Aksharwarta March 2023 Paper.pdf

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ISSN 2349-7521, Impact Factor - 7.125
Vol - XIX, Issue - V, March - 2023
Assistant Professor,Department of Education,Magadh University, Bodhgaya, Bihar
"AKSHARWARTA" Monthly International Refereed Journal
A Study of Geometrical Conception in Folk Art :
Madhubani Painting of Bihar
Om Prakash
MSME Reg. No. UDYAM-MP-49-0005021
Abstract:-Apart from being a social animal,
man wants to show his thoughts in some form or the
other in the society. Mainly the expression of man's
emotion, whether objective or imaginative, its origin
inspires the state of mind and forces it to be used out-
side. The authentic expression of these concrete facts
is displayed in front of us in the form of genres like
art, music, literature etc.
We can see the emotional expression of man
in the form of art and science. Our habit often excites
us to do something, from this perspective we start
showing our skills in the form of art.
Today's forms of art have been seen even in
ancient times, the proof of which we can find in
archaeological excavations. Able to accept through
the information obtained from but today the promo-
tion of art in our country has become so strong that
our society has started using a new artistic method
from ancient art to modern art, which we call folk art.
Folk art is a class work of paintings, crafts, handicrafts
etc., which people of different sections of the society
start giving an aesthetic form to their thinking and
knowledge. The same happens in the form of art, folk
music, folk literature and crafts. According to R. V.
Sarwalkar-"The feeling of beauty of non-objective
shapes is not a new concept, although non-objective
art has been considered as an important contribution
of 20th century"1
.
The current study of Indian folk art, mainly
gives information about the subject, object, artist and
some special sections of the society used in it. In the
applied research study, we will consider the linear
experiment, coordination of colours and illustration
method and its current perspective.
Key Words:- FolkArt, Madhubani, Pattachitra,
Mithila Painting, Religion, Flora and Fauna.
Introduction:-Art is the inner thoughts of
human beings which expressed absolutely. When art is
categorized in different forms, we consider the forms
of numerous work by human that flourished in our
society. The research study will explore every kinds of
traditional arts like folk art, tribal art, ancient perspec-
tive of rock art etc. in Indian context. In this study we
are owed to impress by Indian culture whether biased
with religion and several traditional practices across
the country. On the account of Indian culture folk art,
fine art, sculpture, music, dance, drama are the special
feature of study. In this research study folk art of India
will be broadly cover.
In this study, the term geometrical conception
which is core view of linear representation in each and
every art forms that in light of visual media or present
before the society. The geometrical signs always show
the visual dimension like point, curve line, straight
line, oval, circle, rectangle, square, dot and dashes.
And every folk artist likes in painting rendering or in
craftsmanship he concludes idea from same sign.
After in creation of a shape or model he uses the same
linear activity with a particular theme or subject which
is plotted in mind.
Linear visualization in folk art is the basic
conception of drawing by the artist or artisan who
indulged in this type of artwork. In art process for folk
idea the concept of drawing work always fulfilled by
the colour.The present study, the social term as folk art
does the visual presentation in society as a several art
forms of India comprise the states who are also par-
ticipating to promotion in Indian Art and Culture. Folk
Art is not limited in ideology of concrete forms in art
and craft, sculpture, architecture; it is in broad sense
of folk culture and folklore study from India and pres-
ent society. In the term of folk art includes the differ-
ent art field as music (vocal, instrumental), dance
(Katthak, Kuchipuri, Oddissi, Bharatnatyam, etc.) and
too independently attracts the same in folk literature
by the human of Indian context.

195
Present research will disclose the objectivity
of geometrical conception as linear presentation of art
by the society of North-Eastern zone from Bihar,
Jharkhand, Odisha, and Bengal along with the folk
culture in art of different modes. Generally the folk
painting has been created in the village art form from
lower class of society.
Our society in the folk art form of Bihar
region in eastern and north side of state Madhubani is
a stalwart place for that art importance. Nowadays, art
form has been popularized in across the country and
abroad. Because, the traditional method of use in
drawing idea, colours, materials etc. are available
from the local markets and the society possession in
stored easily. Also the technique is traditional art
form. This type of folk art also called in tribal society
as a tribal art form. But minor differences in presenta-
tion of tribal art the linear or sketching techniques are
bold lines, use of colour in truculent manner not as
soft or mixed in secondary or tertiary colour of
Madhubani painting in modern art in best visualiza-
tion for people. The aesthetic sequence of present folk
art of India is different modes and varied itself in sev-
eral areas etc.
