Learning, Networking, and New Perspectives at MSME Sparks 2026

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Last week, I had the opportunity to attend the MSME Sparks 2026 Grand Finale in Bengalurua melting pot of founders, investors, and ecosystem enablers. Amidst the insightful discussions on AI and digital transformation, two narratives resonated with me on a deeply personal level as the founder of Madhubani Arts India: the stories of Nalli and Shobitam.

Listening to Lavanya Nalli and Aparna Thyagarajan back-to-back felt like witnessing the two pillars of modern Indian craft: Legacy and Agility.

Nalli, under the stewardship of Lavanya Nalli, represents the pinnacle of heritage. Hearing her speak, I was reminded of how a brand with nearly a century of history can remain relevant. Lavanya, an alumna of Anna University (Computer Science) and Harvard Business School, brought a rigorous, professional approach to the family firm. Her experience at McKinsey & Company and Myntra helped her bridge the gap between traditional saree retailing and the digital-first expectations of today’s consumer. She proved that when you honor a legacy—like the iconic 'MS Blue'—while applying modern institutional processes, you don’t just preserve the past; you build a foundation that can weather any market shift.

On the other side of the spectrum was Aparna Thyagarajan, co-founder of Shobitam. Her journey is a blueprint for the modern D2C founder. With a formidable background in tech, including over a decade at Microsoft in the US, she didn't just launch a brand; she built a tech-enabled supply chain to "democratize ethnic fashion globally." Her transition from the corporate corridors of Seattle to empowering artisans across India is a powerful reminder that our traditional crafts are high-value global assets waiting for the right digital infrastructure.

The event was also marked by the voices of several other visionary leaders who are shaping the MSME landscape. It was incredibly inspiring to hear from Giedrius Zakaitis (CEO of Hostinger), who emphasized the scale of digital presence; Nikhila Gudipati (Google Cloud), who highlighted the role of cloud-driven innovation; Dibyanshu Tripathi (Founder of Hexalog), who showcased operational excellence; and Shivani Muthanna (YourStory), who continues to champion the stories of those building the future of Bharat.

The Synthesis: Innovation as a Guardian of Tradition

As I lead Madhubani Arts India, I often grapple with the balance between the ancient and the modern. How do we keep the centuries-old stories of Mithila alive while navigating the demands of a global e-commerce world?

The insights from these leaders provided the answer: Technology should be the guardian of authenticity, not its replacement.

Whether it is Nalli’s sophisticated approach to every-day value or Shobitam’s tech-enabled model for empowering artisans, the lesson is clear: Branding and digital storytelling are the vehicles that allow our heritage to travel. For us at Madhubani Arts India, every hand-painted saree or journal is a vessel for history. Innovation—whether through AI-driven personalization, global digital outreach, or efficient operations—doesn't change the art; it ensures the artist survives and the story reaches the generation that needs to hear it most.

Beyond the Stage

The most profound moments, however, happened off-stage. Networking with fellow founders reminded me that whether you are a 98-year-old legacy brand or a modern D2C startup, the challenges of sustainable scaling and brand-building are universal.

A heartfelt thank you to YourStory and the entire MSME Sparks team for curating such a vital community. I return to my studio in Yelahanka not just with fresh ideas, but with the conviction that by blending the timeless precision of Mithila art with the forward-thinking strategies I saw this week, we are not just selling products—we are securing the future of our culture.

A New Dawn for Mithila: Bihar’s First Shilpgram Inaugurated in Jitwarpur

The air in Madhubani has always been thick with the scent of handmade paper and natural pigments, but this past Saturday, it carried something even more potent: a sense of historic validation. I am incredibly proud to share that Bihar’s first Shilpgram (Craft Village)  has been officially inaugurated in Jitwarpur, marking a transformative moment for the Mithila artistic community.

For those of us who live and breathe this art form, Jitwarpur isn’t just a dot on a map. It is the spiritual home of Madhubani painting. To see it transition into a structured, globally recognized craft village is a milestone that bridges our ancient roots with a sustainable future.

The Vision: A Living Museum

The Jitwarpur Shilpgram project is a visionary collaboration under the National Handicrafts Development Programme.  With an investment of over ₹9 crore from the Union Ministry of Textiles and the Bihar Museum, the entire village is being reimagined as a "living gallery."

Walking through the village, you will soon see a landscape transformed:

Residential Canvases:The outer walls of homes are being whitewashed and adorned with intricate Madhubani motifs, turning every street into an exhibition.

Infrastructure for Artists:Twelve dedicated craft stalls have been established, providing a permanent marketplace where local artisans can sell directly to collectors and tourists, effectively removing the barriers created by middlemen.

Preserving Diversified Crafts: While painting is our heartbeat, the Shilpgram is also dedicated to reviving and promoting Sikki grass work, Paper Mache, Sujni embroidery, and Terracotta, ensuring that the full spectrum of Mithila’s creative output is preserved.

Honoring a Legacy of Excellence

Jitwarpur has long been known as the "Village of Awardees." It is the land of legends like Jagdamba Devi the first artisan to receive the National Award in 1970, and other luminaries like Sita Devi and Baua Devi

This inauguration is a tribute to their struggle and success. By establishing a world-class guest house and a museum on-site, the government is making it possible for art enthusiasts and researchers to stay in the village, learn from master craftsmen, and experience the "Mithila lifestyle" firsthand.

