A village in Bihar refuses to let one of India’s oldest art forms die (Article in Vogue India)

With many youngsters having migrated for work, it has fallen to the middle-aged and elderly to keep the village of Jitwarpur and its Madhubani heritage going 

Article and Photos By Jigyasa Mishra (Published on Vogue India on 21 February 2026)

It is two in the afternoon but there’s no trace of sun in the lanes of this finely painted village. That’s how the December and January afternoons are in Jitwarpur, a craft village in Bihar; gloomy due to the weather, yet bright with pops of colour suffusing the murals. As I walk inside, closer to the houses, the smell of fresh paint hits my olfactory nerves. Two steps further, my eyes rest upon a dalaan—the open living or sitting area outside the homes in Bihar, used for formal meetings or to sip chai over conversations—painted only in red motifs, belonging to one Dhruvkala Devi. “It’s because red is the sacred colour we exclusively use for making wedding murals,” Dhruvkala explains.

Jitwarpur is a village in the Madhubani district of Bihar, considered the origin of Mithila or Madhubani paintings. Located in the Mithilanchal region of Bihar, where Maithili is the native language and people worship goddess Sita as their own daughter, it is home to the majority of Madhubani artists, some of whom own national and international honours, while others are successful business owners.

But Jitwarpur still lives a slow life. With many of the younger generations having migrated for work outside the district and even the state, it has fallen to the middle-aged and elderly to keep this ‘art village’ going. While the village is still unpopular among travellers, like most of Bihar, it is indeed a hotspot of bureaucrats and art lovers. “The current and past District Magistrates of Madhubani and Darbhanga have visited us several times with officials and family members. Researchers from across the globe also often visit us. They even bought paintings from us which were made on silk saris, dupattas and paper,” confirms Mithilesh Jha, a resident of Jitwarpur.

Mithilesh is the grandson of the late Sita Devi, a Padma Shri awardee, who was the first artist to bring Mithila painting to paper from the cow-dung–coated walls, allowing the art to travel the world, beyond the houses and walls that remained rooted in the village. “None of us has a shop or showroom here or outside the village. For us, this is pure art, limited to practice and perseverance rather than being exhibited for sales,” Mithilesh shares as he takes out a stash of fabrics painted over the years, some silk, some cotton, some saris, some dupattas, some table covers, some bedsheets. “You would find our almirahs and shelves filled with the paintings, hoping a buyer would take them home someday,” he adds, echoing how the village is not a craft bazar or museum but a lived canvas where creativity is practised for its residents without any deadline to meet and target to achieve.

“Dadi never let her fame take over her creativity. She was accompanied by her son—my father—on all the trips she took, be it our Raj Bhawan visit to meet the then PM Indira Gandhi, or Japan and the US for exhibitions. She always wanted to teach him the art, but it was all in vain. He was never interested but since he could not fully ignore his mother, he would just fill in the solid colours in the motifs and figures,” Mithilesh smiles.

Though not in the village itself, the region has several young artists who post their artwork on Instagram and run small businesses through social media. Like Swati Jha, a first-year MFA student from Darbhanga. “I have grown up seeing my mother, uncles and grandmother draw Mithila art on the walls, aripan (a kind of rangoli) on the floor and even on paper. Later, I started studying it in graduation but my focus remained on Madhubani paintings,” says Swati, who takes part in exhibitions and pop-ups to sell Madhubani-painted shawls, saris, dupattas, shirts and dresses.

Yet, artists like Dhruvkala Devi, who, at 76, still holds her number-3 Camlin brush in shivering hands to perfect the outline of Goddess Kali’s wide-set eyes, are what hold the village together and keep its traditions alive. “Come on in, you’ve only seen the dalaan. There’s more inside,” she says, gently pulling me through a narrow gallery lined with a large mural that leads into her three-room house, with yet another mural. All in scarlet red, without the interference of any other colour. “We recently ‘wrote’ all of this for my grandson’s wedding,” Dhruvkala tells me. Locally, artists refer to drawing Madhubani motifs as writing. We stand in front of the Kali figure as the gallery ends and we are joined by her daughter-in-law. “She also paints; I have taught her too,” Dhruvkala proudly reveals.

