Mithila Paintings and Journey of women

By Manisha jha
Abstract

Name of painting- Kohbar, by Manisha jha

Visual images of India call to mind immense diversity, in form, colour, expression

and emotions evoked in their multiplicity. They fill up the socio-cultural fabric of the

sub-continent called India. It is this variety which that distinguishes India’s cultural

identity. Its physical, religious and ethnic multiplicity is as immense as its linguistic

diversity. Underneath this diversity lies the continuity of Indian civilization and social

structure from the very earliest times until the present day.
Continuity in a tradition formed the basis of folk art as it did of folklore. Craftsmanship

was not a part of an artist’s training rather an inheritance that was imbibed much as

stories from childhood. Retaining familiar motifs and pragmatic forms, little or

practically no change in execution techniques, the artisan took to the narration of

personal ‘histories’, much as each story that got a twist by the narrator, the art form

evolved while retaining its tradition basis. One may thus safely presume that

traditional rural arts in India were stimulated by functional purpose and ritualistic

connotations as indeed by individual creativity and recreational urge. Mithila1 was a

large and powerful ancient kingdom in what are now north-eastern India and

southern tarai region of Nepal. One of the most powerful capitals of eastern India the

region is a vast plain reaching out in north towards the tarai regions bordering Nepal,

to the south caressing the shores of Ganges and stretching out in west towards

Bengal

The women folk of this region have been practicing this folk art for centuries primarily

to consecrate space around their habitation, during rituals. They used to compose

elaborate wall paintings (Fig.-2) or Bhitti-chitra, floor paintings or Aripan2 on their

mud homes. These paintings were passed

from one generation to other without any

formal training but naturally as daily chore

activity. This art is the biggest example of

community living where a whole cluster of

women in the “aangna”/courtyard or village

 
took part in writing the Kohbar Ghar3 Fig.-1 Figure 2 – Durga and Saraswati Painted on wall by 
Manisha Jha 
(the bridal chamber) and Gosain Ghar4 Fig.-3

(the family deity room).

Even though they have been practising the art

form for centuries5, it is only over the last three or

four decades that these women were accorded

recognition as artists. The evolution of Madhubani

painting is directly related to the exposure gained

by the women artists during their journeys from

their confined anganas (courtyards) Fig.-4, to

galleries and museums across the world. The

journey began after the Bihar earthquake in 1934

resulted in a serious crisis of food and shelter in Fig.‐3 – View of typical Bhagwati Ghar, which is part of 

each house of Mithila– Village Bhojpandaul, Madhubani 
Distt. Bihar 
the region. To improve the economic conditions of

the local people, the government, after

discovering this painting style peculiar to the

region, initiated women of the area to transfer

their wall paintings6 to paper, which could

subsequently be sold through government

emporia.  
Fig.‐4 – View of typical Angana – Courtyard, which 
is a multipurpose area. Village –Satlakha, 
Government agencies distributed paper among Madhubani Distt., Bihar. 

the villagers and thus the wall paintings of gosain

ghar, bhagwati ghar and tulsi chauraha were discovered by the outside world. And

thence began a parallel journey for both the art and the artist. However, like most

traditional art forms, the work of the women artists remained anonymous till very late,

with few daring to put their signatures on their renderings.

In the late 1960s and 70s, with the growth of painting-on-paper for sale, women

began earning incomes that were previously unimaginable. In many cases they were
able to retain their incomes and use it for the schooling of their daughters, and for

better food and clothing for their children or themselves. For many it was an

empowering experience. And at least in some cases, the families of young women

who were talented painters did not have to pay dowry, or as much dowry, while

getting married. Well-known painters were also invited to travel to fairs and

exhibitions elsewhere in India, as well as internationally to countries like Japan7,

Europe, the United States and Russia. They usually brought a son or husband along

to assist them, but success in painting meant both new income and greater social

status—locally, nationally and internationally—and mobility.