Why This Matters for the Creative Economy

As a professional artist, I see this as more than just a tourism boost. It is an economic engine. By providing artists with direct market access and modern infrastructure, we are ensuring that the next generation sees the traditional arts as a viable, prestigious career path.

The success of the Jitwarpur model is already sparking further growth. Plans are already in motion to develop similar hubs in Ranty, Rayam, Bhusara, and Tharakatti.

Final Thoughts

Seeing my heritage honored in this way fills me with a renewed sense of purpose. We aren't just looking back at our history; we are building a future where our art is respected, protected, and accessible to the world.

If you’ve ever wanted to witness the soul of Indian folk art, there has never been a better time to visit Madhubani.

Via https://timesofindia.indiatimes.com/city/patna/bihars-first-shilpgram-inaugurated-at-madhubanis-jitwarpur-village/articleshow/128652825.cms

My Experience at Craft Bazaar, Chennai – Showcasing Madhubani Art

I had the wonderful opportunity to participate in the Craft Bazaar organised by the Craft Council of India at the Mother Teresa Women’s Complex, Valluvarkottam, Chennai from February 13 to February 17th, 2026. . The event brought together artisans and craft practitioners from across India and created a vibrant space to celebrate handmade traditions, Indian folk art, and artisan craftsmanship.

At my stall, I showcased a curated collection of contemporary Madhubani paintings along with my signature Madhubani wearable art collection. Visitors could explore my hand-painted Madhubani sarees, dupattas, stoles, and for the first time, a newly launched collection of hand-painted Madhubani suits.

These textile pieces are created in collaboration with talented women artisans from Bihar. Together we work to translate the rich heritage of traditional Madhubani painting into contemporary textiles that can be worn and appreciated in everyday life.

Throughout the exhibition, I had the opportunity to interact with a wide range of visitors — art collectors, international buyers, families, students, and craft lovers. Many people spent time observing the intricate detailing that defines Madhubani art, including motifs such as fish, peacocks, lotuses, birds, and other elements inspired by nature and mythology.

One of the most heartwarming aspects of the event was meeting several of my followers from Chennai and nearby areas who came specifically to visit the stall. It was a joy to connect with people who have been following my journey and to share stories about the traditions and symbolism behind Mithila painting.

The response to the collection was truly encouraging. Visitors showed deep interest in authentic hand-painted Madhubani textiles and paintings, and it was wonderful to see many pieces finding new homes with people who appreciate handmade art.

Events like the Craft Bazaar remind me how important it is to continue preserving and presenting Madhubani art from Bihar in meaningful contemporary forms. They also create valuable opportunities for conversations around Indian handmade traditions, sustainable craft practices, and artisan livelihoods.

I am deeply grateful to the Craft Council of India for providing this platform and for supporting artisans and traditional art forms across the country.

Experiences like this strengthen my commitment to taking Madhubani art to wider audiences in India and beyond, through both paintings and wearable art.

My First Exhibition in Kolkata – Boishakhi Handloom & Handicraft Exhibition

Participating in the Boishakhi – Handloom & Handicraft Exhibition organised by the Crafts Council of West Bengal at the Birla Academy of Art & Culture was a special milestone in my artistic journey. This was my first exhibition in Kolkata and in West Bengal, and I am grateful that I had the opportunity to present Madhubani by Vidushini to the city’s vibrant art community. 

Over the two days, I showcased a collection of contemporary Madhubani paintings and wearable art, including hand-painted sarees, dupattas, and stoles created on handwoven fabrics. My work brings together the traditional storytelling and intricate motifs of Mithila with contemporary aesthetics, and it was heartening to see how warmly the audience in Kolkata responded to it.

The exhibition attracted visitors from all walks of life  art lovers, collectors, craft enthusiasts, and even international buyers exploring authentic Indian handcrafted art. Many followers of my work also came to meet me at the stall, and it was wonderful to see friends and relatives who had come specially to support me during the exhibition.

One of the most memorable moments of the event was the visit by renowned actress Moon Moon Sen. She spent considerable time at my stall, engaging in a thoughtful conversation about Madhubani art. She asked several questions about the symbolism of the motifs, the storytelling traditions of Mithila, and my personal journey as an artist. Her genuine curiosity and interest made the interaction truly meaningful for me.

I must also acknowledge the excellent organisation of the exhibition. The event was thoughtfully curated and smoothly managed, creating a wonderful environment for artisans and artists to connect with audiences who appreciate handmade crafts and traditional art forms.

For me, this exhibition was more than just a showcase of my work. It was an opportunity to introduce Madhubani art from Bihar to a new audience in Kolkata, share stories behind the motifs, and build meaningful connections with collectors, admirers, and fellow craft enthusiasts.

I return from Kolkata with a sense of gratitude and joy. The warmth and encouragement I received reaffirm my commitment to preserving and presenting Madhubani art in contemporary forms through paintings and wearable art.

I hope this is just the beginning of a long and meaningful association with the art lovers of Kolkata.

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