While Mithilesh learned Madhubani from his grandmother, his children did not carry it forward. He says there is a lot of love for the art in the global market, particularly among elite collectors and designers, but a big chunk of the profit is siphoned off by agents. They get the products made by local artists at cheaper rates and sell them at much higher prices. He also blames the pressure to contemporise the tradition, which, he argues, ruins the essence of the art form.

“Every day after breakfast, I begin working on an ongoing piece or start a new one,” says Mithilesh, as he slowly double lines the lotus on his canvas, perfecting the space between the first outline. He dips his brush into the black paint bottle and repeats the lining. “This one will be completed in a week,” he says, more to himself than to me.

Via Article published in Vogue India 

Patna Kalam: The Vanishing Canvas of Everyday India

Heartening to read in The Times of India about efforts to revive Patna Kalam, especially the interview highlighting active revival initiatives. Art forms survive when someone chooses to practice, teach, and carry them forward. May this be the beginning of a strong revival.

There are art forms that glorify kings and empires. And then there are art forms that quietly document life itself.

Patna Kalam, also known as the Patna School of Painting, belongs to the latter.

It is one of India’s most distinctive yet lesser-known painting traditions a style that chose markets over palaces, craftsmen over courtiers, and everyday life over royal grandeur.

Today, as conversations around revival begin to re-emerge, it is important to revisit its history, practitioners, and cultural significance.

Origins: From Mughal Courts to Patna’s Streets

Patna Kalam emerged in the 18th century, during the decline of the Mughal Empire. As royal patronage weakened in Delhi and other courts, many miniature painters migrated eastward in search of new opportunities. Some eventually settled in Patna (then known as Azimabad), which was a thriving commercial and cultural center.

While deeply influenced by Mughal miniature techniques  fine brushwork, attention to detail, and delicate line rendering  Patna Kalam developed its own identity.

Instead of focusing on emperors and court scenes, artists turned their gaze toward:

• Local traders

• Artisans at work

• Festivals and rituals

• Soldiers, musicians, dancers

• Bazaar life and domestic scenes

In many ways, Patna Kalam became a visual archive of 18th–19th century urban India.

A Distinctive Style

Patna Kalam stood apart for several reasons:

1. Everyday Realism

Unlike the stylized romanticism of many court schools, Patna artists captured realism. Their subjects were ordinary people engaged in daily activities — spinning yarn, selling vegetables, preparing food, playing instruments.

2. Transparent Watercolours

Artists used subtle washes of transparent watercolour, often on paper or mica. The palette was restrained earthy tones, soft reds, muted blues, and delicate shading.

3. Minimal Backgrounds

Unlike Mughal miniatures filled with elaborate settings, Patna Kalam often featured sparse or no backgrounds, allowing the human subject to dominate the composition.

4. Fine Draftsmanship

The linework was meticulous. Even the folds of clothing and textures of tools were rendered with exceptional precision.

Prominent Practitioners

While many names have faded from public memory, several artists are historically associated with the Patna School.

Sevaks Ram (c. 1770–1830)

Often regarded as one of the earliest and most important exponents of Patna Kalam, Sevaks Ram helped shape the school’s distinct identity. His works demonstrate strong Mughal training blended with observational realism.

Hulas Lal

Known for detailed depictions of everyday occupations, Hulas Lal contributed to the documentation of social life in Patna and surrounding regions.

Ishwari Prasad Verma (1887–1949)

One of the later practitioners of the tradition, Ishwari Prasad Verma is often considered among the last significant artists of the Patna School. His work bridged tradition and modernity, but by his time, patronage had significantly declined.

Many Patna Kalam artists also produced works for British patrons during the colonial period, contributing to what later came to be described as the “Company School” style — though Patna Kalam retained its own regional sensibility.

The Colonial Shift and Gradual Decline

During British rule, some Patna artists adapted their skills to serve colonial officials who desired ethnographic documentation — paintings of local castes, trades, and customs.

While this provided temporary patronage, it also altered the direction of the art form. Over time:

• Photography replaced painted documentation.

