Showing posts with label indian art. Show all posts
Showing posts with label indian art. Show all posts
Sunday, January 10, 2010
Tuesday, January 05, 2010
Article on Madhubani Painting..
An article on Madhubani Art from an Australian School Website
Centuries old, this art is done mainly by the females of the family, and is a part of the daily ritual. It is believed that every morning the gods come invisibly to the household to bless the members of the family and to bring more prosperity. So this art started as a daily welcome painting for the Gods by decorating the outside of the house, the walls or the floor.
The walls and floors of the house were coated with cow dung and mud paste. When it dried it gave a perfect dark background to the bright paintings done with white rice paste. The diluted cow dung is also a natural antiseptic which is why it is valued as a floor and wall covering anyway - regardless of whether any one was going to paint on it!
During the Bihar famine of 1964-65 some of these women began to reproduce their pictures on handmade paper as their art work was being noticed by the urban people and the painted walls could not be moved to their living room. In this way, the Madhubani people with help from the All-India Handicrafts Board, have managed to supplement their income by providing a desired product. It is a real life Technology and Enterprise project.
To give the same effect to the paper, the artists still coat the handmade paper with a thin layer of diluted cow dung. This helps in the absorption of colours as well as gives the desired shades of colours.
Even in the more recent work on paper, the themes are normally the Hindu Gods and Goddesses and stories from Hindu mythology.
Initially all vegetable dyes were used for the paintings but today with the changes over time and because of the easy availability many artists now use acrylic colours as well.
- The figures are recognizable by a face in profile while the rest of the body faces the front.
- The face has one very large eye and a bumpy sort of nose coming out of the forehead.
- The figure outlines are drawn as a double line with diagonal hatching between them.
- The borders are highly decorated - either geometrically or with ornate floral patterns.
- Clothing also is highly decorated with geometrical, floral or even animal patterns.
- The drawings of animals are easily recognised for what they are, but again tend to be very stylized
Learning Area Initiatives and Outcomes
Specialist Programs: Generalist: Cross Curricula:
Visual Arts Gallery Music LoTE H & PE English Maths Science S & E T&E Library ICT Studies of Asia
VISUAL ARTS : BEACONSFIELD PS
TRIBAL ARTS OF INDIA
(Installed Oct 2001)
MADHUBANI WALL ART FROM BIHAR
(also known as MITHILA painting as Madhubani is a village in the locality of Mithila near the border of Nepal)
(Installed 12/10/2001)
By Year 6
Centuries old, this art is done mainly by the females of the family, and is a part of the daily ritual.
It is believed that every morning the gods come invisibly to the household to bless the members of the family and to bring more prosperity. So this art started as a daily welcome painting for the Gods by decorating the outside of the house, the walls or the floor.
The walls and floors of the house were coated with cow dung and mud paste. When it dried it gave a perfect dark background to the bright paintings done with white rice paste. The diluted cow dung is also a natural antiseptic which is why it is valued as a floor and wall covering anyway - regardless of whether any one was going to paint on it!
During the Bihar famine of 1964-65 some of these women began to reproduce their pictures on handmade paper as their art work was being noticed by the urban people and the painted walls could not be moved to their living room. In this way, the Madhubani people with help from the All-India Handicrafts Board, have managed to supplement their income by providing a desired product. It is a real life Technology and Enterprise project.
To give the same effect to the paper, the artists still coat the handmade paper with a thin layer of diluted cow dung. This helps in the absorption of colours as well as gives the desired shades of colours.
Even in the more recent work on paper, the themes are normally the Hindu Gods and Goddesses and stories from Hindu mythology.
Initially all vegetable dyes were used for the paintings but today with the changes over time and because of the easy availability many artists now use acrylic colours as well.
The figures are recognizable by a face in profile while the rest of the body faces the front.
The face has one very large eye and a bumpy sort of nose coming out of the forehead.
The figure outlines are drawn as a double line with diagonal hatching between them.
The borders are highly decorated - either geometrically or with ornate floral patterns.
Clothing also is highly decorated with geometrical, floral or even animal patterns.
The drawings of animals are easily recognised for what they are, but again tend to be very stylized.
167KB download for larger image
At the Craft Museum in New Delhi, a variety of crafts people are invited for 15 days at a time to come and work in the grounds of the museum so that visitors can watch, ask questions and of course buy their products at a very reasonable price. In this way the visitor is able to experience Tribal Arts from a variety of regions which they would otherwise not be able to visit.
