Recent lndig"nous Art of lndia

Recent lndig"nous Art of lndia
Umesh Caur and Aurogeeta Das
BINDU Modern Callery presents rotating curated exhibitions originating fronr tlre
Caur collection of modern and contemporary lndian art. The gallery focuses on the
artistic expression that has enrerged from lndia since the 1940s. BINDU Modern
is also the nucleus through which the Gaurs continue their decade-long activities
of promoting modern lndian art through collaboration with museums in the US. ln
Autumn 2013, BINDU Modern presents an exhibition of contemporary indigenous
art from lndia, the first exhibition of its kind in the United States.
IN
l9B.l, tLrc Nluscunr of\loclcrn Art in Neu \brk c4reled
"Plin.ritivism in 20th (lcntun'
'\rt: r\lfinity of the Tribal
and thc \Iodcur". -I-hc rnuscum clclincd "prin.ritivism" as
the u,esLelrr rcsponsc Lo triltal culturcs as r-cvcalcd in thc
work and thoue-ht o[' mode]'n artists. I31.juxtaposing rnodcrn
art ancl tribal objccls. thc cxhibition sought to shorv that
rhe tribal arts ol .\Ii'iczr, ()ccania arrcl \ortLr ,{rncric;r
significantlv influclccd thc l'ork ol nrodernists such as
()auguir.r. \LLtissc and Picasso altcr- thc1. studiecl nasks.
sculptures and ritualistic objects liom these rcgions.
\\ilrih "Primitivism" opcncd to sonrc favourable revieu,s,
it u'as vehementlv pzrnne d by Thomas NlcEvillcl ol Rice
Urriversitv in :lrlF-orLnt.t NlclJvillel. nr,:rhodic-ally challenced
thc shor"s basic prcmiscr that tribal art shorrld be vieued
primarilv ils soLlrce mzrtcrial lbr rcstcrn nrodcrnists. Responses and rebuttals authorecl by the musettn.r ancl \{cEr.illc) lbllotc<'1, horvcvcr, in tl.rc cnd, N'IcE,,'illcv pro'ailcd
and corrvinced the art \\'orlcl that dre time hacl cone to no
long..cr nrarginalise ircligenous art hon around the uorlcl.
bul to sLudv it lbr its o\\'lr Valucs.
'-['he debate on multiculturalism in t]re aitennath of tht:
"Prjrnitivisnr" cxhibition inspilcd Ccntrc Polnpidou in Paris
to organisc "l00 N,Iacicicns clc la -lirrrc (100 Nlagicians of
thc F,arth)". a c-round-brcaking cxhibition inclucling indigenous arts fion all of thc rvorld's fir'c contincnts. It rvas
curated byJean-Hubert Nlartin and opcncd in 1989. \{hilc
"Prinritivisnr" had lcft tribal rvorks anonvnrous and undatr:d,
"\.Iagicicns" attcmptcd to rcdrcss hicrarchics by accordingthem the same merit as weslerll pieces. It introduct:d manl.
indigcnous artists to global audicnccs, inciudine fir,c lldian
artistsJ among them Jangarh Singh Shvam Ii-om thi: Goncl
tribe in central lndia. Jir',va Soma llashe lronr rhe \\arli
tribc in N'Iaharzrshtra and Baua Duvi. a \'[ithila paintcr.z
This international t'xposure rcsultt'd in several othcr tribal
t8
ancl fblk art crhibitions in lndia zrrrcl clsolhcrc, settilg thc
stage lbl Jartgarh Sinc-ir Shvarn alcl Jir'1:r Soma \LLshc to
crncrsc as thc pillars ol lnclia's colLcmporarv incligcnoLrs
art scenc, thus crrconr-asine othcr indigenous rrrtists arcross
Tn,li,r to l,.conr- 1,rolis.i,,rr.rl .rr ti.ts.
-fhc BI\DU
-\lodcln cxhibition lbcr.rscs on fbur-of thc
most plolilic li:gions in Lrclia rvhcrc indig-enous art has
bccn cnjoving r.rnprecedenterl succerss in thc past decaclc. lL
includes u'ork lrom trvo tribal colnmrLnitics thc (;onds
and thc \\rarlis: pailtings liorn tix: N{ithila rcs-ion in Bihar'
aud art br.thc lar-rativc paintels o{ \\iest Bt'rrgal. Apploxi
nratclv filtt paintings ltrotLrccd lronr the l9t]0s to th('pr'osclt arc clisplavccl.
Gond art
Thc tcrm Gond art leli:rs to paintings bv a subgloup o1'Lhc:
(ioncl tribc callcd thc Pardhans. lJascd in \Iarlhr.a Pradcsh.
the Pradhans rvcrt: minstrcls and ucncalogists to the par-cnt
Gond tribc. Traditionallv, thev pairrtcd on lalls ancl llools
clurirrg r,r'cdclings and lestir.als. Ihesc rvall paintings llclc
mostly geomctric ald '"vcrc symbolic of thc occasion. Il thc
19B0s..fagadish Srl'aminalhan, the .iirector- of Bhopal-based
cultural centre J3harat Bliavan, organised malv rlips o1'artists ancl scholars to collect ancl stu<lv Nladhv:r Praclesh's
lblk and triltal arts. During orc such trip, thcv camc across
astounding murals bv .Jaluzrrh Singh Sht am. lmplcsst:c1.
