On July 29–30, 2025, I had the pleasure of participating in Pause for a Cause, a beautifully curated shopping event held at the Karnataka Chitrakala Parishath, Bengaluru. The two-day exhibition-cum-sale brought together over 35 designers and brands who share a common philosophy — creating consciously and celebrating sustainability through art, design, and craftsmanship.
A Celebration of Conscious Living
The event truly lived up to its name — Pause for a Cause — encouraging visitors to take a moment to reflect on the impact of their purchases and to appreciate the artistry behind ethically made products. The exhibition showcased a stunning range of sustainable fashion, accessories, jewelry, and home décor, all blending traditional Indian textiles with modern design sensibilities.
From handwoven fabrics to eco-friendly home products, every stall was a reminder that beauty and responsibility can coexist harmoniously.
Madhubani by Vidushini at Pause for a Cause
As an artist deeply rooted in Indian traditions yet inspired by contemporary expression, I was delighted to be part of this thoughtful initiative. I showcased my exclusive Madhubani creations — including hand-painted sarees, dupattas, and stoles, along with original artworks that bring the age-old art form of Madhubani to modern audiences.
It was heartwarming to engage with visitors who were curious to learn about the stories and symbolism behind each painting — from nature-inspired motifs to mythological themes. Events like these remind me how art continues to connect people across generations and cultures.
The Cause Behind the Event
What made Pause for a Cause even more meaningful was its purpose. A portion of the proceeds from the event supported the Concern India Foundation, which works at the grassroots level in the fields of education, health, and community development. Knowing that our collective efforts as artists and designers could contribute to such impactful initiatives added a deeper layer of fulfillment to the experience.
Looking Ahead
Participating in Pause for a Cause was not just about showcasing art — it was about being part of a movement that values sustainability, craftsmanship, and compassion. Events like these reinforce my belief that art and fashion can go beyond aesthetics to create awareness and inspire mindful choices.
I left the event with a full heart — grateful for the conversations, the appreciation, and the opportunity to contribute to a cause that truly matters.
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
Married at 12, husband abandoned her:Made first painting on hospital wall where her daughter died; broke down upon receiving Padma Shri
Dulari Devi4 days ago
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.)
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.
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.
As we celebrate National Handloom Day today (August 7, 2025), we also celebrate the vibrant legacy of India’s handloom industry, a living tapestry of culture, craftsmanship, and creativity that has adorned our nation for centuries. As a Madhubani artist, my journey with art extends beyond the intricate motifs of Mithila paintings to the delicate threads of India’s handwoven textiles, such as Chanderi, Tussar, Kerala Kasavu, and Maheshwari.
Each fabric tells a story of people, of traditions, of their connection to the land. Through my wearable art, I seek to bring Madhubani’s narrative strength to the loom, blending it with the heritage of handweaving. This article is both a tribute and a call a celebration of India’s diverse handloom traditions and a reminder of our collective responsibility to preserve them.
A Tapestry of Tradition: India’s Handloom Fabrics by Region
India’s handloom heritage reflects the depth of its cultural geography. Here’s a curated selection of traditional handloom fabrics — each a regional marvel, rooted in legacy and technique:
Khadi (Pan-India, esp. Gujarat) A symbol of India’s freedom struggle, Khadi is hand-spun and handwoven from cotton, silk, or wool. Its coarse texture and breathability make it ideal for warm climates, while its philosophy of self-reliance and sustainability continues to inspire modern designers.
Image Source: Opindia.com
Jamdani (West Bengal) A fine muslin weave once patronized by Mughal emperors, Jamdani features ethereal floral and geometric motifs woven directly into the fabric. Each piece can take weeks to months to complete, testifying to the weaver’s patience and artistry.
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Image Source via Wikipedia
Banarasi Silk (Uttar Pradesh) Woven in Varanasi, Banarasi silk sarees are known for their opulent zari work, rich textures, and Mughal-inspired patterns. Traditionally worn for weddings and special occasions, they are prized family heirlooms.