As Devjani was able to speak Bengali, she asked many questions on my behalf about the dyes used to colour the work. (see below)
The Museum was a highlight of my time in New Delhi. (Pauline O'Brien - TiCFA tour participant to India in January 2001)
238KB download for larger image
The Museum also has many wonderful permanent displays.
This is an example of a full size Madhubani Wall Painting as it would have been done in the bridal chamber prior to the marriage ceremony. The natural colours were amazingly bright.
"I was glad I was able to buy some work on paper to bring home, but the work on the wall was just amazing. I wish I could have gone to Madhubani and seen it in real life for myself!! Maybe next time I am in India." (Pauline O'Brien -TiCFA tour participant to India in January 2001)
81KB download
This is a card bought at the Madhubani stall.
It shows the typical facial characteristics and if you look closely enough you may be able to see the textureand colour of the diluted cow dung which has been used to seal the paper.
Lottie
Nadya
Chesapeake
Jessica
Ian
Alix
When we did our own drawings in the Madhubani style, we all loved the fineline drawing so much that we didn't want to risk painting them with colours. Mrs Roy did tell us some of the natural materials that they would have initially used to make their dyes. All of these colours are mixed with goats milk or the milk of a bean plant. The brush is a sharpened or flattened twig.
black - soot from the bottom of a cooking clay pot or the chimney of a lamp.
yellow -pollen / arsenic
red - local clay
Indian red (sindoor) - iron oxide
blue - indigo
Interestingly, when we were looking at Aboriginal fibre crafts in Term 1, we found that they also used many different natural materials to dye the reeds and grasses they used when making their mats and baskets. We experimented with the dyeing of raffia at home.
Some useful URL's to give you more information about this style of Madhubani Tribal Art and examples of their original work.
ShalinCraft - Mudhubani
Crafts India - Maithila Painting
Specialist Programs: Generalist: Cross Curricula:
Visual Arts Gallery Music LoTE H & PE English Maths Science S & E T&E Library ICT Studies of Asia
VISUAL ARTS : BEACONSFIELD PS
TRIBAL ARTS OF INDIA
(Installed Oct 2001)
MADHUBANI WALL ART FROM BIHAR
(also known as MITHILA painting as Madhubani is a village in the locality of Mithila near the border of Nepal)
(Installed 12/10/2001)
By Year 6
Centuries old, this art is done mainly by the females of the family, and is a part of the daily ritual.
It is believed that every morning the gods come invisibly to the household to bless the members of the family and to bring more prosperity. So this art started as a daily welcome painting for the Gods by decorating the outside of the house, the walls or the floor.
The walls and floors of the house were coated with cow dung and mud paste. When it dried it gave a perfect dark background to the bright paintings done with white rice paste. The diluted cow dung is also a natural antiseptic which is why it is valued as a floor and wall covering anyway - regardless of whether any one was going to paint on it!
During the Bihar famine of 1964-65 some of these women began to reproduce their pictures on handmade paper as their art work was being noticed by the urban people and the painted walls could not be moved to their living room. In this way, the Madhubani people with help from the All-India Handicrafts Board, have managed to supplement their income by providing a desired product. It is a real life Technology and Enterprise project.
To give the same effect to the paper, the artists still coat the handmade paper with a thin layer of diluted cow dung. This helps in the absorption of colours as well as gives the desired shades of colours.
Even in the more recent work on paper, the themes are normally the Hindu Gods and Goddesses and stories from Hindu mythology.
Initially all vegetable dyes were used for the paintings but today with the changes over time and because of the easy availability many artists now use acrylic colours as well.
The figures are recognizable by a face in profile while the rest of the body faces the front.
The face has one very large eye and a bumpy sort of nose coming out of the forehead.
The figure outlines are drawn as a double line with diagonal hatching between them.
The borders are highly decorated - either geometrically or with ornate floral patterns.
Clothing also is highly decorated with geometrical, floral or even animal patterns.
The drawings of animals are easily recognised for what they are, but again tend to be very stylized.
167KB download for larger image
At the Craft Museum in New Delhi, a variety of crafts people are invited for 15 days at a time to come and work in the grounds of the museum so that visitors can watch, ask questions and of course buy their products at a very reasonable price. In this way the visitor is able to experience Tribal Arts from a variety of regions which they would otherwise not be able to visit.