"Madhubani painting is also an art which has
been recognised globally. Indian art mostly references
to religion, culture, traditional and so on"2
. Folk Art of
India is a religious among various ethically dominant
in the world. Also Indian culture categorised in dis-
tinct languages, rich traditional ritual practices among
multiple ethic and religious groups. Despite hosting a
Hindu majority it is difficult to attach a singular and
unifying notion of identity to Indian culture. In this
research study, the proposed title "A study of geomet-
rical conception in folk art: Madhubani painting of
Bihar" will be identified that in the drawing of
Madhubani Painting, geometrical signs as triangle,
oval, rectangle, square, plain line, curve line and point
are dominant in every object in picture. That pictures
which hanged on wall curtain, panel, motif and in
printing or painting on textile, geometrical signs are
appeared particularly. The artists of Madhubani paint-
ing is also feminine based in society. But the main
question of research problem that conception of linear
presentation, colour application, rendering in picture
of subject to do same. Madhubani painting is the tra-
ditionally reach than the art of Bengal and Odisha
Pattachitra, Tanjavur art of Tamilnadu, wall painting
of Jharkhand,Kalamkari paintings of Srikalahasti,
Andhra Pradesh, Rangoli of Maharashtra and Gujarat.
These are mainly subjected with flora and fauna. In
this research the religious concept how to attract the
rude lines, colours, and sign of different mathematical
groups? What was the motto behind presentation of
soft skill in painting? Folk art of Madhubani also
attracts the application of several art form of India in
folk culture as east to west, north to south. Male and
female painters are associated with this art work. We
will study of this art in economical and social per-
spective also.
Aims and Objectives of Research:-There
are several forms of art in India. But in this study the
art and rendering of lines, application of colours, sub-
jects will be the focus area. Objectivity of folk art
forms how much vulnerable to the society? Line
drawing concept of squarism, pointism, colour
enhancement and religious interest will be outcome of
research. Folk art and traditional pattern of drawing
will dominant in society and every line could benefit-
ted to this research that it will demonstrate the Indian
culture can present the design in new pattern. The
painting absolutely indicates in realistic or thematic
sense to sorrow, happiness and anxiety in human
body. We considering this art form is the best instru-
ment of communication in society by expressing the
artistic thoughts.
Research problem:-In the present study
there are many problems in the exploring the art form
with folk painting. In this folk painting of Bihar name-
ly remarked as Mithila Painting, Madhubani Painting,
comprise the traditional ideas and the subjected
around the human life, deity, and goddess impressed
by the religious believes. As per the observational
process there are the following problems arises in this
study-
The main problem of research is
" Why every painting, art work of folk painters
are subjected with geometrical drawing?
" Why the art workers are impressed to flora
and fauna?
" What are the ethical and spiritual cannon in
society?
" What is the psychological belief behind the
society to do this type of art work?
" Why the literary doctrine coined in society to
worship in villages ritual practices?
" What is the prospective dignity of the artist
and artisan who indulged in folk painting of
Madhubani art and how the government supports to
the persons?

196
These all mentioned problems to be explored and
resolve in this research study.
Geometrical conception in Folk Art of
states followed in different traditional forms:-
1. Madhubani Painting of Bihar:-
Internationally popular Indian painting style which is
made in Madhubani and Darbhanga districts of Bihar
for centuries. This painting style is known as
Madhubani or Mithila folk painting. Basically this
painting style is marked on the mural. This painting
style is a symbol of the religious faith and belief of the
people here. How this art came down from the mural
to paper and cloth, in the background of it, there is a
story about the incident of a disaster. It is said that in
1960 there was a famine in this district. The then cen-
tral government sent a team to help the residents here.
Bhashkar Kulkarni, a member of this group, after vis-
iting here, saw that there are folk paintings in the wall
of every house here. which are of excellent quality.
They were surprised. He talked to the residents here,
encouraged and inspired those to make pictures on
paper provided them with paper etc. He went to Delhi
with the pictures made and an exhibition of these
paintings was organized there. Like this painting got a
new look. In the elevation of this style 'Kamala Devi'
Chattopadhyay, Pupul Jayakar and Upendra
Maharathi etc. contribution being made.
"Madhubani painting basically is an art made
on traditional auspicious and traditional occasions.
The themes of this style are religious"3
. Like- Shiva-
Vivah, Ram Vivah, Gauri Poojan, Sita Pushpa Vatika,
Maa Kali, Ganeshji, Various forms of Maa Durga,
Shri Krishna Leelas, Raas and Kohbar etc. Along with
religious subjects, pictures are also made on social
subjects and mythological stories. In the beginning,
only women used to mark this folk style, but due to
going to the forest as an alternative source of income,
men and children have also started doing a lot of illus-
tration work in this science. The Brahmin, Kayastha
and Harijan styles of this art are in vogue. The five
sub-styles of these three styles are Bharni, Kachni,
Godna, Tantric and BAL. The first Bharni style, in
which the shape is made by double drawing with
black colour, filled with bright colours, decorated with
flowers and leaves and geometrical embellishments
on them. The shapes are made simple. The second
Kachni style, in which the shape is made by lines of
black or red color, the entire picture is filled with lines
these drawings are line-oriented. The third tattooing
style in which the mythological stories and episodes
of King Shailesh has symbolised in tattooing are done.