My paper tries to look at the growth of Mithila paintings across the world along with

the growth of women of that region. This painting tradition is biggest example of

women empowerment. It is very surprising and interesting to see women moving

away from their aangna (courtyard), and moving to different country’s of the world

through their art. My paper would look at the change in material use, subject and

aesthetics. It is very interesting to note the change in materials like the colours

obtained from flora and fauna growing around their houses and the use of chemical

colours at present.

Being a Mithila painter myself, I have experienced this change myself as I have seen

my grandmother using colors in “pudia”8 available in local market. Aripan was always

done with “pithar” i.e. wet rice paste.

Recognition as an Art Form

The Madhubani / Maithali art form has come a

long way from where it began. A turning point in

the journey began in 1934, when the wall

paintings were discovered by William and Mildred

Archer9, who took photographs and bought them

to the notice of art collectors, scholars and

government agencies. Between the 1950s–70s,

Fig.‐5, Tree of life (part painting) Acrylic on Canvas by 
Prime Minister Indira Gandhi, promoted the art Urmila Devi (w/o Bilat Pasman) 5’ x 4’, Collection the artist. 

form in a big way and encouraged artists personally by commissioning their works

for the prime minister’s official residence. During the same years Bhasker Kulkarni

and Upendra Maharathi10 managed to convince some of the artists to paint on paper

and travel across the country to publicise the art form. At this point Pupul Jaykar,

Chairperson of the Crafts and Handicrafts Board, also contributed significantly by

assigning commissioned works to the artists in Delhi.

In the 1970s and 1980s, scholars like Erica Moser11 and Yves Weguard12 influenced

the godana (tattoo) style of paintings. Others like Raymond and Naomi13 Owens

bought large numbers of paintings and sold them across the world; they also

encouraged artists to develop the narrative style.

Materials like paper and colours were supplied to these artists free of cost and the

resulting work was sold through government handicraft shops all over the country.

As a result these works became famous as ‘Madhubani Paintings’. Women of the

region still paint on the walls and floors of their houses but almost every artist

nowadays, sometimes men too, paint on paper enabling their art to be sold around

the world.
Liberation through Art

Mithila had a very conservative society where women never went out of their

aangna/ courtyard. There was a very clear demarcation of inside- outside activities

done by male and female members of the family. Specially, women from upper caste

Brahmin and Kayastha family could never think of going to the village “haat”14

(market).Society was much liberal for the Dalit women, may be because they had no

option but to work on fields and other household works in big families.

In such harsh social conditions five women artists from Jitwarpur, Ranti and

Raseedpur villages came forward to work on paper given by Bhaskar Kulkarni.

These brave women were Sita Devi, Jagdumba Devi, Mahasundari Devi, Jamuna

Devi, Palti Devi. Following their foot prints Godavri Dutt and Bauwa Devi joined

them. Even Today, when I sit under a tree in my village, it gives me goose pimples

thinking about the journey of this art and the artists as, Mithila still has very

conservative society.

The Mithila artists painted on common

themes, however, preferences differed

according to caste. The three different schools

of Madhubani paintings can be classified into

three types according to style and caste:

Brahmin -Bharni style

Kayastha -Katchni style

Goidana-Tattoo style of

the Harijan community.

Fig.‐6, Stories of Panchtantra (part detail from the panchatantra series) 
Acrylic on Canvas, 7’ x 7’,   by Manisha Jha 
Bharni Paintings

Sita Devi a Mahapatra Brahmin was the

pioneer in developing the Bharni15 style of

colour painting. The Brahmin style of painting

lavishly deals with rich variety of colours.