As Devjani was able to speak Bengali, she asked many questions on my behalf about the dyes used to colour the work. (see below)
The Museum was a highlight of my time in New Delhi. (Pauline O'Brien - TiCFA tour participant to India in January 2001)
238KB download for larger image
The Museum also has many wonderful permanent displays.
This is an example of a full size Madhubani Wall Painting as it would have been done in the bridal chamber prior to the marriage ceremony. The natural colours were amazingly bright.
"I was glad I was able to buy some work on paper to bring home, but the work on the wall was just amazing. I wish I could have gone to Madhubani and seen it in real life for myself!! Maybe next time I am in India." (Pauline O'Brien -TiCFA tour participant to India in January 2001)
81KB download
This is a card bought at the Madhubani stall.
It shows the typical facial characteristics and if you look closely enough you may be able to see the textureand colour of the diluted cow dung which has been used to seal the paper.
Lottie
Nadya
Chesapeake
Jessica
Ian
Alix
When we did our own drawings in the Madhubani style, we all loved the fineline drawing so much that we didn't want to risk painting them with colours. Mrs Roy did tell us some of the natural materials that they would have initially used to make their dyes. All of these colours are mixed with goats milk or the milk of a bean plant. The brush is a sharpened or flattened twig.
black - soot from the bottom of a cooking clay pot or the chimney of a lamp.
yellow -pollen / arsenic
red - local clay
Indian red (sindoor) - iron oxide
blue - indigo
Interestingly, when we were looking at Aboriginal fibre crafts in Term 1, we found that they also used many different natural materials to dye the reeds and grasses they used when making their mats and baskets. We experimented with the dyeing of raffia at home.
Some useful URL's to give you more information about this style of Madhubani Tribal Art and examples of their original work.
ShalinCraft - Mudhubani
Crafts India - Maithila Painting
Monday, November 16, 2009
Bihar To Showcase Madhubani At India International Trade Fair in Delhi
Bihar will showcase itself as “the land of boundless opportunities” at the 29th annual India International Trade Fair (IITF) beginning here this Saturday.
During the fair, the State will put up stalls of Madhubani, Mithila and Godna paintings, Madhubani sari, Suzni work sari and Laah-Churi as the main attractions. It will also present Bihar’s special delicacies including Litti-chokka, Tilkut and Laai.
Addressing a press conference here on Friday, senior officials of the State cited “improved law and order situation” and “94 per cent growth in foreign tourist arrivals since 2008” to emphasise that the State has a tremendous potential for investment and growth.
Tourism Principal Secretary Rashmi Verma said the State was aggressively promoting pilgrimage tourism through its Buddhist circuit, Jain-Tirthankar circuit, Islamic/Sufi circuit, Sikh circuit, Ramayana, Gandhi and Nature and Wildlife circuits that were popular with foreign tourists.
Japanese and Korean tourists particularly favour the Buddhist circuit. Besides a five-star hotel in Patna, other “star” hotels are planned for Bodh Gaya and Rajgir. All these will be showcased at the Bihar pavilion.
Vision for the year
Bihar Rajya Pul Nirman Nigam chairman Atish Chandra said the theme hall would be decorated with the State’s vision for this year: “Bihar-Wisdom-Faith-Science (Gyan Aastha aur Vigyan)”. A road show named “Opportunity Bihar” will be organised at the pavilion besides focusing on the Bihar Government’s achievements in the past few years. “Bihar has the potential, policy and suitable climate for investment,” said Mr. Chandra.
In answer to a question, officials said the State would soon start manufacture of ethanol from sugarcane in keeping with the present-day demand. The Government will leave it to the industry to decide how much of its production it would earmark for ethanol.
“The sugar industry in the State is slowly picking up. At the moment about nine mills are operation in the private sector,” said Industrial Development Commissioner A.K. Sinha, adding that the State is also promoting food processing and agro-processing in a big way.
During the fair, the State will put up stalls of Madhubani, Mithila and Godna paintings, Madhubani sari, Suzni work sari and Laah-Churi as the main attractions. It will also present Bihar’s special delicacies including Litti-chokka, Tilkut and Laai.
Addressing a press conference here on Friday, senior officials of the State cited “improved law and order situation” and “94 per cent growth in foreign tourist arrivals since 2008” to emphasise that the State has a tremendous potential for investment and growth.