Srvamin:rthan invited him to mo\.c to Bhopal to funher'
dcvclop his artistrv. As Jangarh bccanc succcssfi,rl. hc invitcd his clan members Lo Bhopal to hc[ hinr in his uork
and to belefit lrom his prosperity. He took Lhr:m oD as apprentices, tatLght therr to mix acrviic ltaints, uith rvhich
Lhc1.r'crc unlirmiliar, ancl askccl them to fill in outlitcs and
pJacc dots or.r his larscr r,vorks. Hc also insisLed that curr
1
Jangarh Singh Shyam
Untitled (Tree, Deer and Panthel, 19BB
Gouache on paper, 60" x 84"
\\'lrile appropr-irtlitrg- elcmcnts oJ'his i<liom. thel' should dc
tlop thcir oln stylislic sig-naturc. Graduallr', his apprcnticcs lrt:carre prolissional arLists attd tocl:11'lbrty to lbrt1'
fi\1'Gond errlisLs comprisc uhat sonrc rto$'call the'Jangzrr-h
K.alam Scltool" olart. a tribal tr-adition that las paradoriclrllv bcgun jn zr citr'.i
.\ unilr' ing'. tlrt:nrc in Gorrd art is tl.rir pcrr asivc pre sencc
ol llatln-c. evidcrrt in their stor,vti:iling, portr:r1'als o[ lintastical aniuals irucl trees arrcl thcir patrthcon of dcitics. l heir
r-ic h traditions o1' mvthical aud gcnt:alogical tirlcs seeminglv
translcr- to thcil art. \Vhilc Jzrngarh's intriciltelv tcxturecl
nnd sophisticatccl techniquc rtl'Pattcr-ning is sccn in the
lolk of all (,lond artists. irs :lrc sotlLt o1'his lavoured subjccts. bl doclopilg ar spccific stylc rvithil a tecognisablv
(lond icliorr, each artist has contrilluted to dcvelopin,u,- a
broacl (ioncl aesthctic.
.Jangarh cxplorcd a \:aricty ol subjct:ts, including but not
linritecl to. (]ond dcitir:s hc visualiscd rvith grcat po\\'el ancl
imaginatiou, Boter atrd lhutra rtnd even urban objccts like
acroplancs. Pcrhaps his tnosL endcaritrg uorks rcn-raitr thostr
uhcrc hc exptcssr:cl his visjon o1'llattlt'c, itr its mvstcr-iclus
bcaulr. oltcn im'esting sut:h scetres tith anthropomorphic
Iigtrlcs o1'zinimals zrnd lrirds. In his paintiug of a junult:
scenc.21 tfr-c. a clt'cr aucl a panLller rvitll a ctLt'iously hun]an
liri:t: rt-st on thc grass lith a pattcrn that closcil' rcsemblcs
November December 2013
thc pal-prints of a big cat (1).r \\hile thcrc are severarl
birds in thc tree's foliage, one is itr black and rvhite on tht:
trcc-trunk. As sonrc ol'his earlv r'vorks indic;itc, .Jangarh
sometimes expcrimenled rvitl.r le ar. ine parts of an other\'visc
richly coloured rvork bl;rck ancl r'vhitc. His highlv delelopccl
sensc of coloLlr is seen itt .juxtaposcd planes of background
colours, first applied Ilat, thcn ittnovativelv patterned witlr
multicolour arcs, w!\/cs and Iincs, cach plane of barckground
'lhonras \lcl-r'illcl. "l)oclor l,artrcr lrrdian Chicl: 'Prirnitivisnr' irr
20th (lcntull Arr lall thr: Allscum o1 \loclcrn ArL" iIr .lrltorrlr. \irl
'r,
\,, I \u.. h,r
"trl. p],
' c.
rBcnjamin H.l). Buthloh, "'l hc \\ Lrolc Latlh Shou: r\n lttcniew lilh
.Jcan Hul;crt Nlartin bv l3t:njamil H.l). Buch[rh" il:1rl h.lnaira. \Iar
l9{19. Pal)lo Lalircntc. "Introduction: Frorn lhe C)Lrtsidc tn \lagicicns
(llut
clc La 'I'elle' and Two Histolies ol Exhibitions" ft '\Inking
'|tt Glahal
21 )lagtrint tu la T:rn:' 1r8r. rcl. Luc\ Slcccls ct a]., Ilierall Books.
Lonclon, 2013. r\lso v:r: llashcccl r\r'accn icd.), 7/ril 7al. l,onclol, \\'in-
tcr
l9BB/l9B{).
'11:rditiorral: An Lsploration of
",\urogccra Das. "i\{etlopolilan and
Sernarrtics in Contcnporirrr. Incli?rn Arts Discourse" i EtnQllor: htila'
tirrr cds Birgit r\Icycr ancl ltol; var llinkel.,\mstcrclam, \:o1 22. No l,
2i-)10. pp. llll 135 i()uesr r:cls Drs ADdre\ \\:hitchousc and I'elra liitske
Kalslxl cr).
rThis pirintirrg las one ol clt'v:rr lorkg that Jangarh Singlt Slttam
crhil;itr:tl ir ''\Iirgicicns ck la Tcllc" al (it:rrtrc Ponpiclou in I'aris
2
Bhajju Shyam
Tribal Dance,199f
Acry lc on canvas, 53
3
'x 85"
Ram Singh Urveti
Waodpecker and the lronsmith, 2411
Acrylic on canvas, 60" x 85"
colour sports a distinct pattcr-ll.
