|
::: Madhubani.com :::
|
Sunday Observer
New Delhi, June 20, 1998
Madhubani’s new avatar
A young painter attempts to
re-invent the ancient Folk art from of Madhubani.
|
The art of painting is the aesthetic expression of ideas and emotions in
a two-dimensional visual language. Introducing a new visual language and
novel ideas in traditionally strong painting styles is difficult, but
that is a test Manisha Jha faces confidently. She is aware of the
artistic pitfalls involved, though . An architect by training, interior
designer by profession and painter by choice. Manisha has been tinkering
creatively with Madhubani paintings. |
 |
|
The folk art of madhubani has its roots in the traditions of the land
known as Madhubani ( Forest of Honey). A characteristic of Madhubani
Paintings is the borders with four lines, and perhaps naturally, it is
one of the details which has drawn Manisha’s creative attention. She
says, “ I have experimented a lot with the borders. In my paintings, the
border is not the limiting line, but opens a new world of imagination.
It ignites my thought process. And a new painting is there on the
canvas”.
|
 |
Her experimentation has extended to the use of mediums too.
Traditionally, Mithila, or Madhubani, paintings, have been done on the
mud walls of huts with home-brewed colours and locally available
material including cow dung Manisha, mostly uses, handmade sheets and
poster colours instead of the traditional ones. She has also used
acrylic on wood and glass, using adhesive for texture. The strong,
unrealistic colours provide dramatic intensity and together with the
personalized subject elements, infuse complex imagery into her
paintings. |
|
Manisha ventures into a total representation of nature, the most
important Madhubani theme after mythology. In one of her paintings,
aptly titled. The Duality she has experimented with the Mandalas, the
psychic representation of the universe in Tibet ( or Arians in Maithill,
the local language) with circles symbolizing the dwellings of God. “
Vastupursh Mandala seeks its roots in the yinyang theory and the
panchatattva of the vedic description air fire water, earth and space;
making aripans, geometric and floral designs, is a vital daily ritual in
the land of Madhubani, Manisha has also done variations on the “
Kalpavriksha” ( the mythological tree of life ) theme, depicting the
important theme of ecological balance.
|
|
Manisha seems to have derived inspiration from every thing, to do with
Mithila. She says, “ The decoration of the kohber, where the newly
married couple meet for the first time, the abode of the clan deity,
murals in the village houses, all attracted me and cried out to be
presented to the world. As a child, I used to paint only mythological
themes. Gradually, my training as an architect gave a new dimension to
my awareness, helping me to explore other subject elements using the
subtleties and rich traditional knowledge of this spiritual art form”. |
 |
|
On her method of painting, she says, “ My approach is very simple and
playful, with a special love for bright, vibrant colours and rich line
work”.
The tradition of Mithila folk painting, which has been handed down from
mother to daughter through generations, symbolizes the dynamic and
constantly evolving culture of the area. Mithila painting is a product
of centuries of social, religious and spiritual synthesis, and a
treasure house for artists in search of basis forms. It has rhythmic
composition, bold coloring and a simple innocence and directness.
Manisha, who had an exhibition at the India International centre in New
Delhi, aims to turn the ritualistic and devotional madhubani paintings
from a merely decorative art form into something that is both
entertaining and educational.
|
|
SANGEETA THAKUR
|
|
|
::: Madhubani.com :::
|
.jpg)
