Deva-uthana and Other Rituals

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The central event, performance of rites related to 'Deva-uthana' – waking of gods, after monsoons are over, is rendered on the lower register of the right half. Groups of men and women are installing and worshipping sugar-cane plants, the essential feature of the 'Deva-uthana' rituals. It is only after sugar-cane plants have been dedicated first to the deity that the harvesting of the sugar-cane crop begins. As a matter of fact harvesting of any annual crop begins only after the 'Deva-uthana'. Since Buddha's time, at least, Buddha himself, Buddhist monks, Jain 'munis' – recluses, and other itinerating ascetics used to stay at one place during the four months of monsoon, popularly known as 'chaturmasa'. The convention applied also to deity-icons. These too began retiring every year on monsoon's onset and getting up on 'Deva-uthana', the eleventh day after Diwali. During the period from the day of Deva's retiring to the day they woke, all auspicious activities – marriages, construction of or even alteration in a house, setting up a new office, business… remain suspended. The festival of 'Deva-uthana' has in rural India same significance as has Diwali. Towns' people little know about 'Deva-uthana', though respecting its dictates they dare not install a deity, found an institution, build a house or have a marriage during the period when Devas are asleep.

The upper register of this right-half and the middle of the left half, represent its corresponding sequels. The temple in the upper register is a shrine in live worship but a deity is not seen in it. A mound-like formation with flowers laid on and around it and laces of flowers hung over it looks like someone, perhaps temple's enshrining deity, sleeping with a sheet overlaid on a gorgeously adorned bed. The devotees gathered around seem to be waiting for him to get up. Its most symbolic aspect is represented by the Vishnu-yantra rendered on the middle register of the left half and by the chain of flowers connecting the Vishnu-yantra and the shrine. Vishnu-yantra registers Vishnu's presence but only through symbols, not iconically, perhaps suggesting his sleeping status. On the yantra's centre are Vishnu-pada – his feet. Vishnu-pada move over chain of flowers, one after the other, till they reach the shrine. In analogy, Vishnu, who had retired from the temple on monsoon's onset is returning to it on 'Deva-uthana'. Alternating the Vishnu-pada on the floral chain are spikes of corn suggestive of prosperity which accompany Vishnu. To suggest proximity of 'Deva-uthana' to Diwali motifs of lamp have been painted in abundance. The panel portraying worship of Tulsi plant is alike significant. When gods are asleep, the devotional mind would incline to pay homage to other objects of faith and worship.

Massive symbolism, great breadth of imagination, strong lines, bight basic colours used without shading, an elaborate floral border, wide-ranging composition, use of diverse motifs, figures' sharp features, large eyes, short-statures and expressive faces aptly define Madhubani art idiom.

This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.

Colors of Tradition: Exploring the Artistry Behind Madhubani Paintings

Madhubani painting is also known as Mithila art as it is practiced in the Mithila region of India and Nepal. It has specifically originated from the Madhubani district of the state of Bihar. Traditionally, the women of this region created these paintings and in recent years, it has become a widely practiced art and has now become renowned throughout the world. This art expresses the creativity and culture of the people of Mithila and is passed from one generation to another. In this way, the heritage of Madhubani art has been preserved for many decades. The subjects of these paintings are usually religion, love, and fertility. Sometimes, social events like festivals, weddings, and royal court are also depicted in the paintings. The most commonly painted designs and themes are the forms of Hindu Gods and Goddesses such as Ganesha, Shiva, Saraswati, Lakshmi, Krishna, and Ram. The characteristic features of Madhubani paintings are their vibrant colors and eye-catching geometrical patterns. The empty spaces are filled with traditional motifs such as floral and foliate patterns, animals, birds, geometrical structures, and other designs. The local artists create these paintings using a variety of items such as matchsticks, twigs, brushes, pens, or even their own fingers. The paints are usually made with natural dyes and pigments.
As simple as it may seem, the making process of the world-famous Madhubani paintings is certainly not easy and requires lots of hard labor.

Traditional Madhubani paintings are done either on cloth, handmade paper, or canvas. Select the medium of painting as per your choice. If you have chosen cloth, attach it to cardboard to make a solid base. The making of the painting begins with making a double-lined border. This is a very important step because the border is filled with various geographical shapes and patterns or other motifs. The average width of the border is 1.5 - 2 cm. Now that the border is created, you will be left with a blank middle space. This is the main workspace. Start drawing your choice of figure, designs, and shapes. These must be relevant to the Madhubani painting themes.

When the key design has been made, the empty spaces in between are filled with some designs.
Now is the time to color the painting using vivid shades and hues. Colors in Madhubani are sourced from nature; Indigo is used to produce blue, flower juice produces red, turmeric gives yellow, leaves produce green, cow dung mixed soot gives black, and rice powder gives white.

To paint these colors, the artist uses a bamboo stick and wraps cotton around it. This acts as a traditional brush.
The entire painting is now painted using this special brush with natural vibrant colors. · However, in modern times, the common brush is used and instead of natural colors, artists prefer to use acrylic paints.

Since the entire painting is made with natural materials and colors, it appears simple yet enriching. Originally, this art was created on mud walls or soil grounds but when it evolved over many years, the people of Madhubani started to make it on fabric and paper. Today, this art has become globalized and is receiving worldwide attention and appreciation.