Amorgst Jangarh's sLrccessors, Bbajju Shyam and Ram
Singh Urvcti arc quitc pronrincnt. A paintilg by Bhajju (2)
porLr-at
s dancilg, an actir-itv lhich thc (londs are verl'
lbnd of, ancl u'hich thel bclicvc rvas learncd llom pcacocks.
Bhajju l'nr ouls svmrnctric compositions; here the tre e is
llankccl b_,- musiciatrs and niLlcJlrnalc dance partncrs orr
cithcr sicle. I'he trcc is smearecl rl'ith a rcd porvdcr (ianAalz
or .rindool as il rvorshipped as a goddcss, thc lcd colout' bc
-lhc concentric, Ltndulating- r-ecl
inc- associzltecl $ith s:urctity.
\\:aves iu thc foliagc cn.tphasisc thc cncrgl'c:rt'zrtcd bv tlrc
d:rnccr-s' rhl thnr. l'hc borcler- consists ol a ligrrr dcsign, a
pattcnr that Gond wornen conrtnoull'crellle oll warlls arld
floors in tlieir homcs.
'l'he Goncl tlibc has sur^prisirglv closc tics Lo Hindu culturc! as intcr-marrizrge atrcl assimilzrtiotr occurrcd duritrg thcr
pcr-io<1 l'hcn thcr' lblmccl a kirtgclont in ccntrzrl Irrdia. It is
tursurpr-isirrg. thclt'Ibt c, that thi:ir- zir-t olictt pot trat's Hinclu
thcrnc's. I{arn Sing..h Url'Li incorporntcs Hindu dcities in a
zrbout a u'oodpccl<ct' atrd atr
irousnith (botlr considcrcci lo be craftsmcn) (3). Thc t'ooclpct:ker and thc ir-onsnrith quiilrcl alicl gctting drunk on a
homc-brcu,cil lic[rol caliecl naluut. s() trlrnecl alter the flowcrs
lronr rr'hich it is prcpar-cc'l ((ioncls arc vcry' lorrd oI'naluta,
l,hiclr is usccl as ar libaition in some rituarls). 'l-hc rl'ooclpcckcl Jroasls of thc craliiucss u'ith wlrich hc captttred
(God ol'
-)'anadool.; (Hi:ll's lnesst-ngcrs) scut b1' \hmacleva
Dcath) to takc hirr a\{a\,: lrc thus cludcs his prc-dcstincd
death. Hc claims that thcsc /001.t scycn o1'thetn sent cotr
scclrlivclv Jry \hnra arc rtor, captilc in a trcc. Hcaring
this. Shiva ancl his colsolt I'atra1i clcsccucl ol earth, in
clisguist:. to ascct'tain \vhv n()lro o1'lhc mcsscrtgcrs havt: rc-
lork dqricting n tribal tirlc
Su
bhash Vyam
(Krishnd, 2a1A
nk on paper, 15" x 1 1 "
U ntitled
tlu'necl. i\1 oncc asscssing thc situation, thcv punish the lvooclpcckcr-zrrrrl Iiberatc all thc ;1'anttulool.;. Shiva ald Pan'zrti carr
bc scen orr lhc bottorn right comcr in black and ted.
Similarlr', in tlibal
l11'lheloq
cs. otre
occasiouallv
r-ccoglises not manilirsLations, bu1 r'ct-sious ol Hindu
clt'ities. as it truld be hard to clctcrminc u'hen Hiuduisnr
alllc.rpliatcd {blk ancl tribal clcitics and vicc vt:r-s:r. r\ clrarving- lrv Subhasir \r\ant Irrtt' bc ii crsc in point (4). It is an
appar-cnt clepiction ol I(rishrra as :i corvherd, plaving his
llutc, \\,ith his hcaclgcrLr tnolphinu into a 1r'o(:. ln lact it
rnav bc a ''condt'r'isccl" allusion to a (iorrrl tale, Th.e Cou:'s
C?irr, irr ltich t\\:o co\vs :urhi ancl nudlria contc to lilislrna's aid rvhilc hc is being attackcd l)-v a tigct, r'rheu he pJay's
his llute ()1' sadncss.
Rajcndra Singh Shlan's painting (5) lrarrating a talc of
scrcn lrrothcts and thcir sistirr, rvho is hatcd by hct- sistcrsinJau, adhercs to the tlibal storvtclling traclitiotr. As per
thc talc. thc sc\rll sistcrs illau' throlr' her into a pond
l'here a lish sl'allorvs lrt:r. r\ bircl splits thc fish's bellv and
takcs thc sistcr to hc| Dcst. \vhcrc sltc kccps hcr with lrcr
i:hicks. As the brothcrs set out irl scarch of'tht:ir lost sister,
thcy hirppt:rr to Pzrss ulclcr thc trcc tith thc bitd's ncst ancl
thcv serrse dlops of watcr lion above. Upon tasting the
\\ater drops, thev realise this is a shor'vr:r ol tears. 'I'hc,v
look up artcl lind their poor- sister in tears, pcrchcd hiult
Lrl)o1l thc trcc. Thc kctrt settse ol colour aucl the compositional pllLcement of thc talc's varit.tLs characters ancl clcments adcl acsthctic al)i)eal ancl also succcsslulll olercome
tlrc challcngc
o1'
conllating muitiple lrarnes of timc
in
a
siugle spatiarl fi'anrc.