• Royal and elite patronage diminished.

• Modern art movements shifted aesthetic priorities.

By the early 20th century, Patna Kalam had largely faded as a living tradition.

Why Patna Kalam Matters Today

Patna Kalam is not merely a regional style — it is a social document.

It tells us:

• What people wore

• What they traded

• How they worked

• How festivals were celebrated

• What everyday India looked like two centuries ago

In an era where visual storytelling is dominated by digital media, this school reminds us that documentation through art has deep roots in Indian history.

For artists from Bihar and beyond, Patna Kalam represents:

• A bridge between Mughal precision and local narrative

• An early form of social realism in Indian art

• A reminder that heritage includes the lives of ordinary people

Revival: A Necessary Conversation

Recent discussions and interviews around reviving Patna Kalam are both timely and urgent.

Revival cannot be symbolic. It requires:

• Archival research

• Institutional support

• Workshops and training

• Inclusion in art curricula

• Exhibitions and collector awareness

Most importantly, it requires artists willing to study and practice the technique deeply — not as imitation, but as continuation.

A Personal Reflection

As someone deeply engaged with traditional art forms, I feel that every regional style carries a responsibility. Whether it is Madhubani, Kalamkari, or Patna Kalam — these are not static museum objects.

They are living languages.

If we stop speaking them, they fade.

If we practice them, teach them, and reinterpret them thoughtfully, they evolve.

Patna Kalam once recorded the heartbeat of a city.
Perhaps it is time to let it record our present — again.

#patnakalam #indianart #heritageconservation #biharart #artrevival

Reflections from the 15th Edition of A Hundred Hands – Festival of Handmade

Participating in the 15th edition of A Hundred Hands – Festival of Handmade, held at the iconic Jaymahal Palace, Bengaluru from November 26 to November 30, 2025, was a deeply fulfilling experience for me as an artist. Over five immersive days, the festival unfolded as a journey of conversations, connections, and shared appreciation for handcrafted traditions.

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Meeting Art Lovers and Followers

Throughout the event, I met a wonderful mix of people:
– long-time Instagram followers,
– students currently learning Madhubani from me,
– art enthusiasts familiar with my journey, and
– many who saw my work for the very first time.

Their appreciation, questions, and reflections made every moment worthwhile.

A Space for Learning and Exchange

Beyond showcasing my work, the festival became a place of shared learning. I enjoyed conversations about techniques, motifs, the history of Madhubani, and the relevance of handmade art today. These exchanges enriched my own understanding and reminded me of the importance of keeping traditional arts alive.

Delightful Interest From International Visitors

This year, I had several buyers from Belgium and France who connected deeply with the intricacy of Madhubani paintings and wearable art. Watching my work travel to new homes across continents is always heartwarming.

Encouraging Support From Corporate Buyers

I also met corporate representatives from leading brands in Bangalore exploring handcrafted corporate gifts, bespoke artwork, and potential collaborations. Their interest aligns beautifully with my vision of bringing Madhubani into contemporary corporate spaces.

A Festival That Celebrates Handmade India

Participating in the 15th edition of A Hundred Hands – Festival of Handmade, held at the iconic Jaymahal Palace, Bengaluru from November 26th to November 30th, 2025 was a deeply fulfilling experience for me as an artist. Over five immersive days, the festival unfolded as a journey of conversations, connections, and shared appreciation for handcrafted traditions.

Looking Ahead With Gratitude

As I wrap up this edition, I carry immense gratitude for everyone who visited, admired, and supported my work. Festivals like this reaffirm the timeless appeal of handmade art and motivate me to continue creating with passion and purpose.

If your organisation is looking for corporate gifts, customised paintings, journals, wearable art, or Madhubani products, I’d be happy to collaborate.

Thank you for being a part of this beautiful journey. 

My Experience Showcasing at Shilpkaaree Festive Edit – Jaipur, Rajasthan

After a memorable participation at Dastkar Nature 2025 in Delhi, I had the wonderful opportunity to showcase Madhubani by Vidushini at the Shilpkaaree Festive Edit held at the Jaipur Club Banquet Hall from 24th to 26th September 2025.