Their easy access to Hindu sacred literature

like Ramayana and Mahabharata helped

them immensely in portraying the rich Hindu

iconography and mythology. All artists of that

 
time could orally recite the whole epic. This Fig.‐7, Kaali, Poster color on Handmade Paper, 22” x 30” 

style is locally known as Bharni, which means By Manisha Jha, collection Manisha 

filling. The Bharni style of painting is bold and colourful, with rich line work around

the coloured forms. The exposure of Brahmin painters to rich Hindu iconography and

mythology helped them to develop forms and subjects very easily. The common

subjects were Vishnu, kaali (Fig.-7), Durga, shri Krishna and all the gods and

goddesses.

Sita Devi hailed from Jitwarpur village of Madhubani

district. Apart from drawing traditional Kohbar paintings she

painted scenes from nature like lion in the jungle which is

presently in collection of Craft Museum16, New-Delhi. Sita

Devi was invited to paint the walls of Prime Minister Indira

Gandhi’s office at New Delhi. She was not only nationally

recognized; she travelled extensively in Europe and Fig.‐8, Sita Devi, The Tribune Thursday, 

December 15, 2005, Chandigarh, India 
America and presented her works at various cultural fairs
and exhibitions. After seeing Sita Devi’s success many other Mahapatra Brahmin

women from Jitwarpur, and adjoining villages, came forward to present their art.

Among them Baua Devi inherited her style quiet flawlessly. She is also one of the

most dynamic painters in the history of Mithila paintings, known for her paintings on

snakes. Her works are part of many prestigious museums of

the world

 
Fig.‐9, Artist – Baua Devi, Painting on Mahabharat 
at Indira Gandhi National Centre for Art  
Fig.‐10, Sita Devi presenting painting to then 
Prime Minister Mrs. Indira Gandhi, Year 1969  
Photo credit Manisha Jha 

   
Fig.‐11, Maata Kunti, with her five sons, from the 
Fig.‐12, Wedding of Maata Kunti with King Pandu 
Mahabharta series, Acrylic on Canvas, 22’ x 7’, by 
Acrylic on Canvas, 22’ x 7’, in collection of Janpad Sampada, Indira Gandhi 
Manisha Jha 
National centre for Art
In collection of Janpad Sampada, Indira Gandhi 
National Centre for Art 
Kayastha Katchni style of paintings

In the beginning when Mithila paintings were

being done on paper only a few Brahmin

women took the opportunity to practice this

art form. However, a decade later some

women from the Kayastha17 community,

attracted by the name, fame and money the

art brought with it, came forward with a new

style. The women from the Kayastha

Fig.‐13, Kaali, Ink on Handmade Paper by Bimla Dutt, who is one 
community started to work on line paintings. of the Pioneers of Kachni paintings from Ranti village of 
Madhubani Distt. 

The unique feature of the Kayastha tradition was the use of monochrome or just two

colours. Locally these paintings were known as line paintings. These paintings were

also famous as Katchni18 paintings since, all the forms which were drawn were filled

with different type of rendering instead of filling colours. The pioneer of this style of

painting was Ganga Devi, from Raseedpur village of Madhubani district. This style of

painting evolved more in Ranti village of Madhubani district. In this style the subject

were more or less same the difference was in the way the whole paper was covered

by different types of line work.

Fig.‐14, Stories of Gonu Jha 
Acrylic on Canvas, 3’ x 4’ 
By Manisha Jha, Narrative form of paintings 
developed with introduction of paper and fine kalam 

 
Tattoo Painting of Dusadh community

The success of Brahmin and Kayastha

women painters inspired women from the

lower caste to paint. Mostly all Dusadh

being landless, they survived on service

given to the upper caste.

Fig.‐15, Weddings of Mithila, Acrylic on Canvas, 6’ x 6’ by 
The dalit/tattoo paintings evolved due to Urmila Devi Pasman, collection Manisha Jha 

the inner urge of dalit women to do something to increase their household income.

After seeing the success of higher caste women, and on the initiations of outsiders

like Bhasker Kulkarni and German anthropologist Erica Moser, Dalit women started

painting on paper. Jamuna Devi, of the Chamar community of Jitwarpur village was

the first Dalit woman to enter the area of commercialized painting. She was pioneer

of tattoo or Goidana paintings.