This painting work is done in black colour. The sur-
face is made from gower sap. It is also known as
Harijan style. The fourth tantric style, which is made
by master, priests (Brahmins) artists of Tantra Vidya.
These artists are tantra seekers. Those who have com-
plete knowledge of Tantra, Mantra and Yantra. In this
style, the four Mahadevis, Mahakali, Mahalakshmi,
Mahasaraswati and Maa Durga, are specially depicted
in different forms and Dashavatar. Geometric forms
and tantra symbols are also marked in these paintings.
The priest starts this illustration in a special Muhurta,
completes the rituals. These images are made for wor-
ship rituals. Special colors are applied in the paintings
of this style. In the fifth child style, animal-bird, sun-
moon, flower-leaf, Radha-Krishna etc. are marked.
The drawings in this style are made by minor
children. Bright colors and simple hair shapes are
used in these paintings. Those who are very attractive
bring happiness to the eyes and make them feel beau-
tiful. Here the marking of 'Kohbar' is special on the
occasion of marriage, which is made in every family.
In this, the importance of bamboo, lotus, parrot and
purain leaves is special. In the beginning, mineral and
vegetable dyes were used to make pictures, but now
chemical colors are being used. The paintbrush is
made by wrapping a cloth in a piece of bamboo. Now
the work is done with the prepared paintbrush.
Famous painters of this style are Padma Shri Sita
Devi, Padma Shri Jagdamba Devi, Padma Shri Ganga
Devi, Godavari Dutta, Mahasundari Devi, Yamuna
Devi, Yashoda Devi, Chano Devi, Rowdi Paswan, etc.
2. Kalighat Painting of West Bengal4
:-
Villagers of 'Patua' caste who started residing in
Kalighat of Calcutta. Folk paintings made by these
artists which were made on religious and social sub-
jects. These pictures were taken by the devotees who
came to see the Kali temple with them in the form of
memory. These paintings were available cheaply to
tourists. These are called screen pictures. These pic-
tures are made by applying coating on paper and cloth.

197
This style the early paintings were made on 'sack-
cloth'. Their medium is tempera. Colors are used
bright and bright. The use of silver color is also seen
in these paintings. Illustrations are 'bold' and 'speed'
predominant. Their shapes have been made with sim-
ple, smooth roundness and fleshy ones. The effect of
shadow-light is visible somewhere in the figures. This
style of painting is also known as 'market painting'.
These kharras are prepared in the form of Patwa
(Calendar) and in thematic postcards (Firka sets). The
religious themes of this style are Maa Kali, Maa
Saraswati, Maa Durga Krishna Radha, Ram-Sita,
Hanumanji, Krishna Balarama, Bhakt Prahlad and
Shiva are Parvati etc. And various aspects of contem-
porary life are marked in the social subject.
3. Kalamkari of Andhra Pradesh:-
"Kalamkari on clothes by vegetable dyes of
Machilipatnam and Sri Kalahasti district near Chittoor
district of Andhra Pradesh is famous all over the
world. Kalamkari is prepared by a very difficult
process. Originally these were cloth paintings to be
hung in the temple, which later became decorative and
useful clothes. Designs are often made by hand, not by
looms, but by dyes"5
. In fact, it is the oldest method of
painting on cloth by hand. The subjects of the depic-
tion made in this style are various forms of gods and
goddesses, various characters of Ramayana,
Mahabharata, plots of religious Puranas and epics.
Along with this, flowers and leaves and geometric
designs are also made. Large paintings depict the
entire story and small paintings depict specific scenes.
In the background the religious symbols lotus, chakra,
conch and bindu, animal-bird, wheel and cat's paw are
prominently made. Limited colours are used, blue and
yellow for the figures of the deities, green for the fig-
ures of the demons, yellow for the female figures and
red, black and yellow for the background.
4. Pattachitra of Orissa:- In Raghurajpur,
Chandanpur (near Puri) place of Orissa, there is an
ancient tradition of making plate paintings on cloth,
silk cloth, palm-leaf and paper. The subjects of these
patta paintings are religious and social. this belt spe-
cial types of surfaces are made. To prepare the surface
of these plate paintings, by soaking tamarind seeds,
grinding, cooking, make a paste, after that two pieces
of paper or two pieces of cloth are made into this paste
pasted by then drying it in the sun lining it with lei and
chalk powder. After the surface has dried, the surface
is rubbed with a special type of stone to make the sur-
face smooth. By preparing the surface in this way,
painting work is done on it. These paintings are made
both in colour and plain (using only black color). The
themes of religious paintings are the description of
various forms of Lord Jagannath, Chaitanya
Mahaprabhu, various forms of Ganesha, various
episodes of Sri Rama and Sri Krishna, Mahishasura
Mardini, Satyavan-Savitri, ten avatars and epics.