Vcnk:rt ltaman Singh Shvanr is an irt'tist r.r'ho oltcn cxNovember-December 201 3
5
Rajend ra Singh Shyam
Rai Ka Dhaniya,2410
Acrylic on canvas, 47" x 33"
plorcs contcnlporar,v thelncs. 1n this undcrstatcd r'r.ork,
\tnkat presents the rvheel of tinrc (6). Accorcliltg kr Lhe
artist, thc phvsical rvhccl inclicatcs the juggernaut ol timc ol
\Iumbai's local trains hurtling torvards thcir clcstinations;
u,hilc thc mctaphorical rvhccl alludcs to thc pass;rgc of
timc. 'l'he ligures ol either siclc of the whcel lel)reseut
conmLltcrsJ suggcsting thc rush alcl bustk: o1'their jotLrucys
ancl allucling Lo lascpaced lifcstvlcs. \tnkirt imagincs thcrm
uilling rheir lir"cs to urovc as quickly as the trairls. B) coalcscing- thc rvhccl
ol'a Bombav traiu attd a clock, \'cnk:rt
citl's sociologii:al lanclsczrpe
turrrs his keen obscrlations of'a
into ar philosophical insight.
Jangarh Singh Sh,vam's childrcn, .J:Lpani Siryarr alcl llavnnk Kunrarr Shvam are secotrd generation Gond altists.
Both seeln to have couragcously dcvclopccl thcir or,r'rr corr
temporaly artistic voiccs. \{hcn.Japali ancl ,\1a,l,ank dip
inlo thc (lontl rvorlcivierv. thev ollbr tbeir olvn visual intcr-
6
Venkat Raman Singh Shyam
Wheel of llme.2012
Acry ic on paper, 20" x 30"
7
Japani Shyam
Jungle Scene.2011
Acryl c on canvas,
48" x 12"
8
Maya n k Kumar Shyam
Untitled,2o1l
Acry ic on canvas,
43" x 6-7 "
9
Jivya Soma l\4ashe
Untitled (Harves .2411
Natura pigment on paper, 37.5" x 37.5"
i,'n\ (,orrd rrrr tlr,'loq1.
"l
Irr an unusual composition. .Japiuri simLrltarrouslt' pr-csents an aeriarl. tcr-rcstr-ial zurd lquatic lieu ol hel nattLral
crl'irorrncrt (7). Tlic trct: ploliclcrs Ibtus. u,hilc thc tigcr ar
the {rerrlle listtalh anclrors tcllcstr-ial arrcl aqualic lilir artd,
-l-hc'tlcc's l)r'anchcs scrvc
to solrlc c\tcnt. acr-ial lill lLs lr,irll.
to diliclc the terlitolial rcalnr, lith thc sp:rcc il bctl.eel
l,r1 r.r
inhabitccl bv monkcvs. l al('cr', a snakc :urcl bircls. Spidcrs in
thcir- lclts occull) the lbur corncrs. Notc thr: charming
manncr il rvhich tl'o lizar-cls crrcirtlc tht spidcr's l'cb iu
thc lolcr-right i:orncr'. \hlious oLhcl cfeatures ilcluding a
pi::rcock, lizirlds and a larsc bircl litLr a fish in its t:rkns,
:rppear in thc spzrcc zrrouncl the centlal, polyg..onal, arnor
phous sliapc, uhich appcars rnarkcdlv orgarrir:. Japani
clokcs n junglc sccrrc r'r'ilh vilaciLy, spilit zrncl :rn iltimacv
that Liighliglrts thc Goncls' closcncss rvith n;rturc.
'Ihe Goncls harc scvcr:rl rrvths aboul the origin of life
rvitlr mlriacl characLtls. lhc nrost irrportant ouc. titlcd
Hatt llu Ilbrkl lirgarr. inclicatcs thcir lrirlit:l'ol tltc pcrvasiv:
prcscncc of tatcr irr thi: "bcgitrniltg.'" ancl thc lifc-givine
ancl lilb-stLstainiug clualitics of trccs. r\ scgmcnt cf the storv
locLrscs on hor'r' Bat'la Do ((iod), u ith thc hclp of thc
cartl]\\'olnr ancl othcrs. c-athcrcd cnough cirrth to ap1;l,v it
as a shcct or \!.!tcr. to for-m "hlcl". \{a\,alk illlrstratcs lhis
November.December 201 3
nlvth Lrsillg a predonrinantlv aquatic scerre. rvhert'vou bcgi
to scc a scpalation o1'lih in thc sca and on land. rl'ith lish
lcpr'(:s()rtirlg rnarirtc lili: (8). Notc tltc rcclllikc br-anclrcs irr
the \\'ater that ale Ineallt to li)1 nr a l|ee lePr^eseDtint lili' orr
carth. 11 is rvorlh obscn ing tbc Llsc olthe gre,vs ancl brorvls.
u'hich nal bc cn4rltrsisirtg. Lhc sr1>aration ol iartd arrcl
watcr, bclorc Bacla Dcr, applicd a shcct of carth on \\'i1tcr'.