Tourism Principal Secretary Rashmi Verma said the State was aggressively promoting pilgrimage tourism through its Buddhist circuit, Jain-Tirthankar circuit, Islamic/Sufi circuit, Sikh circuit, Ramayana, Gandhi and Nature and Wildlife circuits that were popular with foreign tourists.
Japanese and Korean tourists particularly favour the Buddhist circuit. Besides a five-star hotel in Patna, other “star” hotels are planned for Bodh Gaya and Rajgir. All these will be showcased at the Bihar pavilion.
Vision for the year
Bihar Rajya Pul Nirman Nigam chairman Atish Chandra said the theme hall would be decorated with the State’s vision for this year: “Bihar-Wisdom-Faith-Science (Gyan Aastha aur Vigyan)”. A road show named “Opportunity Bihar” will be organised at the pavilion besides focusing on the Bihar Government’s achievements in the past few years. “Bihar has the potential, policy and suitable climate for investment,” said Mr. Chandra.
In answer to a question, officials said the State would soon start manufacture of ethanol from sugarcane in keeping with the present-day demand. The Government will leave it to the industry to decide how much of its production it would earmark for ethanol.
“The sugar industry in the State is slowly picking up. At the moment about nine mills are operation in the private sector,” said Industrial Development Commissioner A.K. Sinha, adding that the State is also promoting food processing and agro-processing in a big way.
Bihar to showcase itself as ‘land of boundless opportunities’
Bihar will showcase itself as “the land of boundless opportunities” at the 29th annual India International Trade Fair (IITF) beginning here this Saturday.
During the fair, the State will put up stalls of Madhubani, Mithila and Godna paintings, Madhubani sari, Suzni work sari and Laah-Churi as the main attractions. It will also present Bihar’s special delicacies including Litti-chokka, Tilkut and Laai.
Addressing a press conference here on Friday, senior officials of the State cited “improved law and order situation” and “94 per cent growth in foreign tourist arrivals since 2008” to emphasise that the State has a tremendous potential for investment and growth.
Tourism Principal Secretary Rashmi Verma said the State was aggressively promoting pilgrimage tourism through its Buddhist circuit, Jain-Tirthankar circuit, Islamic/Sufi circuit, Sikh circuit, Ramayana, Gandhi and Nature and Wildlife circuits that were popular with foreign tourists.
Japanese and Korean tourists particularly favour the Buddhist circuit. Besides a five-star hotel in Patna, other “star” hotels are planned for Bodh Gaya and Rajgir. All these will be showcased at the Bihar pavilion.
Vision for the year
Bihar Rajya Pul Nirman Nigam chairman Atish Chandra said the theme hall would be decorated with the State’s vision for this year: “Bihar-Wisdom-Faith-Science (Gyan Aastha aur Vigyan)”. A road show named “Opportunity Bihar” will be organised at the pavilion besides focusing on the Bihar Government’s achievements in the past few years. “Bihar has the potential, policy and suitable climate for investment,” said Mr. Chandra.
In answer to a question, officials said the State would soon start manufacture of ethanol from sugarcane in keeping with the present-day demand. The Government will leave it to the industry to decide how much of its production it would earmark for ethanol.
“The sugar industry in the State is slowly picking up. At the moment about nine mills are operation in the private sector,” said Industrial Development Commissioner A.K. Sinha, adding that the State is also promoting food processing and agro-processing in a big way.
Thursday, November 05, 2009
Saturday, October 24, 2009
Saturday, September 12, 2009
Monday, August 24, 2009
Thursday, August 06, 2009
15 of my new paintings listed on Novica
'The Powerful Goddess'
Fierce and fearless, Durga is the mother goddess in the Hindu pantheon, empowered by all gods to slay the nefarious buffalo-demon and establish peace in three worlds. According to legend she was created for this purpose out of flames issued from the mouths of Brahma, Vishnu, Shiva, and the lesser gods. She was born fully-grown and beautiful; nevertheless, she presents a menacing form to her enemies
'The Powerful Goddess'
Fierce and fearless, Durga is the mother goddess in the Hindu pantheon, empowered by all gods to slay the nefarious buffalo-demon and establish peace in three worlds. According to legend she was created for this purpose out of flames issued from the mouths of Brahma, Vishnu, Shiva, and the lesser gods. She was born fully-grown and beautiful; nevertheless, she presents a menacing form to her enemies
Tuesday, August 04, 2009
I found a list of books on Madhubani paintings or books having references to this art form from http://www.vl-site.org/india/mithila/books.html
Here goes the list--
Anand, Mulk Raj, Madhubani Painting (New Delhi: Publications Division, Ministry of Information and Broadcasting, Government of India, 1984).
