applying for the National award in Madhubani painting for two years and hopes to win one day.
Dulari Devi with her State Award
65
Abha Das Abha Das is the daughter-in-law of Padmashree winner Smt. Mahasundari Devi. She got married in 1987 and she started Madhubani painting ever since and at the age of 53, she continues to do the same. She knew the basics of painting before her marriage but being the daughter-in-law of Mahasundari Devi she got inspired and continued the family’s tradition. She got National and State award for her magnificent work in the area of Madhubani painting. She is known for her Kohbar and Aripona style of Madhubani painting. Aripona is a ritual floor art that is made afresh on auspicious occasions. Kohbar is important in communities Kayastha and Brahmin culture. Kohbar style of paiting is popular not only on wall but also on fabric. Generally, Kohbar is used either for wedding rituals or for decorative purpose. Today, Madhubani has a huge market in the world because everyone has a different theme and demand for the paintings. She has been getting orders of paitning ties, belts, and also shoes with Madhubani motifs. Madhubani painting on sarees and dupattas is
66
Kohbar painting done by Abha Das
always in trend and she doesn’t paint any particular theme; the themes are mostly whatever comes to her mind except when she gets any special request from the customer for particular theme. The fabric used is silk and cotton but mostly on silk because it is more demanded in the market. She mostly does the Kachni style on saree because it looks very attractive on saree and Bharni on wall (Bharni is generally used for the decorative purpose). She sells a single saree on the price of Rs 8,500 mostly in her house because when she goes to any exhibition or public place for selling purpose she has to compete with the other Madhubani painting stalls and for that she has to reduce her prices. She has observed that foreigners are willing to pay a greater price than Indians when it comes to handicrafts. But the good thing is this in last some years people of India starts being active to the field of art and culture said Abha das.
In conversation with Abha Das
67
Vibha Das and Bipin Kumar Das Women of Madhubani have been painting colourful pictures on the walls of their homes. This art is a tradition that has been passed on from mother to daughter and daughter-in-law over centuries thus keeping the art alive and in the chain of this tradition we have a name of National award winner Vibha Das who learnt this painting after her marriage by her mother-in law Mahasundari Devi. She was born in 1962 and started Madhubani painting 1982. She got a State award in 2006 and National award in 2007. After 24 years of hard work and practice she received this award. According to her, her mother-in-law and husband Bipin Kumar Das played an important role in her success. She does not restrict herself on a specific theme. She is very versatile and can paint any theme but she is mostly known for her Kohbar and Aripona style of Madhubani painting. She went to Malaysia in 2011 and France for workshops. She is also very interested in the style of Line painting which is also known as Kachni style.
68
Bipin Kumar Das is the eldest son of famous Madhubani painting artist Mahasundari Devi. At present he is a lawyer but before that he was a Madhubani painting artist. He learnt the basics of Madhubani painting from his mother because he liked to paint. But he had to stop painting as he had to support his family financially. He left the practice many years back but still he is very particular about the lines, colours and everything used in the painting. Vibha Das, his wife is a National awardee in the field of Madhubani painting. According to his wife he was the person who helped her in spreading her talent in a gigantic level by his knowledge and passion. His mother Mahasundari Devi used to draw Kohbar, Sita swayamvar or Radha Krishna on the mud walls of her house on ceremonial occasions. A renowned art collector Bhaskar Kulkarni discovered her talent and motivated her to create these designs on pieces of handmade paper for exhibiting in the galleries across the world. He was very closed to her mother which encouraged him to observe her work with enthusiasm and attentiveness.
Bipin Kumar Das and his wife Vibha Das 69
A painting by Shravan Kumar Paswan
A painting by Shravan Kumar Paswan 70
SHRAVAN KUMAR PASWAN Shravan Kumar is a well-known Madhubani artist who is taking forward the legacy of his mother Urmila Devi Paswan. He was born at Jitwarpur, Madhubani in 1970. Shravan Kumar belongs to the group of modern male artists who took over the art from the female counterparts. His speciality is Madhubani art in contemporary style. He has his own style of painting faces and pallu of female figures. In Madhubani painting, the faces of figures are always painted but he does not paint faces of his characters. He always makes the pallu of his female figures in a very exaggerated way. He has a different style of depicting not only human figures but also motifs and patterns in border. His artworks have been on display at Manava sangrahalaya and Delhi haat of New Delhi. This helped him get recognition at National as well as international forums. Apart from India, his Madhubani art works are well known in Japan, Germany, America, France, England, China, Australia and many others countries. In India he has exhibited his art in Mumbai, Kolkata, New Delhi, Kashmir, Chennai, Bhopal, Pune and many other cities. He is a wellknown figure in Coastal Karnataka too. In 2008 he participated in Alva’s Virasat at Moodbidri and in 2010 at Koteshwara in a National Level artist workshop. Currently he is working on Sitayam. Siyayam is the story of Ramayana but with the perspective of Sita.
