Painting

Each painting is a prayer when the Madhubani artist takes out her palette of home made dyes. Created from the depths of their devotion to God, their paintings were confined to the inner walls of houses. This art form first gained public recognition in the thirties when a British official stumbled on these paintings. In the 60s, the town of Madhubani or Mithila, was hit by a prolonged drought resulting in a severe economic crisis. To alleviate the situation the Government of India encouraged the women to commercialise their art as a non-agricultural source of income. Ever since, the Madhubani has moved out of the ambit of a closed society to captivate audiences across the globe. There are three distinguished styles corresponding to three different casts: The Brahmins indulged in colour and drew their inspiration from the sacred texts with stories of Krishna, Ram, Shiva and Durga. The Kayastha (a little below the Brahmins in caste hierarchy) also painted similar subjects but only in black and red colours. The Brahmins and the Kayastha's pictorial styles are generally known as Madhubani or Mithila painting". Noted among their art are the kohbar ghar paintings, made on the nuptial chamber and carry symbols of sexual pleasure and procreation. Studies indicate that their style dates back to the period of the Aryan invaders. The third style is the Dusadhs variation. A low caste group they were not allowed to represent divinities. They could only base their work on the vegetal or animal world, or, of Dusadh culture hero Lord Salhesh. Their style is commonly known as Tattoo or Godhana painting. The Godhana art appears repetitive and simple in design, marked by line drawings in several horizontal margins. It possesses an inherent charm and sophistication with its intricate patterns in just black or with few basic colours. The Dusadhs motifs were directly inspired by their own tattoos, a skill which has its origins in the primitive arts. Over the last 30 years with increased exposure and market demands these styles have witnessed an expansion in subject matter. While all 3 forms are immediately recognisable as Madhubani, there has been a cross over of basic elements and ideas.