Archer, Mildred, Indian Popular Painting in the India Office Library (London: Her Majesty's Stationery Office, 1977).
Archer, William G., Songs for the Bride: Wedding Rites of Rural India, ed. by Barbara Stoler Miller and Mildred Archer (New York: Columbia University Press, 1985).
Brown, Carolyn Henning, "Contested Meanings: Tantra and the Poetics of Mithila Art," American Ethnologist 23, 4 (November 1996), 717-37.
[All of the listed titles can be read more profitably in relation to the proposals put forward by Professor Brown.]
Brown, Carolyn Henning, "The Women Painters of Mithila," in Festival of India in the United States 1985-1986 (New York: Harry N. Abrams, Inc., 1985), 155-61.
Craven, Roy C., A Concise History of Indian Art (London: Thames and Hudson; New York: Praeger, 1976).
Craven, Roy C., Indian Art: A Concise History, revised edition (London: Thames and Hudson, 1997).
Jayakar, Pupul, The Earth Mother: Legends, Ritual Arts, and Goddesses of India (San Francisco: Harper & Row, Publishers, 1990).
Jain, Jyotindra, Ganga Devi: Tradition and Expression in Mithila Painting (Ahmedabad, India: Mapin Publishing Pvt Ltd., in association with The Mithila Museum, Niigata, Japan, 1997).
[A fine book on a leading artist who practiced what is sometimes called the Kayastha style of Madhubani painting.]
Mode, Heinz and Subodh Chandra, Indian Folk Art (New York: Alpine Fine Arts Collection, Ltd., 1985).
[Useful for background and comparative study.]
Thakur, Upendra, Madhubani Painting (New Delhi: Abhinav Publications, n.d.).
Vequaud, Yves, The Women Painters of Mithila (London: Thames and Hudson, 1977).
[This is a book that contributed to and then reflected the worldwide popularity of Madhubani painting.]
Here goes the list--
Anand, Mulk Raj, Madhubani Painting (New Delhi: Publications Division, Ministry of Information and Broadcasting, Government of India, 1984).
Archer, Mildred, Indian Popular Painting in the India Office Library (London: Her Majesty's Stationery Office, 1977).
Archer, William G., Songs for the Bride: Wedding Rites of Rural India, ed. by Barbara Stoler Miller and Mildred Archer (New York: Columbia University Press, 1985).
Brown, Carolyn Henning, "Contested Meanings: Tantra and the Poetics of Mithila Art," American Ethnologist 23, 4 (November 1996), 717-37.
[All of the listed titles can be read more profitably in relation to the proposals put forward by Professor Brown.]
Brown, Carolyn Henning, "The Women Painters of Mithila," in Festival of India in the United States 1985-1986 (New York: Harry N. Abrams, Inc., 1985), 155-61.
Craven, Roy C., A Concise History of Indian Art (London: Thames and Hudson; New York: Praeger, 1976).
Craven, Roy C., Indian Art: A Concise History, revised edition (London: Thames and Hudson, 1997).
Jayakar, Pupul, The Earth Mother: Legends, Ritual Arts, and Goddesses of India (San Francisco: Harper & Row, Publishers, 1990).
Jain, Jyotindra, Ganga Devi: Tradition and Expression in Mithila Painting (Ahmedabad, India: Mapin Publishing Pvt Ltd., in association with The Mithila Museum, Niigata, Japan, 1997).
[A fine book on a leading artist who practiced what is sometimes called the Kayastha style of Madhubani painting.]
Mode, Heinz and Subodh Chandra, Indian Folk Art (New York: Alpine Fine Arts Collection, Ltd., 1985).
[Useful for background and comparative study.]
Thakur, Upendra, Madhubani Painting (New Delhi: Abhinav Publications, n.d.).
Vequaud, Yves, The Women Painters of Mithila (London: Thames and Hudson, 1977).
[This is a book that contributed to and then reflected the worldwide popularity of Madhubani painting.]
Monday, August 03, 2009
Subscribe to:
Posts (Atom)
Learning, Networking, and New Perspectives at MSME Sparks 2026
Last week, I had the opportunity to attend the MSME Sparks 2026 Grand Finale in Bengalurua melting pot of founders, investors, and ecosystem...