This was my first showcase in Jaipur, and it turned out to be a truly enriching experience. Having mostly exhibited in southern India over the past few years, I was eager to explore new regions and audiences  and Jaipur, with its royal charm and deep appreciation for art and design, was the perfect place to do that.

The event brought together an eclectic mix of artisans, designers, and creators from across India. It was heartening to see people from all age groups visiting from young design students to seasoned art connoisseurs. Many were curious to learn about Madhubani art, its symbolism, and the intricate process of hand-painting on textiles.

My collection for the event celebrated the theme of festive elegance through nature-inspired Madhubani motifs  blooming lotuses, graceful peacocks, dancing fish, and flowing vines, all hand-painted on sarees, dupattas, and stoles. Visitors especially loved the idea of wearing a piece of art that carries the soul of an age-old tradition.

The warmth and appreciation I received in Jaipur were overwhelming. Several visitors shared stories about their own connections to Indian crafts and expressed admiration for how Madhubani continues to evolve while staying rooted in its origins. Interacting with such a culturally aware audience was both motivating and humbling.

Participating in the Shilpkaaree Festive Edit was not just an exhibition it was an exchange of ideas, emotions, and traditions. It reaffirmed my belief that handcrafted art continues to resonate deeply with people when presented with authenticity and heart.

As I packed up after three beautiful days, I carried home not just sales or contacts, but the joy of new friendships, inspiring conversations, and the satisfaction of introducing my art to a new city.

 Thank you, Jaipur, for such a warm welcome. I look forward to returning soon with more stories through my art. 

— Vidushini Prasad
Founder & Artist, Madhubani by Vidushini

Padma Shri Dulari Devi: Married at 12, husband abandoned her:Made first painting on hospital wall where her daughter died

 Married at 12, husband abandoned her:Made first painting on hospital wall where her daughter died; broke down upon receiving Padma Shri

Dulari Devi

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I am Dulari Devi. I am from village Ranti in Madhubani, Bihar. I have received the Padma Shri award in Madhubani painting. Currently, I am training 80 children at the Mithila Institute. I painted on the wall of the same hospital where my daughter took her last breath.

People ask, 'Dulari, how do you do all this?'

I just say, 'I turned pain into colours, otherwise I wouldn't have survived. In every painting, I make a child. That child is actually my daughter. This is how I keep her alive in colours.'

Once I went to Chennai. There I painted the story of my life. That painting came out as a book, for which I have been receiving royalty for 14 years.

Dulari Devi creating the world-famous Madhubani painting at her home. After her daughter's passing, she made painting her life.

Let me start from childhood. We had no connection with school, books or copies. Most of our lives were spent in poverty and hardship. We are from the Mallah community. We were four sisters, one brother and our parents. We used to work as labourers with our parents for two meals a day.

When I was young, I used to go fishing and collect makhana (fox nuts) in the pond with my father. Whether it was winter, rain, or summer, we had to go to the pond or river for work. When my brothers and sisters were very young, my father passed away. After that, our difficulties increased. My mother alone couldn't manage everything. Many times we had to go hungry.

When I turned 12, I was married off. At that time, I was just a child. There was a large family in my in-laws' house. Six sisters-in-law, one brother-in-law, and parents-in-law. There too, everyone had to work to run the household. I would go to sell fish and grass at my in-laws'. My husband had a very angry temperament. He would yell at me a lot. It was unbearable, but I endured everything considering my husband as god.

But when he would throw me out of the house at midnight, it felt terrible. My father-in-law would support him. At such times, I would stay at the neighbour's house. One day when they threw me out, I came back to my maternal home. By then, seven years of marriage had passed. After that, I never went back.

When I came to my maternal home, a daughter was born. There was a lot of happiness in the house when she was born. In a way, she became the biggest happiness of my life. She was named Shakuntala. Father-in-law had come to see the daughter, but my husband's behaviour hadn't changed at all. So I decided that I won't return to my in-laws' house now. I would spend the rest of my life with my daughter.

When my daughter grew a little older, mother started pressuring me for a second marriage, but I refused every time. I thought that nothing good came from the first marriage. I faced many hardships. What if the second one turned out the same way? This way, I never felt like marrying again.