Shravan Kumar Paswan 71
Urmila Devi Urmila Devi is the other face of Madhubani painting. She was born on 1956. She is a state award winner specializes in the Godna style of Madhubani painting. She belongs to the village Jitwarpur and this village is known for the Godna style of Madhubani painting but Jitwarpur is her in law’s house and she learnt this painting after her marriage when she came here. She is originally from Khajauli, Bihar. In present time she is working with the NGO Jeevika for promoting the Madhubani painting. Many artists from this village got the awards in Madhubani painting but Urmila Devi is someone who prospering the name of Madhubani art not only in India but also in the whole world. She has experience of more than 48 years in Madhubani art. Her art work has been collected by the buyers from around the world. Urmila Devi and other artists of Jitwarpur still use the natural colours on cow dung washed canvas, for the purpose of painting but they use this natural color only on canvas or paper not on the fabric because these colours are very light and washable in nature. According to her she got motivated by the art director Bhaskar Kulkarni for making her name in the field of Madhubani painting. She featured in many newspapers of the world for her precious work in the field of Madhubani art. She went to the different countries of the world for promoting the Madhubani painting. She bestowed with the National award in 2012 for Madhubani painting. She won the China award too in 2017 for a great piece of Madhubani art. After three days of monstrous effort she got this award. She is specializing in Godna style so she knows everything about this style. She told us this painting is mainly made by Dalit artists because Godna comes in the main ritual of Dalits. Godna is the tattoo art tradition inspired by body painting and in Dalits people used to make this Godna on the body because they believe this tradition very important and auspicious. 72
National Award of Urmila Devi
Urmila Devi A wall in Urmila Devi's house
73
74
MADHUBANI TODAY
75
Madhubani painting is still practiced by many women of Madhubani district of Bihar. In fact, Karpuri Devi, sister-in-law of known artist Mahasundari Devi, Dulari, and Mahalaxmi are women from three generations of the village who have made extensive efforts to keep the art form alive by educating other women in the village and teaching them how to make Mithila painting a way of life and take the legacy forward. Works of the three women have been commissioned by the
government of India and also found a place in the Mithila museum of Japan. These women aim to empower other women through painting and creating awareness on issues like education and eve-teasing. They are encouraging their students to paint on topics that are closer to their hearts – anything from folk tales that they might have heard during their childhood to the status of women in the society today. It is interesting to note how paintings that were done by women to depict religion, traditions and social
A painting by Meenakshi Jha Banerjee https://www.indianartideas.in/artwork/5640
76
norms are now being used by them to make their voices heard. Not only in social norms Madhubani painting also helping in an effective way to make villagers aware of its consequences like climate change and global warming. In 2012, more than 100 trees were decorated using Madhubani painting to protect trees that were being cut down in the name of expanding roads and development. Today, Madhubani art piques interest in art lovers from different countries like USA, Australia, UK and Russia. Patterns from this art form have also found their way onto various items like bags, cushion covers, coasters, mugs, crockery and mouse pads. Madhubani remains ever popular on the home dĂŠcor front in the form of prints for table linens, napkin rings, and lamps and most importantly on wall hangings. Not only in this Madhubani is also very famous on the shoe, tie, belt etc. Madhubani has an immense market in the international world where this painting style has its own identity.
Trees are painted to reduce cutting of trees
77
78
THE ANALYSIS
79
Wall decorated with Madhubani painting
STRENGTHS:
•Well-known both domestically and internationally •Eco-friendly •More than 2000 artisans involved in the craft •Glued to its original traditions even after experimentation with designs and techniques •Monetary support from the Government •NGOs and Government organisations conduct training programmes for artisans
80
WEAKNESSES:
•Plagiarism •Despite there being awareness about the craft among the younger generation, interest to practice it is missing •Poor exposure to internet and other technologies •Absence of market intelligence •Uncertain costing due to decentralized artisans
Women working at the training center
OPPORTUNITIES:
•Potential to improve the economy of the State. •Increase the foreign exchange reserve of India •Promotion of cultural heritage •Address social issues through the paintings •Unification of all Madhubani artisans under one umbrella for better productivity •Creating a platform for e-commerce
THREATS:
•Mediators •Modernisation •They lack a sustainable model of business
81
DESIGN SOLUTIONS
PROBLEM 1:
Younger generation lacks interest in the traditional crafts of our country even if they are aware of the crafts.
SUGGESTION:
Creating a colouring book for children of the age group 8-12 years old.
OBJECTIVE:
The objective behind this is to introduce the children to the craft and to make them familiar with the techniques and basics of the same.
OUR PROPOSAL:
We have come up with the idea of making a colouring book using authentic, traditional artworks. This would be a State Government initiative through which they will commission artisans of the respective craft to create artworks for the book. The book will have a brief information about the craft along with interesting crafts regarding the same. This book would be a part of the curriculum in all the schools of the State. We have created a prototype of Madhubani painting. This initiative can be expanded by making more such books for other crafts too. Price: Rs. 30/Number of pages: 20
82
Cover and back page for the colouring book
A page from the proposed colouring book
83
PROBLEM 2:
The artisans are unacquainted with gadgets and technologies like internet and social media which is reducing their global scope.