Warli art
Thc \\hrlis livc il ihc Thzrnc' rlistrict ol \Iaharashtra, situatecl north ol Nlumbai and stretching- Lrp to the liorck'r o1'
()njarat. Bast:d Lrpon sirnilaritics bctt'ccri \\:arli art ancl
calc paintilgs of ccnlral Inclia. somc u,r'itcrs halc postt
latccl that it datcs back to traclitions fi'om thc Ncolithic
pcriocl. \{lll paintings in \\ralli huts ropr-cscnl rcli--ioLrs
bclicls. harvcsts, hunran actir,itics ard rclatiorships. Ihe
paintings arc a miurifcstir.tion of thcir rclationship u'ith na
tulc 2lllcl r.vith their deiti:s. '-t'hc ar^t-mzrking was olicr accompanicd by lcstilitics and thc lituiLls rtprcscntccl in thc
paintings coltailrecl symbolic refi:rences to their- rnagicorcligious bclicls and practiccs. '-[ raclitiolalh'. the \\arlis
uscd mucl-plastirrccl ullls as thcir-r:artvas artd ust:cl onlv ttcr
colours lccl ochrc soulced locallr. (ol brorvn h^om corl-
11 Amit Dombre
Untitled,201O
Natura pigment on canvas, 34" x 55"
10 Amit Dombre
'12 Sita
Untitled (Tarpa and Palghat), 2010
Natural p gment on canvas, 53" x 24"
dung) lbr thc basc, and rhitc liom ricc flour or chalk to
dralv r'r.hitc lincs. Thc paintings are composed of triiurgular
or hourglass-sluLpccl human aucl animal Iigures, flora, Iauna and geomctric symbols. By altcring thc alignntcnt and
anslcs o1'shapcs, thc \Varli fipurcs and motili gain movcment and lili:.
In thc carly 1970s, \{arli artists wele suppliccl p;Lpcr ancl
paint b,v thc Nlaharashtra Handicraft and Handloom
Board. Jivya Soma \Iashe, rvho enrerged as zrn intcrnationally rccogniscd :rltist during this period, besan to cthnograpiricallv clepict tht: \{arlis' dayto-day 1ilc. A typical
rvork byJivya dcpicts thc jovs of the harr.est (9), r,vith various figurcs clrzr\\'ints- w:rter lrom the r,vell, carrlirra r'vatcr
to and [ro, loadine bu]lock carts, Llrrcshing and gathcring
thc han'r:st. Thc minutia portra)ed in this rl'ork is astonishing. Note the axe, the rvilcllilc and circular elenents in the
l:
I
Devi
Untitled (Krishna and Female Attendantsl. c rca 1970s
Mud and oxide co ours on particle board, 72" x 96"
composition storagc structures and so forth.
A painting iry Amit Dombrc portravs the 'larpa (10), thc
most common \{arli dance which is pcrlornred at multiplc
rituals, inch-rding thc harvest, Dirvali ancl marriages. lhe
Tarpa's open-ended spiral lormation s,vmbolises thc cyclc of
lifc. Ilelou' thc dancc is a Palghat mata thltwk, suggcsting rhat
this Tarpa is beine danccd at a rvedding. Palshat is the
\\rarli's marriagc deity, otherr.ise knorvn as their srcat
mothcr soddess of fcrtility. Chowk is a squarc formalion.
Flanking the central cleily arc thc sun and the nroon and
in the r/ioa* li top half is a knla.r, z:.n auspicious pot u'hich is
csscntial for marriase rituals.
Insread of a lincar perspectivc, \,\rarli paiutings commonlv
li-'arture a spatial .juxtaposition of simultaneously and sequcntiaily occurring er-ents (11). Thus the sun and thc
moon, the trecs, intcrrclated events likc prcparation for the
wcdding. thc actual lvcddillg, celcbratorv clarrcins and har
vcsting clur fcature r,ith no enrphasis on a single phcnomcnotr. Ear:h t:krnr:ut is placi:cl sdflrclir-cntia lly, r;rthcr than in
rclation to othcls dcpictecl. Ihis lack of lbresrounclins r-csults in a coalesccncc of'mr.rltiplc tcn-rporal cvcnls in a single
spatial framc, nraking it hard to "read" a \Narli artu'ork
u iLhout susLurilcd cnfragcmcnt.
Mithila paintings
Scvcral distr-icts in Bihar and part of thc lcrai rcgion irr
Ncpal make up the \'lithila resion. N{ost N{ithila artists livc
in ancl around Nlaclhubani torvn, hcncc Nlithila art is also
known as \{aclhubani painting. Nlithila art o'olvcd lronr
donrcstic practiccs, including murals in tlrc ktbltar gluu |marriagc charnber), gtsawti glnr (family dcit;' r-oonr) aud arfaz.i
(flool clrat'ines). 'l'hese practices u'ere rnairrlv mcant to
plonrote lirtilitv, zibLrnclancc, rnarital lirlicit)' :urcl the gcncr-irJ lrll bcing ol the farnilv. Cior'v-clung ancl mudlrlzrstcr-ccl
ualls ancl lloors rvoul<'l ltc paintccl rvith organic nratelials
sourccd locallr,. Using^. r'ivid colours applicd rvith simplc
brushirs naclc o1'bamboo and raw cotton. \lithila lvourcn
produced an astonishing. r'igorous and distiuctivc art.