Meanwhile, my daughter fell ill. We took her to the hospital. There we found out that she had typhoid. Doctors gave medicine, but her condition kept deteriorating. She died after a week. My daughter's body was lying in front of me. It felt like everything had fallen apart.

I thought that if a husband doesn't turn out good, a woman can live with the support of her child, but now my daughter had also left me. Later, I painted on the wall of the same hospital where my daughter died.

I was very worried after my daughter left. I was thinking about how I would spend my life now. Then I went to Karpuri Majhi's house in the village. He used to make Madhubani paintings. I started cooking and cleaning at his house. At that time, my grandfather also worked at his house.

Seeing my condition, one day Karpuri said, 'You should stay at my place.' My mother gave permission, then I started living there. Majhi had given me a bed and lantern to stay at his house. Paint and brush to pass the time. He used to give me 6 rupees and 4 rotis daily for working.

This way, while working at his house, I started learning painting. Majhi used to make very good paintings of Lord Ganesh. He would give me paper, paint and brush and say, 'Write your name on this and make flowers etc. Learn Madhubani painting, it is the art of our Mithila.'

After that, when Majhi and Chachi Dai would paint every day, I would stand near them and watch. I slowly started painting myself. I first started working on greeting cards. I used to get money for that. This way, while working with them, I started getting interested in painting.

Karpuri Majhi was very happy seeing my dedication. Some people had come to the village from the government to teach painting. Majhi got my name registered with them. It was the first day there. I was given a satin cloth for painting. It was very shiny and beautiful. I had never seen such a shiny cloth before that. Nervously, I refused to paint on it and returned back.

When Karpuri found out, he scolded me. He asked, 'How will this work?'

The next day he asked me to go again. When I went there, I was given cotton cloth. I drew a flower on it. Then I started learning to work on sarees. This way I would paint there and stay at Majhi's house. After that, I got lost in painting. Later an institute opened there and I worked in painting there for a total of 16 years.

During that time, Karpuri Majhi gave a lot of support. One day I was cooking food at home. He came and said, 'You are alone, how will you spend your life ahead? Get married.'

But I refused to marry again. I said, 'Now Madhubani painting is my worship. These colours are my life.'

Then he asked if I missed my daughter. I said, 'I do miss my daughter, but if I keep remembering her only, how will I make paintings?'

While doing all this, I stayed with Karpuri Majhi for 25 years and kept painting. I make a child in every painting. That is my daughter.

Actually, I love children very much. Whenever I see children's clothes anywhere while coming and going, I buy them. When someone's daughter is getting married, I miss my daughter Shakuntala a lot. These are all the reasons why there is always a small child in every painting of mine.

Dulari Devi making a painting. She learned painting in the village with help from Karpuri Majhi. After her daughter's passing, she cleaned utensils in people's homes. She made Madhubani painting her life.

Once we went to Chennai for a painting event organised by the Bihar government. There I was asked to paint my life story. I started working. In it, I showed how I used to do household chores. I used to plant rice, sell grass, and sell fish.

When four days passed, the organisers said to let it be. I told them that my story was not complete yet. Then I brought those thick papers to my home and painted the entire story one by one. Later that painting came in the form of a book. I have been receiving royalty on that book for 14 years.

Look at the walls of my house here. Madhubani paintings are made on these. In this painting, I have created boatmen, fish, fox nut, fox nut leaf, bamboo, and boats. When people come to meet me at my house, they also fill colours in it.

Actually, my life felt really empty. These colours filled that void. Colours are everything in the world. Life would become dry without colour.

In the end, I would say that there was a lot of sorrow in life. Got many setbacks, but overcame them. In 2021, I received the Padma Shri award. After that, I was honoured at Bihar Museum. I cried a lot that day. I was remembering every moment of struggle.

Currently I am teaching Mithila art and songs to children at Mithila Art Institute. There are 80 children here. I really enjoy being with these children. I hope that children will preserve this art form in the future as well.

Dulari is currently teaching Mithila art and songs to children at Mithila Art Institute. There are 80 children here. She hopes that children will preserve this art form in the future as well.

