Mithila Paintings:
Womens Creativity Under Changing Perspectives
Kailash Kumar Mishra
Abstracts: The article deals with the write up and different styles of
Mithila Paintings in the context of the role of women in it. It draws
charge to the differences between the usanceal wall and floor
house paintings and the canvas paintings, of modern day. It underlines the
character of women to the development and popularity of Mithila
paintings over many generations, and how they were brought into the
painting tradition. It also shows how this painting tradition provided
an opportunity to women in the Mithila region to garner additional
income for the family when they were challenged by natural calamities
such as drought. While describing the present position of the art form,
the article calls for an adoption of appropriate measures to retain the
tradition in its original form and vigour.
F
rom time immemorial, women in India have actively participated in
various forms of creativity, which explicate the relationship between
nature, husbandry and the human psyche. In fact, their arts of creativity can be
treat as a style of writing by which their emotions, expectations, freedom
of thoughts, neighborly and cultural limitations, worldviews, etc., find expression.
Moreover, their significant role in close to of the art forms present in many
parts of the country is far-famed: Phulkari in Punjab; Warli in Gujarat;
Chikan in Lucknow; Weaving in the northeasterly; Kantha in Bengal; Miniature
Paintings in Rajasthan; and, of course, Mithila Paintings in Bihar. The aim
of this article is to focus on Mithila Painting to show how it is a parallel
literacy by which women communicate esthetic experience and expression.
The Mithila Paintings, also known as Madhubani Paintings, are a living
creative tradition mainly practised by settlement women of the Mithila region
in Bihar, irrespective of caste and religion. The paintings are made on
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