MADHUBANI PAINTING

1. MADHUBANI
PAINTING

2. 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.

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.

8.  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

9.  BRAHMIN STYLE
 TATOO STYLE
 KSHATRIYA STYLE

10.  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.

11.  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.

12.  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.

13.  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.

14.  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,SHIV
A,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.

15.  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.
.

16. • 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,LIGH
T 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.

17.  •Cloth/Handmade paper
•Trace paper
•Fabric colours(for cloth)
•Poster colours (for paper)
•Black outliner
•Carbon sheet

18.  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.

19.  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.