They took form from the tattoos on their body as they were not aware of the Hindu

cosmology like the upper caste. Another reason could be the fear of upper caste, as

They began to draw on their vibrant folklore, retold through legends, songs and

rituals associated with the Rahu, Sun, Moon and their legendary cultural hero, Raja

Sailesh19.

From Mud Walls to Paper-----Colours and

Materials used

For centuries women of Mithila have been

painting on the interior walls of Bhagwati ghar

(family deity room), Kohbar ghar and on the

floor of the courtyard. The paintings on wall

Fig.‐16, Mud floor being prepared for making Aripan during 
the festivals and for ritual ceremonies 
were colourful with bold forms and rich bright colours. Whereas, the paintings on

paper became more intricate, obviously because of smooth surface of paper minute

nib work was possible.

The artist depended on the natural surroundings for extracting the colour Most of the

colours were obtained from the flora growing around, from clay and minerals, barks

of trees like peepal, and other local flowers and seeds. It is quite interesting to note

that the main subjects painted were related to nature, and nature inspired and

supplied material to these women to paint. Gods and goddesses and rituals were the

main subjects and had an important role to play in the colour used. The main colours

used were pink, red, chrome yellow, lemon yellow, Persian blue, orange, green,

black and white.

A fabric or a piece of rag was generally used for preparing the wall, floor and paper.

Cow dung was applied both with hands and cloth on wall and floor. This technique is

called “potna”. In the early Mithila paintings, a small piece of cloth was tied on a twig

to apply wet colour.

Kalam is the Sanskrit word for pen, which is also known as qalam in Persian.

Charusmita Gupta20 in her Indian folk and Tribal Paintings explains that since the

basic purpose of a pen is to write and not paint, painting by pen in many folk

communities was known likhiya. The Kayastha women used fine nib and holder to do

fine line paintings on paper. Most women artists of early and mid seventies used

twigs to paint, which was conveniently discarded after use. In late seventies and

early eighties with exposure to larger world painter’s like Ganga Devi21, Sita Devi

breaking their traditional thought process moved on to paint their experiences in

different countries away from their ritual set up. Though they did not change their

technique or colours used, these artists began to use different painting tools. Ganga
Devi who used reed kalam switched to ink pen and chemical ink. Of late, painters

have started using poster, fabric and acrylic colours, colours that are much more

durable and easily available.

Change of material from mud walls to paper bought

1. Lot of freedom of expression

2. Intricacy of art

3. Respect and recognition for women

It bought visibility of art and artist to the outer

world, as paintings on paper could be

transported very easily and could be exhibited

Fig.‐17, The Golden Deer (from the Ramayana series ) 
in different museums across the globe very Acrylic on Canvas, 2008, Collection of Manisha Jha 

easily

Globalization and Changing Nature of

Women’s Life

Women Empowerment

The domestic routine expressions of the Mithila

painters were transformed into art, empowering

them both spiritually and economically. Most of

the artists discovered their hidden power through

their artistic expressions. As Heera Kanth an artist

from Ranti village recalls that “I got married

Fig.‐18, group of women working together, with introduction 
because of my paintings, painting is my son”. of new materials, and exposure of women to different cities 
the caste system existing in the painting style has totally 
merged. 
The sale of paintings brought economic freedom to women(Fig.-19). The women

whose world was confined to their courtyard or Bhagwati ghar, slowly moved out to

urban areas like Delhi, Bombay, Japan, and United States. They became decision-

makers of their house. They contributed to their children’s education and in

constructing pucca (permanent) houses for their families. Sita Devi, as a pioneer of

this painting tradition, epitomizes the art form which not only changed her life but

