After a long break, I finally returned to Whitefield to participate in the much-awaited Handloom Fair, and I couldn't be happier with the response. Despite the unpredictable weather, the event turned out to be a fantastic opportunity to showcase my Madhubani creations and reconnect with art lovers in the community.
The highlight of the day was witnessing many first-time buyers of Madhubani art. While some visitors were already familiar with the beauty and intricacy of the art form, others were discovering it for the first time. It was a reminder that, despite Madhubani’s rich history, there’s still a need to raise awareness about this unique art form. I spent time explaining its significance, and it was fulfilling to see the curiosity and interest it sparked in new audiences.
What truly stood out was the overwhelming response to the silk items in my collection. The vibrant hand-painted Madhubani sarees and dupattas, particularly those on Tussar and Chanderi silk, drew significant attention. The crowd, mainly young tech professionals from leading global companies in Bengaluru, showed a deep appreciation for traditional handloom products. It was also heartening to see some familiar faces—loyal supporters of art who have followed my work over the years.
The venue, Namma Ashram in Whitefield, was the perfect setting for the event. Thanks to the founder of Trikala Arts for organizing such a wonderful fair. The space was easily accessible and provided a warm, community-driven atmosphere, making the experience even more enjoyable. Just as the day was wrapping up, the skies opened up with heavy rain. Fortunately, I managed to pack up in time, avoiding any damage to the art.
Overall, the Handloom Fair was a wonderful experience, and I’m grateful for the positive response from both new buyers and long-time supporters. The event highlighted the enduring appeal of Madhubani art and handloom products, even among the younger, tech-savvy crowd. I look forward to continuing this journey of promoting Indian art and textiles, and hopefully, more such opportunities in Whitefield will follow soon.
Until next time, let’s continue celebrating the beauty of handloom and the timeless art of Madhubani!
The Festival of Handmade by A Hundred Hands was a remarkable success, and I’m filled with gratitude as I reflect on the five incredible days at the event. Despite the rain, the response was overwhelming, with visitors of all ages flocking to my stall to explore my Madhubani art collection. I showcased various Madhubani creations, including paintings, journals, sarees, dupattas, and stoles.
One of the most thrilling aspects of the event was the diverse crowd that attended, including international visitors who were eager to learn about Indian folk art. The unexpected charm of the Enigma concert, held at the same venue, added a unique and exciting element to the evening. As the music filled the air, I welcomed several surprise visitors who wandered in from the concert to explore the exhibition, leading to spontaneous interactions and purchases.
A true highlight for me was the support of my community—over 25 of my Instagram followers, and fans came to visit me, some traveling specifically for the event. Meeting them in person was an honor and a testament to the deep connection we’ve built through my art. Their kind words and encouragement were a huge motivation, and I’m thankful for each one of them.
This event wasn’t just about showcasing my work and connecting with fellow artists from various art forms across India, like Gond, Pichwai, Kalamkari, Rajasthani Miniature, and others. I managed to sit down with several of them for short interviews about their craft, and it was inspiring to hear their stories and see how each of us contributes to preserving the rich heritage of Indian handmade traditions.
The Festival of Handmade was not just an exhibition but a celebration of art, culture, and community. The energy, the conversations, and the surprises along the way made this event unforgettable. I look forward to continuing this journey of connecting with more art lovers and fellow creators in the future!
About Hundred Hands: Year after year, the 100 Hands fair is eagerly anticipated by everyone with a penchant for one-of-a-kind, specially crafted curios, fabrics, home décor and accessories. Founded by sisters Sonia and Mala Dhawan, the Festival of Handmade, also known as 100 Hands by regular visitors, began in 2010 as an initiative to give artisans nationwide a platform to become financially viable. Mala says their aim has been to foster “a sense of collective and a community of people whose livelihood depends on handmade.”
The Festival of Handmade showcased an exquisite collection of diverse art forms across India, focusing on West Bengal's rich crafts. Visitors explored a double section featuring the revival of Jamdani and Baluchori textiles, exquisite linen and handlooms. Notable contributors included Manas Ghorai, Pallu Weaves, and Yuti Handlooms—a must-see for art enthusiasts.
This year marked the introduction of Santhal Tribal art, a revival project by the Daricha Foundation, alongside award-winning artist Swarna Chitrakar, who brought her unique Kalighatti art and melodious voice for the first time.
From Andhra Pradesh, Kondapalli toys handcrafted by S. Satyanarayan evoked nostalgia and reflected India's timeless cultural heritage.
Gujarat’s offerings included beautiful traditional Kutch pottery, exquisite Kutchi embroideries like Suf, Kharek, and Paako, and copper bell metal gongs.
Visitors also discovered stunning handmade items from Kashmiri artisans, featuring intricate paper mache, enamel painting, Aari embroidery, and luxurious Pashmina and Kani shawls.
Rajasthan's rich artistic heritage shone through with Pichwai paintings, marble dust artworks, and an exciting range of weaves and prints, including stunning menswear.