SUGGESTION:
Conducting training workshops for using mobile phones and internet while conducting training workshop for skill development of Madhubani painting.
OBJECTIVE:
Make the artisans familiar with using internet for promoting and selling their products. Using mobile phones for clicking pictures of products and uploading them online as well accessing various platforms via internet for getting to know about current trends and buyer’s feedback.
OUR PROPOSAL:
The artisans are barely aware about the current trends. They have no knowledge of using Internet and mobile phones. Therefore, we have proposed that the Government should conduct workshops which will educate them about the same while conducting training workshops for skill development. Through this, the artisans would be able to click pictures of their products and upload them online on a platform that will allow the buyers to view them and make the purchase and give feedbacks too. Knowledge of internet would help them cope with the current trends and thus know what is in demand. This will thus increase their sale. This would also create job opportunities in the IT sector.
84
Women working on paintings
85
PROBLEM 3:
The artisans work independently and work according to their will. There is no centralized platform and standardized costing.
SUGGESTION:
Creating a website on which individual artists can post their work and get orders directly from the buyers.
OBJECTIVE:
Creating a platform that would enable the artisans and interested buyers to directly contact each other and unify them under one banner.
OUR PROPOSAL:
We have proposed of creating a website on which artisans can upload their work. Buyers sitting in any corner of the world would be able to browse through the work of various artists and buy it directly from them. They would also be able to contact them and give suggestions and special instructions. We have created a logo for the craft that would be present on all Madhubani products as it would be easier to identify a Madhubani product in the market. Many artists who are not originally Madhubani artists also sell paintings done by actual Madhubani artisans without giving them credit. Creating a common platform and a legitimate logo would help the buyers identify authentic art. Moreover, it would help identify, promote and provide financial assistance to the artisans practicing this craft.
86
Home page of the website
Home decor menu in the website
87
Business card
Sticker for packaging 88
Invoice
89
OUR PROPOSAL:
Madhubani painting can be used as a tool to address social issues. It was an age-old tradition of putting across various issues n the form of a painting. Villagers used to paint trees with drawings of Gods and Goddesses in Madhubani style to stop people from cutting trees. Similary, Madhubani painting can address various issues like family planning, deforestation, Swachh Bharat Abhiyan, illiteracy, etc. We have proposed to make a comic strip that focuses on these issues and makes it interesting due to the vibrant style of Madhubani. This comic strip can be printed in a newspaper, t-shirt, featured in a magazine or even on an e-magazine.
90
Newspaper with the comic strip
T-shirt with the comic strip 91
THE FINAL CHAPTER
92
93
From our visit to the hub of creative and traditional artists –Madhubani, we were given a chance to have on field experience of the craft. There we were introduced to many artists practising Madhubani who enlightened us with the knowledge of their age old art of Madhubani. Madhubani is rich in cultural heritage as it is home to many traditional artists. The artists live and breathe their respective handicraft and this is the reason why this craft has not failed to mark its existence in the domestic as well as global market. Madhubani, originally a form of wall painting-“bheeti Chitra� has undergone many adaptations in order to make this craft commercially viable. Today, Madhubani painting is done on every possible surface like canvas, paper, fabric-cotton, silk, organdy to cope up with modern market demands and innovations. While interacting with artisans we got to know about their joys, stories as well as grieve. After lots of effort made by the government of Bihar in area of reviving handicraft, Madhubani has attained the much needed fame. This is just the beginning, it still has a long way to go. It still has certain problems to be addressed. We as the students of communication design, have tried to figure out the hindrances in the way of Madhubani and provide suitable suggestions so that this craft, apart from gaining global recognition also helps the country to build better economy from this handicraft sector to its full potential.
94
95
96
GLOSSARY ABOUT RITUALS
•SATHHUDI: A ritual observed during the seventh and ninth months of pregnancy. •CHATIYAR PUJA: Sanskar done on the sixth day after the birth of a child. •ANNAPRASHAN: To mark a child’s first eating of grain. •AKSHARARAMBH: To mark a child’s entry in the world of learning. •JANUAR: To mark the symbolic rebirth of young Brahmin boys; marriages and deaths.
ABOUT TECHNIQUES
•KOHBAR: Auspicious Marriage Painting Symbolises Love and prosperity. •ARIPONA: Ari means “earth” and Pona means “Prayer”. •GODNA: Godna means “Tattoo”. •KACHNI: Kachni means line painting. •BHARNI: Bharni means filling the empty space with colors.
97
BIBLIOGRAPHY
https://www.holidify.com/blog/festivals-of-bihar/ https://www.holidify.com/blog/food-of-bihar/ https://www.ibef.org/ http://gov.bih.nic.in/Profile/default.htm http://madhubani.bih.nic.in/Default.asp https://www.census2011.co.in/census/district/59-madhubani.html http://knowindia.gov.in/culture-and-heritage/folk-and-tribal-art/ madhubani-painting.php www.madhubani.nic.in www.craftsvilla.com www.tripto.com www.hindustantimes.com fromhindi.oneindia.com www.penkraft.in www.newsgram.com Handmade in India
98
99
100