also that of her village. It was because of these

women artists that villages like Jitwarpur, Ranti

and Raseedpur in Madhubani district became

world famous. Sita Devi’s son used to travel with

her and assist her in most of her commissioned

works. Chandrakala Devi, a fisherwoman and now

 
Fig.‐19 ‐ Women selling their works through exhibition. 
an established Mithila painter believes that ‘Kamla

mai is always with me’ after the murder of her husband she could support her four

daughters and old in-laws just because of her inner strength and prosperity which

her paintings bought to her. Today with her hard work she has been encouraging

and guiding women of the upper caste who have been coming to her for guidance

after seeing her success. Similarly, Urmila Devi wife of Bilto, the Goidana painter of

Jitwarpur village, is the pathfinder for all her five children who have been assisting

her in her work and have taken up painting as a full time profession. Today, Urmila

(Fig.-20) has the confidence of talking to all the sahebs (officers of handicraft office)

and her husband Bilto is very happy escorting her to all the exhibitions. She says

quite fondly that it is because of her paintings that the ‘younger generation do not

mind having a cup of tea with me”.

Baua Devi married off all five daughters of hers in to

decent families with her income. Today, four of her

children are well settled in Delhi along with their

mother. All her children including her son-in-law

have taken to their mother’s business. Godavri Dutt

 
Fig.‐20, Urmila Devi Pasman, Village Jitwarpur, 
the most famous painter from Ranti Village shares a
Madhubani Distt. 

similar story. After her husband left her she never looked back in life. She was the

main decision maker and financer in settling her only son and getting all her

granddaughters educated and married in to good families.

Today, many painters like Baua Devi, Shanti Devi, Heera Kanth and many unknown

artists have taken the bold decision of shifting to Delhi. They are all doing

commissioned works and exhibiting their works in government exhibitions.

Paintings by Men

Seeing the success of the women, several men—who had never participated in the

ritually oriented wall paintings—also began painting on paper, though most depicted

secular images. The first of the men were a family of Tantric priests who produced

paintings on the avtaars of Vishnu, Shiva and Shakti along with their yantras. Since

1980, Krishnanand Jha has been painting these images along with paintings on

episodes from the Ramayana and Krishna Leela. Following the footsteps of his

father his son, popularly known as Goluji, has been painting trees and animals.

(paintings by Krishnanadjee and his son)

Another artist, Gopal Saha, who also started painting around 1980, is known for his

paintings done on local subjects like an overcrowded bus, train etc. As compared to
the paintings by Krishnanand Jha his paintings are very bright with distinct line work.

He is one of the most imaginative painters who have been doing very contemporary

topics. Gopal is assisted by his two sons in completing his works. It is quite

interesting to note that several husbands have left their works and have joined their

wives, helping them in selling their paintings.

Conclusion

The emerging demand from tourists, scholars, and elite urban collectors has

contributed in developing individual styles. It is very important for cultural critics and

public intellectuals to understand that this commercialization is not destroying Mithila

painting. In fact, since last forty years Mithila painters have been expressing their

personal experiences in their works. As said earlier it is changing with the change in

environment, education level and personal experiences of individual artists. Mithila

painting is a very powerful medium of visual arts which has affected many urban

artists, designers, students and research scholars all over the world. It is very

interesting to note that Mithila painting is one of the rare folk art which has not

stagnated unlike patachitra, tanjore paintings; it is a living art which is growing

everyday with the growth of its artists. Two types of markets are emerging one is the

mass produced section of Mithila paintings seen in stacks at Dilli Haat and other craft

bazaars and other section is the contemporary Mithila paintings which are finding

very comfortable space in art galleries all over the world. I believe very strongly that

Mithila paintings and its artist have broken the barrier where folk art and

contemporary art are seen differently.

1. Mithila – Mithila the present day Bihar was named after their princess

“Maithili” – i.e. Sitaji. As per the folktales it is believed that king Janak ordered

all the people to decorate their houses with paintings on the walls. It is also

believed that Goddess Parvati herself painted the Kohbar Ghar of Lord Rama

and Goddess Sita.