Karnataka textiles were well-represented, showcasing traditional Kasuti and Bidri crafts alongside modern Bangalore-based creations, embodying a beautiful blend of tradition and innovation.
Lastly, Manish of Drywood Studios brought an elegant style of woodworking to the festival, celebrating the natural contours and beauty of wood in his unique collection
Thank you to everyone who came by, and a special thanks to A Hundred Hands for organizing such a vibrant and meaningful event.
Join me, at the Festival of Handmade by A Hundred Hands 2024 in Bangalore, where I’ll be showcasing my latest collection of hand-painted Madhubani creations.
From traditional Mithila art to contemporary designs, explore a unique range of products, including sarees, dupattas, stoles, wall plates, journals, clutches, keyholders, and more! 🗓 Event Dates: October 2-6, 2024 📍 Venue: Jayamahal Palace Hotel, Bangalore Stay tuned for more updates on my journey as an artist, and don't forget to like, comment, and follow mefor insights into the world of Madhubani art!
Date: 2nd - 6th October 2024 Venue: Jayamahal Palace Hotel, Bangalore Time: 11:00 AM to 8:00 PM
I will showcase a unique collection of her exclusive Madhubani artworks at the Festival of Handmade by A Hundred Hands. This event celebrates traditional craftsmanship, and my hand-painted sarees, journals, and other creations reflect the intricate beauty of Mithila art. Each piece has been crafted exclusively for this festival, making it a unique opportunity for art lovers and collectors.
Attendees will have the chance to experience and own one-of-a-kind artworks that highlight the rich heritage of Indian folk art. Our collection is perfect for anyone looking for something special, and this is an event not to be missed!
Chinki Sinha, Editor of Outlook in conversation with Director of Bihar Museum Anjani Kumar Singh, as a part of Outlook Talks on the occasion of Vaidehi Sita, the exhibition, curated for the museum’s foundation day on August 7, 2024
From Outlook: In a world dominated by images of men and gods, Baua Devi of Jitwarpur village of Madhubani district in Bihar was trying to paint a scene from Sita’s childhood where a young Sita picks up a bow and her father looks at her with awe. It was too heavy for a young girl and yet, she picked it up. Thirty-five artists, mostly women who do traditional Madhubani and Manjusha paintings and Sujani art, had come to Bihar Museum to depict scenes from the life of Sita, who they consider Bihar’s daughter and an ecofeminist and a woman who personified dignity and empowerment.
Vaidehi Sita, the exhibition, curated for the museum’s foundation day on August 7, is a brave endeavour because of the politicisation of Lord Ram in recent times. Sita, who was married to him, was eventually abandoned and for artists like Shanti Devi and Dulari Devi, it was a betrayal.
For them, Sita’s story is what many women must see and hear and break free from everything that shackles them. Outlook speaks with Anjani Kumar Singh, the director of Bihar Museum, about the exhibition and the coming together of artists, many of whom belong to lower castes who weren’t allowed to paint the images of Ram and Sita up until the 1980s.
As a Madhubani artist deeply immersed in the traditional art forms of Bihar, I was following the celebration of our rich cultural heritage through the prestigious Islamic & Indian Art auction held by Lyon and Turnbull in London on June 12, 2024. This event featured an exquisite selection of Indian paintings from the esteemed collection of William & Mildred Archer, offering a unique glimpse into the vibrant artistic traditions of our region.
The auction, led by Kristina Sanne, showcased a series of captivating artworks, each narrating its unique story. As someone promoting Madhubani art, I believe this auction is a testament to our traditional art forms' timeless beauty and cultural significance. It is heartening to see the global appreciation for these masterpieces, each piece echoing the rich legacy of Indian artistry
Below are some details of some of the standout paintings from this landmark event; explore their historical and cultural context and reflect on their relevance to contemporary art practices sourced from Lyon and Turnbull's website.
The prestigious Lyon and Turnbull inaugurated their Islamic & Indian Art auction in London, featuring an exquisite selection of Indian paintings from the esteemed collection of William and Mildred Archer. This remarkable auction, led by Kristina Sanne, showcased India's vibrant cultural heritage through a series of captivating artworks, each piece narrating its unique story.
-Region:Darema Village, Darbhanga District, Bihar, India
-Circa:1920-30
-Dimensions:33cm x 24cm (13 in x 9 ½in)
-Medium:Watercolour on paper, mounted
This exquisite painting, adorned in pink, green, and yellow hues, offers a glimpse into the traditional bridal imagery of the Maithil Kayasth community. The artwork was collected by WG Archer in 1934 and is a vivid ‘aide-memoire’ for the murals in the kohbar or marriage chamber, believed to bring prosperity and fertility to the bride and groom. The painting has been previously exhibited and featured in literature, including the Arts Council of Great Britain Touring Exhibition Catalogue (1970) and William Archer’s “India Served and Observed” (1994).