In thc latc l9tiOs, in thc nridst ola scverc droucht. Pultul
tomcn could
.fuakar initiated a goverllmellt scheme so-I-cchniqucs
pirirtt on papcr. 2LS a ncw sourcc of inconrc.
and
rratcrials graduall,v changed I'rom aripatl ancl kritlrur gmrs to
'"vorks orr papcrj thc rcpcrtoirc ol thcmes r-'xpandcd to irr
clude pictorial biouraphies urncl sociol:olitical issues, but
thi: visual idiom lctainccl distinctivc charactcristics. Tircr
threc groups $'ho paint in thc \,Iithila tr;rdition l3rahmins
(sr:holarly castd, K.ry.isthas (r.,'arrior caste) and Dusadhs
(hors caste, also callecl (lhamar-s. Harijans or Dalits) had
clistinct stylcs and varving subjects, but such clistilctions
are incr,:asingl,v becoming blurrcd.
A Brahmirr artist, Sita Devi is considered a pionccr in
\Iithilzr pzrirrting. Hcr largc uudcrstatcd painting in nutcd
colours depicts the Hinclu God Krislrn:r flankcd by fcnralt:
attcndallts lanning him as hc pliws his flutc (12). This instmmellt identifies him as Krishnii, along I'ith his dark
skin, his ycllott dhof.i (clrapccl lorvcr sarmclrt) and his
lroltlrt a ])eacock \\.ith a snakc in its bcak.
J itrvalptLr'-based l3aua Devi tcrrcls to paint dcitics; whilc
her subjects arc farmiliar, hcl treatlnent o1'them leaves its
oun signattLrc. Acsthctically, hcr u'ork is r:haractcriscd by
brilliantll' colourccl, Lrold compositions rvith strong, clear
outlincs. Hcr paintings olien spor-t rvavy borclcrs in two or
morc contrzlsting colours. :\ rvork u'hich pulsates with palpablc cncrgy dcpicts Shiva, instantlv rccosnisablc duc to
his aslr-colourcd skin, long harr ancljada (top-knot) (13). His
hair firmousll' stcrns thc forcc of thc river Ganges. 'I'he attributc ilr his lelt hand rs Lbc: danuoo, a hurnd-hclcl drunr
l'iLh rvhich Shiva is said to havc crc;rtccl thc primordial
sound. Thc attributc in his right hancl is tl.ri: lrliitrl (tridcnt).
Others thurt idcntifi him includc the srake arould his neck.
l'br urarliagc rituals, Nlithila artisLs liccll()lLlv pairrt laccs
l-cllrcscnting malc and ftrnralc clcments. stLch as lhe su shaped lice at the \\'zrist zrud thc fcrn:rlc hcad bctrvccn the
13
Baua Devi
Untitled (Shiva),2A0B
Acrvl c on canvas, 57" x 42"
fc.it.
Yamuna L)evi bt'camc tlrt: lirst "untou<:hablt:" artist of
thc l)usadh communitl'to rcceive a Nalional Arvarcl. She
is crediLed rviLh havir.rg pionecrcd in thc l980s thc use o1'
a lidtt ,qobar (cou'dung) lvash, \\'hich shc usecl to prcpar-(l
November December 2013
14
Yamuna Devi
Untitled (Kali), crrca T gg0s
Gouache on papet 31 " x 21 "
it r'vould rcscmlrlc a nrud background.' A fburarmed, bejervellcd Kali is di:picted rl'ith a protruclirlg
tonguc ancl attributcs (14). l'he scythelike weapon in hcr:
hand is probablv mcant to bc a su'orcl. onc o1'Kali's attributcs. Kali is frcqr,rentll' associated rl'ith florvers, as is cvipaperJ so
dt-'nt here on her bod,v, accessories arnd backgrouncl. Yanrunzr
Devi appcals to hiu'c tumctl thc nccklacc ol skulls th:rt
Kali ofter.r sports into one r'r,ith lenrale heads instead, pcrh:rl>s to underlinc the lbmilility of this goddcss.
Shanti Do.i's folfuzr p:rinting typifies a n.rarriage n.rural
transfbrred to paper (15). Rcplctc rvith traditional marriagcr
sr mbols. it iuciudcs thc ccntrzrl rccl lindut clot around $hich
thc paintir.rg develops (here seen as a face); the /twah (lotns
plant s,vnrbolising lenrale lcrtilit,v) ;rround thc ccntr-c; barnboo grovcs (s,vmbolisirre male virilitv); {lora attd launa
cspcciallv fish signilying abuldancc; laccs rcprcscntiug
malc and lcmalc cncrgics (top lclt corncr); snakcs svmbols
of rcgenerzrtion (leli): a ,4ala.r (bottom); and the bride per'lbrn.ring Gauri Puja, rl'ith a clal' clcph;rnt in fi-ont ancl thc
groom bchind hcr (bottom right corner). 'l'he figures ol'
Shiva ancl Parvati (bottom lcft). r'ho symbolisc thc idcal
couple, arc a dcp.rrturc lronr rnuratl trzrditiol; lhis corlrcr
nornrally dcpicts a bridal couple in a palanquin.