These paintings are made in the traditional folk style.
They are numbered collectively. Often it is divided
into different sections according to the story or con-
text. There is a series of miniature paintings around
each picture. The colours used in these paintings are
mineral and botanical, which are very bright. Now
chemical dyes are also being used as per convenience.
The shapes of the pictures are full of dynamic and
rhythmic. The faces of these sizes are made large, the
body small, the eyes large, the nose sharp and the lips
thick. The subtle ornamentation is special in these
shapes. On this account Prof Jain admitted-"Folk art is
creature of human sense and forwarded since the
inception of art form in society"6
. The tradition of
making these traditional paintings is hundreds of years
old. These paintings are made by 'Patua' painters. In
the last 50 years, there has been a change in the sub-
ject and method, but there has been little change in the
style.
5. Jado Patia Style folk art in Jharkhand7
:-
Folk Patachitras made by the Santhali tribal of
Jharkhand, which are story pictures in the form of
wraps. The paper painted in the scrolls of these clothes
is made by joining, pasting, the people of Jado socie-
ty make these pata pictures and go from village to vil-
lage to narrate the stories depicted in it by singing and
singing at night. The subjects of these panels are relat-
ed to life and death, Santhali folk war stories, pictures
of heaven-hell, religious themes, mythological stories,
Santhali folk-culture, folk-belief, religious faith and
social life. Pictures are marked with fine lines. The
colors are natural and mineral and the shapes are made
simple and easy. These Jado painters reside in Bhula,
Potka, Gamharia and Padmada Bongai in West
Singhbhum district. There is a tradition in their socie-

198
ty. They also live in Bihar, Orissa and West Bengal.
The above mentioned all types of folk art
from different states of India are showing the tech-
nique of art and subject mentioned are notably same in
nature. These folk painting declaring the motive of
artist in nature that, human figure, action, thrills, daily
life style, motif and designs are similar. This study
will cover in details in coming chapters.
Conclusion:- The study of this artistic
research topic of folk art of Bihar shows that linear
drawing was very popular among our artists and peo-
ple used it freely. Colours were used to represent nat-
ural beauty. In its subject matter, animal-birds, trees-
plants, mountains, rivers, items used in domestic daily
life have been marked with different stages of human
depiction. Religious beliefs have been displayed in
Madhubani painting, in which depictions of deities
and auspicious occasions of the society have been
done, which is a rich display of folk culture.
The Kalighat painting of Bengal, which we
also call Bazar painting, also depicts the religious
theme and Bengali folk lifestyle.
Kalamkari of Andhra Pradesh has also depict-
ed based on Puranas and religious beliefs, in which
daily tasks of human life have also been shown as sub-
jects.
God in Pattachitra of Orissa, there are depic-
tions related to Jagannath and Chaitanya Mahaprabhu.
It also depicts the subjects of Ramayana, Mahabharata
etc. The artistic effect is demonstrated by the use of
thick, thin lines in the style of Pattachitra of Orissa or
the illustrations of the above states.
Jadupatiya folk painting style of the tribal
people of Jharkhand is also not spared from this, in
which the lifestyle of forests has been adopted in the
form of art. From the whole study, it is proved to us
that in all the method of illustration, the use of line,
geometric marking and thick unsightly lines has been
done very well. Therefore, we come to the conclusion
that folk art has earned fame in the country and abroad
by blindly imitating the same method in Madhubani
painting.
Reference: -
1. Sawalkar R. V., Adhunik Chitrakala Ka Itihas,
Rajasthan Hindi Granth Akadmi, Jaipur, Page
291, 1985
2. Gupta Dr. Hriday, Deshaj Kala, Rajasthan
Hindi Granth Akadmi, Jaipur, Page 49, 2019
3. Gupta Dr. Hriday, Deshaj Kala, Rajasthan
Hindi Granth Akadmi, Jaipur, Page 47, 2019
4. Kamaladevi Chtopadhyay, Handicrafts of
India,Indian Council for Cultural Relations,
New Delhi, 1995
5. Mishra Chinmay, Ankan, Adiwasi Lok Kala
Evam Tulsi Sahitya Akademy, Madhya
Pradesh, Sanskriti Parishad, Bhopal, 2007
6. Jain Gulab Chand, Bhartiya Chitrakala,
Vishwavidyalay Prakashan, Varanasi, Page
1647, 1975
7. Rustam J. Mehta, Handicrafts and Industrial
Arts of India, Crafts Musium, New Delhi,
1960

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