MADHUBANI PAINTING

MADHUBANI PAINTING

1. TOPIC MADHUBANI PAINTING

2. MAP M I T H I L A

3. Madhubani paintings or Mithila Paintings is a style of Indian painting, practiced in the Mithila region of Bihar state, India.The name is itself named on the village Madhubani The Madhubani painting or Mithila Painting are originated at the time of the Ramayana, when King Janak commissioned artists to do paintings at the time of marriage of his daughter, Sita , to Hindu god Lord Ram. Madhubani paintings has been done traditionally by the women of villages around the present town of Madhubani (the literal meaning of which is forests of honey) and other areas of Mithila . The painting was traditionally done on freshly plastered mud wall of huts, but now it is also done on cloth, hand-made paper and canvas. Madhubani art is a form of traditional Indian art form. HISTORY

4. AS PER BELIEF OF THE PEOPLE OF MADHUBANI THAT’S GODS VISITS EACH IN THE MORNING TO BLESS THEM WITH LUCK AND PROSPERITY. MADHUBANI PAINTINGS STARTED AS A WELCOME PAINTING ON THE WALLS,DOOR, AND FLOORS FOR GODS. TILL THE 1960s IT WAS A PURELY DECORATIVE ART.BUT THE BIHAR FAMINE OF 1964-65 TOOK ITS TOIL ON THE AGRICULTURE TO FOR OF LIVELIHOOD. THE ORIGIN

5. MADHUBANI PAINTING

6. WALL PAINTINGS

7. Madhubani paintings mostly depict nature and Hindu devotional events, and the themes generally revolve around Hindu deities like Krishna, Ram, Shiva, Durga , Lakshmi , and Saraswati . Natural objects like the sun, the moon, and the religious plants like tulsi are also widely painted, along side scenes from the royal courts and social events like weddings. Generally no empty space is left; the gaps are filled by paintings of flowers, animals, birds, and even geometric designs Themes of Madhubani Paintings

8. BRAHMIN STYLE TATOO STYLE KSHATRIYA STYLE THE THREE STYLES OF MADHUBANI PAINTING

9. The unique feature of the Kayastha tradition is the use of monochrome color, combination, like black, red, green, maroon etc. It was basically a practice of elaborate wall paintings of the nuptial chamber, Kohbar Ghar with representations of the lotus, bamboo grove, fish, birds and snakes in union, which largely symbolizes fertility and life. Even when this style is conceived in paper, single color line work defines the Kayastha style of painting even today. Kayastha

10. Unlike the Kayastha , the Brahmin style of painting lavishly deals with rich variety of colors. Their easy access to Hindu sacred literature has helped them immensely in portraying the rich Hindu iconography and mythology. The Brahmin

11. The Tattoo – based paintings reflect the primitive art and creates its impact by a serial replication of the same image. The lower section of the society, existing in maithil society at that particular time, practiced this style of madhubani paintings. The painting is originally in the form of a line – drawings and is divided into several horizontal margins. Considering its rich use of color it is closer to the Brahmin school of painting. The Tattoo

12. USE OF BOLD NATURAL AND ARTIFICIAL COLORS. A DOUBLE LINE BORDER WITH SIMPLE GEOMETRIC DESIGN OR WITH ORNATE FLORAL PATTERNS ON IT. SYMBOLS,LINES AND PATTERN SUPPORTING THE MAIN THEME. ABSTRACT- LIKE FIGURES,OF DEITINS OR HUMAN THE FACE OF THE FIGURES HAS LARGE BULGING EYES AND A JOLTING NOSE EMERGING OUT OF THE FOREHEAD. SALIENT CHARACTERISTICS

13. FISH SYMBOLIZE FERTILITY,PROCREATION AND GOOD LUCK. PEACOCKS ARE ASSOCIATED WITH ROMANTIC LOVE AND RELIGION. SERPENT ARE THE DIVINE PROTECTOR . HINDU DEITIES LIKEKRISHNA,RAMA,LAKSHMI,SHIVA,DURGA AND SRASWATI. PAINTING BASED ON SCENES FROM ROYAL COURTS AND SOCIAL EVENTS,LIKE WEDDINGS ARE ALSO MADE. MOTIF OF FLOWERS ,ANIMALS AND BIRDS OR GEOMETRIC DESIGN. MOTIFS

14. BLACK COLOURS IS OBTAINED BY MIXING SOOT WITH COW DUNG. YELLOW FROM TURMERIC OR POLLEN OR LIME AND THE MILK OF BANYAN LEAVES. BLUE FROM INDIGO. RED FROM THEW KUSAM FLOWER JUICE OR RED SANDALWOOD. GREEN FROM LEAVES OF WOOD APPLE TREE. WHITE FROM RICE POWDER. ORANGE FROM PALASHA FLOWERS. THE COLOURS ARE APPLIED FLAT WITH NO SHADING. IN THE LINEAR PAINTING , NO COLOURS ARE APPLIED . ONLY THE OUTLINES ARE DRAWN. . COLOURS

15. THERE IS NORMALLY A DOUBLE LINE DRAWN FOR THE OUTLINES, WITH THE GAP BETWEEN THE LINES FILLED BY CROSS OR STRAIGHT. THE COLOURS ARE USUALLY DEEP RED,GREEN,BLUE,BLACK,LIGHT YELLOW,PINK AND LEMON. ENERGY AND OASSION FIND EXPRESSION THROUGH THE USE OF RED AND YELLOW . THE BRAHMINS PREFER THE VERY BRIGHT HUES WHILE THE KAYASTHAS OPT FOR MUTTED ONES. IN HARIJAN STYLE OF PAINTING ,HAND MADE PAPER IS WASHED IN COWDUNG.

16. •Cloth/Handmade paper •Trace paper •Fabric colours (for cloth) •Poster colours (for paper) •Black outliner •Carbon sheet MATERIAL REQURED

17. MAITHLI BRAHMINS AND KAYASTHAS . VILLAGE OF JITWARPUR(STRONGHOLD OF BRAHMINS) AND RATNI(DOMINATED BY THE KAYASTHAS). INTIALLY , HOME MADE NATURAL COLOURS WERE OBTAINED FROM PLANT EXTRACTS LIKE HENNA LEAVES,FLOWER, BOUGAINVILLEA,NEEM. NATURAL JUICE WERE MIXED WITH RESIN FROM BANANA LEAVE AND ORDINARY GUM IN ORDER TO MAKE THE PAINT STICK TO THE PAINTING MEDIUM. NOW SYNTHETIC COLORS COME IN POWDERED FROM,WHICH ARE THEN MIXED WITH GOAT’S MILK. BVLACK CONTINUES TO BE OBTAINED FROM THE SOOT DEPOSITS BY THE FLAME OF DIYA , DISSOVED IN GUM. THE PAINTERS

18. TWO KINDS OF BRUSHES ARE USED –ONE FOR THE TINY DETAILS MADE OUT OF BAMBOO TWIGS AND THE OTHER FOR FILLING IN THE SPACE WHICH IS PREPARED FROM A SMALL PIECE OF CLOTH ATTACHED TO A TWIG. BRUSHES

19. THANX