2. Aripan – The Maithili word Aripan stems from the Sanskrit alepana which

derives from the root lip, meaning to ‘smear’, and therefore basically refers to

smearing the ground with cowdung for ritual purification. In Mithila Aripan is

made of wet rice paste with four fingers.

3. Kohbar Ghar – Mithila has a tradition of four day wedding, all the rituals which

take place in the room mostly in the North Eastern part of the house is known

as Kohbar Ghar. On the Eastern wall of the Kohbar Ghar, Kohbar painting is

done.

4. Gosain Ghar – Every house hold in Mithila has a separate deity room

(Kuldevta) this room is known as Gosain Ghar.

5. Centuries – It is believed that Mithila paintings have being practiced since the

time of Ramayana and has been coming down generations orally from

mothers to daughters.

6. Wall paintings – Following the disastrous earthquake in 1934, William G.

Archer, the local colonial sub-divisional officer, discovered the wall paintings

existing in different households of Mithilanchal. He photographed these

paintings and his photographs were the earliest documentation of the wall

paintings in 1930’s.

7. Japan – Japan is the only country which has a Mithila museum started by

Tokio Hasegawa, the founder of Mithila museum in Niigata, Japan. He

 commissioned all the early Mithila Painters from Ganga Devi, Karpoori Devi,

etc. To stay and paint in the Museum.

8. Pudia – color powder folded in piece of paper is locally known as pudia.

9. William and Mildred Archer – Archer and later his wife Milderd, also donated

to the British Libarary a set of “Aide memories” said to be from the 1920’s to

1940’s, use by woman to help in painting the marriage chamber, as well as 12

paintings dated 1967-1975.

10. Bhasker Kulkarni and Upendra Maharathi – He was a Bombay based artist,

who was commissioned by All India Handicraft Board to go to the district town

of Madhubani and to encourage local women to put their paintings on paper

so they might sell them as a new source of family income.

11. Erica Moser – was a German scholar, who stayed in Jitwarpur and has a big

contribution in development of Godana painting and tattoo painting.

12. Yves Weguard – He was a French collector who visited villages of Madhubani

Distt. Several times and collected painting from different artists. Although the

painting in his book are from early Mithila painter but the inferences made by

him are not correct. Women Painters of Mithila. London. Thames and

Hudson. (Also 1976 in French).

13. Raymond and Naomi – Raymond and his wife Naomi Owens, who spent

many months with the painter between 1977 and 2000. He was one of the

main collectors of this art.

14. Haat – The village market is locally known as Haat.

15. Bharni – The filling of colors within a particular form is known as Bharni, the

colored Brahmin paintings were known as Bharni painting.

 16. & 21. Craft Museum – Ganga Devi the pioneer of Kachni paintings was given

very prominent presence in the museum by the then director Jyotindra Jain.

Refer JAIN, JYOTINDRA. 1997. Ganga Devi: Tradition and Expression in

Mithila Painting. Ahmedabad, Mapin.

17. Kayastha – The money lender community whose women painted the

monochrome or the line painting.

18. Katchni – The breaking of forms through different techniques of line is locally

known as Katchni.

19. Raja Sailesh – The local god worship by the dalit community, JAIN,

JYOTINDRA. 1995. ‘The Bridge of Vermilion: Narrative Rhythm in the Dusadh

Legends of Mithila.’ In Indian Painting: Essays in Honour of Karl J.

Khandalavala. Ed. B.N. Goswamy and Usha Bhatia. Lalit Kala Akademi, New

Delhi. 207-22.

20. Charusmita Gupta – Indian Folk and Tribal paintings, published by Roli Books

– 2008.

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New Delhi.

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BROWN, CAROLYN HENNING. 1996. ‘Contested Meanings: Tantra and the Poetics of

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