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Image source via Wikipedia
Patola (Gujarat) Among the most intricate double-ikat weaves in the world, Patola textiles are dyed before weaving, resulting in symmetrical, vibrant, geometric patterns. Woven mostly in Patan, they are considered sacred and luxurious. Gujarat is known for its world famous double ikat patola from patan. It is a colourful and ostentatious weave with its figured body, along with the subtle merging of one shade into another. It is generally worn on auspicious and important occasions. The magic of patola textile is created by the art of lying and dyeing both the warp and west silk threads and then weaving them with great skill and precision into priceless fabric forms with clear and crisp patterns. The raw material used for weaving is cultivated silk single ikat patola is also woven in some villages of surendranagar and Rajkot district in which only weft in separately: ie-dyed before weaving to create patterns. The patterns through similar are simpler than the intricate one and are more economical than those of patan.
Image Source: Gujarat State Handloom & Handicrafts Development Corporation Ltd.
Maheshwari (Madhya Pradesh) A blend of cotton and silk, Maheshwari fabric is lightweight with graceful stripes, checks, and floral borders. Originally created for royal use, today it lends itself beautifully to both sarees and dupattas with Madhubani art.
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Image Source: Mrignayani MP Govt Emporium
Ikat (Odisha, Telangana, Gujarat) This resist-dyeing technique involves dyeing the yarns before weaving, creating blurred, feathery edges in the final patterns. Known for vibrant geometric designs, Ikat is used in everything from sarees to home décor.
“Orissa Ikat” is a kind of Ikat known as Bandhakala and Bandha, a traditional dyeing technique, originating from Indian State of Odisha. It is generally known as ’Bandhakala’, ‘Bandha’, ‘Bandha of Odisha’. It is a geographically tagged product of Odisha. It is made through a process of tying and dyeing the warp and weft threads to create the design on the yarn prior to weaving. Orissa Ikat is not confined to geometrical design, rather fine, sharp artistic curvilinear designs in the form of Lahari, Lata (creeper), Ghagra, Deuli (temple) etc. are its special characteristics. (GI Application No.-22/Certificate Date: 07/06/2006
Paithani (Maharashtra): A regal silk weave from Paithan, adorned with gold and silver threads, Paithani features motifs like peacocks, lotuses, and vines. The vibrant palette and gleaming zari make it a bridal favorite.
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image via Wikipedia
Kanchipuram (Tamil Nadu) Kanjeevaram silks are renowned for their density, vivid hues, and temple border motifs. The silk is sourced from Karnataka, zari from Gujarat, and the weaving technique from centuries of South Indian tradition.
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image via Wikipedia
Bagh (Madhya Pradesh): A block-printing craft using natural dyes, Bagh prints are inspired by flora, fauna, and jali designs from Mughal architecture. The distinctive red and black palette lends it a rustic charm.
Ajrak (Gujarat, Sindh — cross-border heritage): Traditionally worn by pastoral communities, Ajrak uses natural dyes and wooden blocks to create symmetric, geometric, and floral motifs. The deep indigo and madder tones are iconic.
Bandhani (Gujarat, Rajasthan) This tie-dye technique creates tiny dot or wave patterns by plucking and tying parts of the cloth before dyeing. Bandhani is festive, joyful, and deeply embedded in cultural rituals.
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image via Wikipedia
Chanderi (Madhya Pradesh) Known for its sheer texture and glossy finish, Chanderi fabric is a silk-cotton blend often embellished with zari and fine motifs. As a Madhubani artist, I often use Chanderi as a luminous canvas for my paintings.
Kota Doria (Rajasthan) A blend of cotton and silk, woven with square-like patterns called ‘khat’, Kota Doria is airy and translucent. Ideal for hot climates, its gossamer quality gives it a royal allure.
image via Wikipedia
Baluchari (West Bengal) Woven from silk, Baluchari sarees feature narrative scenes from epics like the Ramayana and Mahabharata on the pallu. These storytelling weaves are like visual scriptures.
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image via Wikipedia
Bhagalpuri Tussar Silk (Bihar) Harvested from wild silkworms, Bhagalpuri Tussar has a rich, earthy sheen and a slightly coarse texture. It’s one of my favorite surfaces to paint on, resonating with the rustic origins of Madhubani.
Phulkari (Punjab) Meaning “flower work,” Phulkari uses vibrant silk threads embroidered on coarse cotton, often in dazzling geometric patterns. It’s a visual celebration of life, worn during weddings and festivals.
