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Photo: R. Shivaji Rao

RIOT OF COLOUR: Lakshmi Devi and her son Prakash Kumar display their paintings

“Observing and absorbing from the work of my mother and other women in the family, this art has become an intrinsic part of my life since childhood,” reminisces this native of Jithwarpur village in Madhubani district.

Also known as Mithila painting, Madhubani art is rooted in the past and steeped in the tradition of Bihar. Madhubani means ‘forest of honey.’

In village dwellings, the walls and floor of the traditional bridal chamber called kohbar were decorated with auspicious motifs, gods and goddesses, as was the kohbar of Lord Rama and Sita during their marriage ceremony. Over the centuries, the tradition has endured and is followed at weddings and upanayanams.

When and how did this genre become known to the rest of India? In the late 1960s, Bhaskar Kulkarni, an employee of the Handicrafts Board, was urged by Pupul Jayakar to explore visual folk art forms in Bihar’s remote villages. Greatly impressed by the motifs within each home, he persuaded the women to reproduce the designs on paper. “People loved our work and with the Government’s encouragement it gradually became a means of livelihood,” says Lakhmi Devi.

Every family counts several artists within its fold. Thus art became a tool of empowerment for scores of unlettered women well-versed in the rich vocabulary of their cultural legacy. Early artists such as Sita Devi and Ganga Devi are revered for their amazing creativity which enriched the traditional repertory. Ganga Devi was awarded Padmasri and a road was named after her in Mithila.

The recipient of several awards including the State Award, Lakshmi Devi has conducted classes and workshops for the underprivileged. Patience, concentration and imagination yield excellent results. Her line drawings are distinguished by free-flowing contours and a wealth of intricate detailing.

The use of the double parallel lines to define outlines is a characteristic feature of Madhubani. Patterns are created using straight lines, curves, dot-and-dash combinations. The imaginative juxtaposition of lines is what sets one’s work apart. A telling illustration is mother Susheela Devi’s portrayal of Ganesha amidst peepul leaves in which no two leaves are alike.

Lakshmi Devi’s three daughters, two sons and a son-in-law are all skilled artists. While the line drawings make bold statements in black and white, the use of colour adds a whole new dimension. Colours may be subtle or vivid depending on the subject.

First, the motif is sketched on handmade paper using a pen — a thin bamboo stick whittled to a sharp point, dipped in black pigment. Once the stylised forms are clearly defined, colour is filled in. “We use only natural pigments. Laborious process, yes, but a labour of love,” explains son, Prakash Kumar Chaudhary.

For instance, a paste of charcoal soot and water yields black. Yellow is derived from an infusion of marigold flowers, red from madri and arhul flowers, blue from aparajitha blossoms and green from palak, neem leaves and grass. Themes range from the Hindu pantheon and mythological figures to humans, birds, animals, fish, foliage, the sun and the moon.

From mud-daubed walls to paper to fabric, it has been a slow, steady journey. “Today, we also embellish saris, salwar sets and stoles with Madhubani motifs” — Prakash unfolds cotton-organdy saris that are collectors’ items. It takes one month to complete each piece.

Currently, the mother-son duo’s works are on display along with a varied selection of crafts until October 24 at the KADCO (Kerala Artisans Development Corporation Ltd) exhibition at Sankara Hall which has offered much encouragement and support. There are paintings to suit every pocket, with prices ranging from Rs. 50 to Rs. 2,500. “We look forward to a better response from the public. The livelihood of tribal and rural artistes rests in their hands,” says the coordinator, Ashok Sharma. For details, contact 94443-33690.

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