Mithila Painting

Mithila is the land of Paag, Paan, Maach and Makhan (traditional maithil headgear, beetle leave, fish and a water fruit). It is the place where Sita was born and brought up. It is the land where Lord Ram fell in love. However, in modern days the Mithila or Madhubani painting has given Mithila a place of pride among the art world. Mithila painting is a very traditional art passed from generation to generation. Tulsidas has describe the intricate painting on the walls of Jankapur during the marriage of Shri Ram in his acclaimed Ramchartiamanas. This is an art practised by Maithil women. Few decades ago, girls learnt this art by making Aripan (floor painting) on different religious occasions or by painting around the main doors. Still in some villages, Aripan is seen and appreciated by all villagers on the occasion of “Devothan Ekadashi”. Some of them become more adept in this art and start teaching the next group of young girls. Mobility and nuclear family broke this tradition. This void has, however, been filled by the training institutes in Mithila painting. Secondary and college going girls take this Art as hobby ensuring continuous flow of accomplished artists.

Mithila painting has a rural origin and in the beginning only home-made colours were used. Colours are derived from clay, bark, leaves, berries and resins. Basically white, black, green and red colours were used. Colours were obtained from plants and resins. These plant extracts were then mixed with juice of banana tree or other gum for better adhesion of paint. Two types of brushes are used in drawing the painting. One is made of bamboo twigs sharpened at the tip. This is used for making thin lines (Kachni) and other minute details. The other is made by putting some cloth on bamboo tip and is utilized for filling up. Some experts perceive three streams of Mithila painting by use of colours. The first is by women of Brahmin community who use brighter hues. The second stream is that by Kayastha ladies, who use the same colour but in muted brightness. They basically use black and red colours. The third is by Dusadh community (watch man) which is a scheduled caste community. This is called “Godhana” style in Mithila painting. They use hand made paper dipped in the liquid of cow dung. This gives it a bit dull look. However, in modern day all three styles have intermingled. The colour scheme prevalent earlier is no more relevant. The easy availability of artificial colours in different shades and special nibs have given wings to the imagination of Mithila painters.

This tradition started when people used to paint the walls of their mud houses with murals of gods, goddesses and flora and fauna for beautifying their abode. The theme of Mithila painting is generally taken from the sacred texts. The Ramayana, the Mahabharata, Purans and some Tantric mythological tales provide splendid scope of this style of painting. Kohbar, Dasavtar, kamaldah, Krishna Leela, RAAS, Ram vivah. The motifs of Goddess Kali and Durga also find place because of prominently “Shakta” orientation of Maithils. These paintings serve an important spiritual function, creates auspicious and protective settings for the family’s rituals. Like the Kohbar, meaning nuptial room, is meant for protection of the newly wed couple, bless them in their conjugal life and bestow fertility. Kohbar painting has both mythological folk tales and tantric symbolism. The central theme in the Kohbar may be Sita Ram wedding/love or RadhKrishna Leela. Kohbar contains symbols of fertility and prosperity like bamboo tree, fish, peacock, elephant, turtle and lotus etc. take peripheral place in the Kohbar. No marriage is solemnized without the Kohbar painting. Dasavtar gives the ten manifestation of the Lord Vishnu. The subjugation of “Kaliya Nag” by Lord Krishna is also a favourite theme.

A colossal drought hit Bihar in 1962. During that period under the motivation of some NGO, maithil women for the first time painted on Paper. This became an instant hit and the Art community liked it very much. Thereafter there has been no looking back. This is now painted on Sarees, Salwar suits, Ties, handkerchief etc. Mithila painting on a pure silk Saree is a mature and sober fashion statement. Even the reputed greeting card brands do not miss to have Mithila painting designs on their cards for all occasions.

The villages of Jitwarpur and Ranti in Madhubani district have produced many widely acclaimed Mithila painters. In these villages, painting is done on a commercial scale. All sorts of painting ranging from portrait to landscape are painted. Sometimes paintings are made on commercial demands and sometimes just the shear imagination of the artists produce innovative painting. Ganga Devi depicted her journey from Madhubani, a small town in north Bihar to All India Medical Sciences, New Delhi. She came to Delhi for treatment of cancer she was suffering from. The train, doctors, hospital, syringe, medical ward everything she drew delicately. Her innovations were excellent, appealing and unique in many respects.. Jamuna Devi enjoyed painting animals especially cows. She painted some cows upside down. Some critics however did not appreciate such step thinking that it might disturb the originality of the folk painting of Mithila but majorities of them were in agreement with them. The other prominent painter are Karpoori Devi, Pushpa Kumari, Mahasundari Devi, Godavari Dutta and many more. The positive aspect about Mithila painting today is that it is supplementing income of many households, has brought out the rich cultural heritage of Mithila, has bestowed pride to Maithils and is enriching the canvas of Art world.