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image via Wikipedia
Muga Silk (Assam) Exclusive to Assam, this golden-hued silk is prized for its natural sheen and durability. Muga garments last generations and are considered auspicious.
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image via Wikipedia
Ilkal (Karnataka): Identified by its contrasting red pallu and temple borders, Ilkal sarees use a traditional tope teni technique to join the pallu and body seamlessly.
Kalamkari (Andhra Pradesh, Telangana): These are hand-painted or block-printed fabrics with intricate mythological or nature-inspired stories. The term comes from “kalam” (pen) and “kari” (work), and it’s a favored pairing with Madhubani motifs.
Chikankari (Uttar Pradesh): Originating in Lucknow, this is a delicate white-on-white embroidery done on muslin, silk, or chiffon, with floral and paisley motifs. It evokes subtle elegance.
Kashmiri Pashmina (Jammu & Kashmir): Made from the fine undercoat of Changthangi goats, Pashmina is famed for its luxurious softness. Often hand-embroidered, each piece is a symbol of quiet opulence.
image via Wikipedia: A portrait of Empress Joséphine wearing a Kashmir shawl and a gown made of Kashmir shawl fabric
Gadwal (Telangana): Known for a cotton body with a silk pallu and borders, Gadwal sarees are lightweight, comfortable, and intricately woven with motifs from nature and temple architecture.
Nagaland Handloom (Nagaland): These handwoven textiles are deeply tied to tribal identity, featuring bold geometric patterns in striking contrasts, often with symbolic meanings.
Lepcha Weave (Sikkim): Traditionally woven by Lepcha women, these textiles have narrow stripes and are used to make traditional attire and accessories.
Sambalpuri Ikat (Odisha): Featuring motifs like shells, flowers, wheels, and animals, this handwoven Ikat is prized for its durability and precision in design alignment.
Tangaliya (Gujarat): A lesser-known weave where small bead-like dots are woven into the fabric using extra weft. Traditionally worn by pastoral communities. This 700-year-old weaving craft is native to the Dangashiya community of Surendranagar, Gujarat. The community consists of weavers and shepherds. The weavers make the blankets out of sheep and goat wool for the shepherds to wear. The threads are woven to create the signature style of the weaving technique which is the effect of raised dots on the fabric. Together, they create beautiful geometrical patterns. Today, these textiles are used to make dupattas, dress material, bedsheets and pillow covers.
Eri Silk (Assam, Meghalaya): Known as the ‘Ahimsa Silk’, Eri is spun from open-ended cocoons without killing the silkworm. Its soft, woolly texture makes it suitable for both warm and cool climates.
Chettinad Cotton (Tamil Nadu): Bright, bold hues and contrasting checks or stripes mark this handloom from the Chettinad region. The sturdy texture and vibrant palette make it unique.
Toda Embroidery (Tamil Nadu): Created by the Toda tribal women in the Nilgiris, this black and red geometric embroidery on white cloth reflects their close relationship with nature.
Venkatagiri (Andhra Pradesh): This silk and cotton weave is known for its fine count and silver zari. It balances traditional motifs with minimalistic charm.
Dharmavaram Silk (Andhra Pradesh): Characterized by broad borders and rich color combinations, these silks are often used for bridal wear in South India.
Kerala Kasavu (Kerala): Woven in pristine white or off-white cotton with rich gold zari borders, Kasavu sarees symbolize grace and are worn during festivals and weddings. I often paint on Kasavu, respecting its clean lines and understated elegance.
As a Madhubani artist, I find endless inspiration in these handloom traditions. Each fabric whether the gauzy shimmer of Chanderi, the rich depth of Tussar, the sacred elegance of Kerala Kasavu, or the regal finesse of Maheshwari — is not merely a textile but a canvas of culture.
On this National Handloom Day, let us celebrate more than just the beauty of these fabrics. Let us honor the hands behind the loom the weavers, dyers, spinners, and printers who keep this art alive. By wearing, gifting, and supporting handloom, we’re not justchoosing slow fashion, we are choosing heritage, sustainability, and human connection.
Let the threads of tradition continue to weave our future.
Note: Part one of a two-part journey through the timeless handwoven textile heritage of India.
Source: Wikipedia, ClaudeAI, OpenAI, Ministry of Textiles, Gov of India, Textile and Handloom Corporations of Various states where the fabric originated