(Padma Shri awardee

Dulari Devi shared these feelings with Bhaskar reporter Manisha Bhalla.)

Original Article via Bhaskar

My Dastkar Nature 2025 Experience – Exploring Beyond South

Participating in Dastkar Nature 2025 at the Nature Bazaar, Andheria Modh, New Delhi, was a truly memorable experience for me. This was my Dastkar event in Delhi, and once again, it reaffirmed why platforms like Dastkar are so special for artists and craftspersons across India. 

 

For the past few years, most of my exhibitions and shows have been in the southern region — particularly in Bengaluru and other parts of Karnataka. This time, I wanted to step beyond the familiar and reconnect with audiences in the North. Delhi, with its deep appreciation for handmade art, felt like the perfect place to do that. The theme this year, Phool Patti  the Language of Nature,” felt very close to my heart. As someone who draws inspiration from nature  the flow of leaves, the rhythm of petals, and the harmony of aquatic life  it blended beautifully with the essence of Madhubani art. 

 Over the 12 days, I met people from diverse walks of life  students from neighboring schools, craft enthusiasts, fellow artists, and international visitors curious to learn about the symbolism behind each motif. What touched me most were the spontaneous conversations  children asking how long it takes to paint a saree, visitors recognizing motifs from their travels to Bihar, and foreigners fascinated by how stories of mythology and nature coexist in our art. 

Grateful to have my sister Subhashini with me at Dastkar Nature 2025 Delhi. Between helping me at the stall, sharing laughs, and endless chatter, she made the event so much more special.

There were also a few familiar faces  including some well-known personalities and art collectors  who took a genuine interest in understanding the intricacies of my wearable art. The exchange of stories and ideas made the event truly special. What I appreciate most about Dastkar is the space it creates for authentic craft voices. It’s not just an exhibition; it’s a community where artisans, designers, and art lovers come together to celebrate India’s creative heritage. 

 As I packed up on the last day, I carried back not just memories but also renewed energy and a sense of connection. Exploring beyond the South has opened up new perspectives for me and I’m already looking forward to returning to Delhi again soon. 

 Here’s to more journeys, more stories, and more conversations through art. 

Madhubani Meets Japan — A Day of Cultural Harmony at the Japan Festival, Bengaluru**

The Japan Festival 2025 on 10 August 2025 at Ekya School, Byrathi, was a delightful celebration of art, music, and friendship between India and Japan. I had the wonderful opportunity to participate and showcase some of my exclusive Madhubani creations, including hand-painted sarees, dupattas, and intricate artworks that blend traditional motifs with a contemporary aesthetic.

 A Celebration of Indo–Japanese Cultural Exchange

Organised by Muse Creation in collaboration with the International Children’s Friendship Association (ICFA), this festival brought together one of Bengaluru’s largest gatherings of the Japanese expat community and local art lovers. The day opened with the mural unveiling at 11:00 AM, followed by a lively programme of performances Japanese choir pieces, martial arts demonstrations, musical fusions, and children’s performances that showcased cross-cultural enthusiasm.

My Participation

I displayed a curated selection of Madhubani wearable art and paintings that drew interest from both Indian and Japanese visitors. Conversations around the stall highlighted how the narrative-driven motifs and intricate linework of Madhubani resonated with audiences; many remarked on the visual harmony between Madhubani patterns and certain elements of Japanese design aesthetics. The wearable pieces sarees and dupattas painted on Tussar and Chanderi were especially well received.

Highlights & Reflections

* Meaningful interactions with the Japanese expat community and local families.

* Strong interest in wearable Madhubani pieces and commissions.

* The festival’s mural inauguration created a beautiful focal point for the day’s cultural activities.

Gratitude & Looking Forward

I’m thankful to Muse Creation, ICFA, and Ekya Schools for hosting a thoughtful, well-curated festival that fosters Indo–Japanese cultural ties. Events like these remind me why I continue to practice and adapt traditional art forms  they connect people, stories, and communities. I look forward to future collaborations and more opportunities to bring Madhubani into cross-cultural conversations.