\{hile arlraas are supposed to rvard oll er,il fi'om thc
hontt,. godanas (tattoos) are meallt to rvarcl ofl'evil lrom rhc
boclv. In 1972, the Gernran anthropologist Erika \Ioscr
srartcd living rvith thc Dusaclh conmunity :rnd rl'as rcsponsilrlc fbr cucouraging scrr:ral Dr-rsaclh artists to clrarv uporr
the traclition oL gadana lbr paintines on p.rpcr. Urmila Dcvi
uses traclitional godana rnotils hcrc (16), shoring a trcc o1
lifc cncirclccl I)_v corrccrtric circular bands sporting bird
rnotili arld ldl.rale figurcs.
r\ r'cccnt do'clopmcnt in NliLhila is men takittg up art
that
Lrscd
15
Sha nti Devi
Untitled (Kobha ,2A11
Gouache on paper,
to bc mostl)' practiscd b1'r,omcn. Shivan Pasrvan
is one such Dusadh artist. TI.re influcrcc ol'.qodarrn is lisilrlc
in his dcnsc composition ol'a lushjungle scene (17), as rvcll
zrs in the manner in r'vhich the tree's branclres spread out.
'l'hese servc
to dividc thc pair.rting, fbrming pockcts o1'
man) ol r'vhich are occupied by various crcntLlrcs
paintcd in cxquisitc clctail. Dcspitc thc channing f]orzr arrcl
l-rurna. this r'r'ork has a laintlv mcnacing quality, partly duc
to the malrv staring e,ves, rcinlorcccl bv thc lizarcls, snakcs
and tigers at the loot of trcc.
Pushpzr Ilumari provides zr Iine example ol hor'v N{ithila
alLists are tackling socio-politiciLl issucs. In a paintine (18)
portravine thc disparit.v bctr'veen the rich and the poor ill
India, the econon.ric divide is ernphasised conrpositioralll
spacc.
lia
myriad s,vnrbols ancl rcprcsortatious o1'u'calth and
At thc top cenLre, on the left, rvc sec a ftrll l/zall
(1:llatLcr o1' delicacies) on an expensive nretal platc, sidc
dishes, dccorativc crockcrv and an ornatc scat; on thc right
is :rn cmptv inexpensive plate, an ttnadorned earthcn jug, a
plain glass and a nrodcst scat. Thc ccntra.l circular conpositional structurc, rvhich acts as a visual anchor, inclucles
imbalanced scales. Of thc six branchcs sprcading out lronr
this circular form, thc t$'o on the leli are llor.erilrg: the
t\\,o on thc rishL arc r'r'ither,:d and bare. Sinrilarlv, the highlise buildings rvith a dancing pcacock on thc lcft contr-ast
sharplv l.ith thc couple in tor'1r, $orn and mended garand
povcrt,v.
16
Urmila Devi
U ntitled
'l)avid SzalLorr ald \laliri Bakshi. -lliilla Pa Ltitq Ttu llulutiou
P..13.
1.11,
u/
Dtlrrric r\r'ts |ou nclation / Pinkf I aneo. Los r\neclcs, 2007,
1
thcir-talkins stick unclcrlining thc disabilitr. of porertv. 'l hc l'alcr bodv at thc boltom is sinrilarlv clilftrcntiatcd, thc lclt side rvith bloornilg lotuses. the rigit uith
po\icrt)-strickcn pcol)lc l)altling llatural calamitics.
mcnts,
u !! f.int.
(Godana). 2a1
Gouache on paper,
30" x 22"
17
Shivan Paswan
U ntitled (J u ng le Sce n e ), 201 O
Acryl c and ink on canvas, 62" x 34"
Dirihi-basird N{anisha.Jha, rvho traincd irs an architcctj is
pclhaps thc first N,Iithila artist u'ho mav also bc colsiclcrccl
a mainstrcanr colternporary arrist. She incorporates ekrments ol so-callcd 'irutsidc" iuflucrit:t:s. but idcntifics hcrsclf
NovemberDecember ?013
as a N,lithila artist who stradcllcs both rvorlds. A painLing
(19) liom rhc artist's popular fzr o/ Ly'i st'rics clcpicting an
abundant .jackliuit tree :r synonym ol sacredncss, appropri:Ltclv sports a str:iking red backsrouncl.
Bengali patua scrolls
'l hc paintt'r'-s ing-i'r' t ottttttunitics itt tttstcrtt Ittdia alc callccl
(ihitlirkar. nrianitrg "ont: ulto nrakcs itnages". I hcir-tnxlitiou ol siriging- anrl paiuting storics ott /a/a.r (lorrg. r'crtical
sclollsl gocs lntk serct-al ccntLu'ics. liot-gt rttrt^aLiotrs, Itct-ctlitaf\ pairrtcf-singcrs lrart ltcetr 1tr-actisirte thcir cr-lrli irt Lhe
\lcdirriptLl cLisrr-i< t ol' \\'cst 13r'rigal. Clurrcrrtll. nrost of thcr
(lhitrnl<rrls lilt in Nava. l lillagc trcat KolkaLa. .'\ctirig as
ilincrarrt pictulc slrrxrnicrt, Clhitr-akals t'ccourlt slol'ics alld
lcgcnrls in sorrg. unlolling n sttoll a fr-irmc:lt a tintc. poirtting- to thc ti'lcllnl lticturc arrrulg lllaltv clcpicting succcs
sirt cvcnls.'l'lir iutists no\\' tLS(' corrrrll(rrt ial ltaltet ltnt still
ttse org-arric pig-rrcn1s. ,1)a1aa scr-olls lravt' historicltlh' titrtclecl
li) (o\cf a rar-iitr ol thcrrcs unthological aticl lcligiotts.
socit.,-politit rl. Lrcal ancl trltiortal clc:trls. l{cccntlr', (llritlalials hart inclcasinglv rlcpictccl torlcl crctrts sttclt as Lhe
!)./ I I artack irr \crr \br-k.
