Madhubani Paintings

Madhubani paintings have no specific dimension. They are carved in small sizes as well as in big size on walls, floors, clothes or craft papers. Rectangular size of paintings, generally 2” x 4” are very poplar on silk and craft paper. The decorative style of Madhubani Paintings abhors empty space. Whether she is making her painting on a wall, a patch of ground, a piece of craft papers, silk and cotton cloths. The women will work out here design by filing it more and more with familiar details which suddenly seen to take on life and power. Now a day Madhubani paintings are designed on Sari, bed sheets, curtains, table clothes, and readymade garments. These are also designed on walls of building and down roof. There are three types of traditional paintings, namely wall paintings, line paintings and Godna paintings, known as Harijan paintings. The paintings on walls have deeper themes, also narratives, for they are the stories being told sometimes in a series of panels.

Apart from their decorative purpose, they also constitute a form of visual education like picture books from which one learns of one”s heritage. The most elaborate wall painting is done in the nuptial chamber i.e. Kohbar room. The paintings designed to bless the couple with fertility and protect them from the evil eyes of demons and evil spirits. Pictures of Nayna-Jogin are painted on the four corners of the wall and the alpanaadoms the floor. Figures of Panch Gaurh, Nayagraha, the sun, the moon, the fish and the tortoise, snakes, frogs, betal leafs, Kadambh trees, parrots, gods and goddess are all beautifully depicted in the kohbar. While most of the things like to betel leaf, tortoise etc are considered thus auspicious. The parrot also known as the “love bird” signifies love and the fish, which is Vishnu”s first incarnation, is drawn for advent of children. The rat that often creeps in indicative of the presence of “Ganesh”. Images of various protective deities are also painted on the courtyard walls when a marriage is to take place in the family.

Mithila art is never purely decorative but it is a wealth of blessings and protection against destructive evil forces, the anger of the gods and their jealousy. Krishna”s life is a constant favorite theme with the artists of Mithila, who see the ecstatic circle in which he leads the gaps as the wheel of life, the eternal revolving of appearances. Mitila art has one subject, which appeals without qualification of faction to all the story of Rama and Sita, a pattern for human couples. The Ramayan, an Epic story, has no end, but on a higher level of meaning, it is a perfect illustration of the destiny of mankind. Every Mithila woman more of less identifies herself with Sita in her love and trust of her husband. And each husband, even if not so handsome or so courageous, is Rama atleast. In this context Rama and Sita appear in countless paintings.