This charming artwork, inscribed with its place of origin, portrays a bride holding a parrot, symbolizing the beauty and elegance of Maithil brides. The use of vibrant colors and intricate details reflect the rich artistic traditions of the region.
-Medium:Ink and watercolour on rice paper, mounted
-Sold for:£3,024 (Inclusive of Buyer’s Premium)
These two wall designs, collected from the House of B. Sripat Mallik, are exemplary of the Maithil tradition of decorating the walls of their homes with auspicious and intricate patterns. The use of rice paper and the detailed depiction of motifs highlight the skill and creativity of the Maithil Kayasth women.
-Region:Darema Village, Darbhanga District, Bihar, India
-Circa:1920-30
-Dimensions:33cm x 23cm (13in x 9in)
-Medium:Ink and watercolour on paper, mounted
-Sold for:£1,260 (Inclusive of Buyer’s Premium)
This piece, collected from the House of B. Sabhapati Das, is a beautiful representation of a veiled bride with a parrot, painted in vivid pink, green, and yellow. The artwork has been referenced in William and Mildred Archer’s literature, highlighting its significance in their collection.
This painting, inscribed with its place of origin, captures the essence of Maithil bridal art with a bride holding a fish, a symbol of prosperity and good fortune. The vibrant colors and meticulous detailing make it a standout piece in the collection.
This wall design, exhibited in the Arts Council of Great Britain Touring Exhibition Catalogue (1970), depicts auspicious deities, illustrating the Maithil tradition of invoking divine blessings for the household. The intricate design and use of red ink exemplify the artistic excellence of the Maithil Kayasth women.
-Region:Keoti Village, Darbhanga District, Bihar, India
-Circa:1920-30
-Dimensions:39.7cm x 31.5cm (14 ¾in x 12 3/8in)
-Medium:Ink and gouache on paper
-Sold for:£2,520 (Inclusive of Buyer’s Premium)
This captivating painting of Krishna holding his flute, inscribed with its place of origin from the House of B. Shiva Shankar Lal, showcases the divine and serene imagery of Krishna in Maithil art. The use of gouache adds depth and vibrancy to the artwork.
-Region:Darema Village, Darbhanga District, Bihar, India
-Circa:1920-30
-Dimensions:39.3cm x 31.5cm (15 3/8in x 12 3/8in)
-Medium:Ink on paper, mounted
-Sold for:£1,071 (Inclusive of Buyer’s Premium)
This delicate ink drawing, from the House of B. Bengali Das, portrays a bride with a fan, capturing the elegance and grace of Maithil bridal traditions. The simple yet expressive lines reflect the refined artistry of the region.
-Dimensions:Each 29cm x 43cm (11 3/8in x 16 7/8in)
-Medium:Gouache on rice paper
-Sold for:£2,520 (Inclusive of Buyer’s Premium)
Collected by the Archers in 1937-38, these brightly painted casket sections are prime examples of the vibrant art produced by the Mali caste. The use of rice paper and bold colors like yellow, magenta, and green make these pieces stand out, reflecting the artistic traditions associated with the festival of the snake goddess, Bishahari.
These lantern sections, collected in 1938, exemplify the Mali caste's artistry, with each piece inscribed with details of its origin. The vibrant and intricate designs reflect the cultural richness of the Purnea District.
This singular lantern section, mounted and inscribed with its origin, showcases the Mali community's artistic tradition, collected during the Archers' time in Purnea.
Region:Barari Village, Purnea District, Bihar, India
-Circa:1938
-Dimensions:Each 48.5cm x 33cm (19 1/8in x 13in)
-Medium:Gouache on rice paper
-Sold for:£2,772 (Inclusive of Buyer’s Premium)
These lantern sections, from the village of Barari, reflect the Mali caste's vibrant artistry, collected in 1938. The intricate designs and use of rice paper highlight the cultural heritage of the region.
These four lantern sections, inscribed with details of their origin and collected in 1940, exemplify the Mali caste's artistic traditions, showcasing their bright and intricate designs.
Region:Barari Village, Purnea District, Bihar, India
-Circa:1938
-Dimensions:43cm x 30cm (17in x 11 ¾in)
-Medium:Gouache on rice paper
-Sold for:£756 (Inclusive of Buyer’s Premium)
This lantern section, inscribed with details of its origin, showcases the vibrant and intricate designs characteristic of the Mali caste's artistic traditions.
The auction of Indian paintings from the William & Mildred Archer Collection celebrated the rich cultural heritage of India and the artistic excellence of its diverse communities. Each artwork tells a unique story, offering a glimpse into the vibrant traditions and creative expressions of the Maithil Kayasth and Mali communities from Bihar. This landmark event has not only highlighted the significance of preserving and promoting Indian art but also reinforced the enduring legacy of the Archer Collection.
Date: 2nd - 6th October 2024
Venue: Jayamahal Palace Hotel, Bangalore
Time: 11:00 AM to 8:00 PM