(,ompctition liorn oLhcl urcclia lras cloclccl thcir itinctattt
lili'. sc.r Clhitr-aka|s no\\' trv to nclapt to chrurgitrg.' conclitiorrs
ll ploclLrcirtg lltgc nrrnatilc paitrtittgs ott cantas. stttlt as
Clhitlukl-'s dt'piction o1' thir'\siarr tsurrarni ol' 200{
i20i. ulrich pr-cscrtts it not orth its a n:rlulal tlisirstcr. lltt
rli\thol.lgiscs it 1l por-tlarirtg thc rlr-atli ol'Cloclck'ss lirLli
rurlt asliccl on tln occlurs. St'lral clorrctrTs rlcal uith thc:
"r'cal '. lhil olhcrs ar( 'rtivthical''. -\t the Lrltpcr- r-ight.
tlrosc uhr-r alc slli ol lancl Irc\r tilhcts rtlro nt-c clt^ol trittg.
Strtlal tsuuuni riclitrs. sornt cclfpscs all(l lxtliltittg- hcttcls
can lrc sctn. ,\ tt-ccr. l r^adio ancl a lrtLiJciing at-tt itr thc
pr-ott'ss c.rl bcing sLrlrtnclgccl. \\Ihilc []hitrakar- st lolls clcltict
siglilicant natiolal ancl itttcurtrtiotral c\'(illts LhroLtir-h a lttccliatcd lcns. thcl olicn lrltholog-isc sLrch clt:pictions. Hcrc,
Srrar-rra
q@9"
18
Push pa Kumari
Mahangaii lnflation,
201 2
Gouache on papet,22" /' 3a"
Knli's clar-k-lrrrccl sliin, thc suggcstion ol a tlrir-d crr'. tltc
protrLrding- tccth anc'l tltc sniikcs {illing- thc lrolcli't ltolLrav
Ircl in her nrost clenrotric lornr.
:\ s<rrrll lx -\lontu Cllritrakar^ apl)oars t(r ilcpi<t a lbocl
(21).'l'hc prcst:ntt ol thc ascetic in tltt sccotrcl Iiatlc (llrtr
\\'arns tli(: centfal llgur-cs ol lltt itrttnitrt-ttt (Lisastcl-J sLlg..gcsts
thirt il rralratcs thc gr-r'aL nr\ thicll floorl. rrlrir'lt is sittrilal to
that ol.lirriili -1rr. l'he scroll (lo( s rtot tlcccssarill acllrcrl trr
thc storr''s chlonologicltl scqLrcn.c ot thc sltccific graitrs rttrcl
arrirrals nrenlionccl. Siucc its \\atcr \1'sscl tcst rtllllcs a lloatrlnl's hnnrlrlc,?a1&, fathcr thatt zL lalg-cr'-than lilt'alk. it tuil
bc dcpictine a lirlk variation ol'thc stot-r.
Conclusion
ln<1iau iudigi:nous ar-ts lialc habitualh- lxttr turu'gitralisccl
dLlc to a nliriconcclltioD thllt t)rtr ar^t' I'cltctiti|c iLttcl itllita
tivc. (.le1ltre Ponrpiclorr's "\lagiciens" cxlrilrition \\as a Inri.jol strp in tlrir lccognition oftlr(s( iirtists. Sitrcc tltttr. ratious i'rhibitious in Inclia artcl abloacl havc rulcht ssi'cl thcsc
rnisc onceptiorrs. krarling to inc rcliscd lqrpt t c iatiotr atrcl sTtttil
ol' inclig-crrorrs ltrcliar alts. \[ost tcccnth. tlrc "Sakahrin"
crlrilrition ln thc Nrtional (iallclr of (lzrttLcla has shorv
casccl incligcnotts arts ltlrn thc uorlcl o\cr and ltas plortcl
pathJrrr:lking in its nrt tsi'ogt :iph ical itorroglapltr. Ihc iuclusion irr ''Sakahan" ol .frrngar-h Singh Shram. \irrkat
Ramart Siugh Shvanr. SLu-t'sh Silgh DhLrr-r't iLrtcl Nlar atrk
Krrrual Shranr ir(lds Lo th('9t'orling lot-lrLuiclc ttcogtritiotr
ol'Inclian iruligctroLrs artists. \\'t' hopc that thc Ill-\l)L
t\[ockrr-u cxhibition rlill lirlthet propaglLtc iutctcst itr this
clncreing fiirlcl o1 alt.
19
Manisha Jha
The Jackf ruit Tree. 2012
Acrylic and ink on canvas, 68" x 58"
20
Swa rna Chitrakar
Tsunami,2AA5
Fabric pa nt on canvas, 49" x 93"
Nov-"mheFDecember 201 3
21
N4ontu Chitrakar
Great F/oo.l, 2010
Natlra dyes oi paper glLretl to
lall
c, 137
!
22