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Trees Burst with Flowers and Colours When Krishna Blows His Flute

$156
$195
(20% off)
Item Code: DL61
Specifications:
Madhubani Painting on Hand Made PaperFolk Painting from the Village of Madhubani (Bihar)
Dimensions 29.5 inch x 21.5 inch
Handmade
Handmade
Free delivery
Free delivery
Fully insured
Fully insured
100% Made in India
100% Made in India
Fair trade
Fair trade
Keeping with the spirit of the Bhagavata Purana that perceives Krishna as the living spirit of the cosmos seeking in him all its moods, colours and reflections, this exceptionally brilliant folk painting by Bachchodevi, a Madhubani artist known for her bright multi-colour renditions, portrays the universe : trees, plants, humans, birds, fish and all, bursting with colours the moment the sweet melody emitting from the flute of Krishna blends with winds reaching them. Bachchodevi’s passion for colours outstands everything else in the painting : proportions, naturalness, feasibility …

Bachchodevi conceives the trunk of her tree like a tall seat draped in beautiful multi-coloured tapestry, and the tree’s alike conceived branches, as the seat’s two arms to hold Krishna in between, or support him on sides. She does not allow realism to question as to how a tree’s clumsy rough-tough trunk or branches could transform into the beauty as a gems-studded ornament. She packs all colours of her palette into the body of a single fish and does not hunt for water to inhabit them. Just a half column on the bottom with nothing denotative of water or anything defining a river or pond – nothing more than a narrow frame around these fish, comprises her vision of river Yamuna or a reservoir. Her passion for colours reflects in all forms : parrots, vipers, various insects, even in the body colour of her human figures, besides costumes, ornaments and the entire background.

Apparently the painting seems to portray the blue-bodied Krishna seated on the tree’s trunk blowing his flute, again a multi-colour pipe with its head designed like a mythical crocodile with its muzzle conceived like an elephant trunk, and a couple of cowherd maidens, one perhaps Radha, flanking him on his left, and a third, on his right. While those on his left stand with folded hands as paying homage or making a prayer the Gopi on his right is holding a pot on her head. However, seen in context to various ‘Krishna-lila’ episodes the painted forms, the figures’ posturing and the background, appear to illustrate three popular legends from Krishna’s life : one, ‘vastra-harana’, two, realising levy on milk-products exported to Mathura for the use of Kansa and his courtiers, and three, the Purnamasi episode leading to Rasa – cosmic dance, by Krishna with the Gopis.

As is the popular legend, cowherd maidens of Vrindavana used to bathe nude in public pond outside the village. Considering it against the norms of modesty Krishna decided to teach them a lesion. One day when forgetful of their garments laid on the pond’s bank Gopis dipped into water or swam away, Krishna came there, collected all their garments, hid them on the branches of the Kadamba tree on the pond’s bank and sat on its trunk. When after their bath Gopis found their garments missing and Krishna seated smilingly on the tree, they realised the mischief and implored him with folded hands to return them their clothes. As is the modus of folk arts, Madhubani in particular, a theme or legend is illustrated using a few, sometimes even a single, motifs. For illustrating the ‘vastra-harana’ – stealing away garments, the artist has used three motifs : the pond on the bottom with fish wading across, Gopis imploring Krishna with folded hands and a couple of costumes : blue and crimson, hung on the branches of the tree above them.

The figure of Krishna has been used for illustrating the ‘vastra-harana’ legend but with flute on his lips – not an element in the ‘vastra-harana’ episode, he seems to illustrate the legend related to ‘Rasa’ along the other. On one Sharada Purnamasi – the full moon night of the seventh month under Indian calendar, when after the monsoons’ clear sky the moon was the brightest, Krishna, inspired by the full moon-night’s magic, taking his flute, came to Yamuna’s bank and seating on his favourite Kadamba tree began blowing it. The entire surroundings burst with colours and Yamuna’s banks, with silvery hue. The melody reached Vrindavana, Gopis heard it and mad in passion they rushed to Yamuna’s bank where they danced whole night to its tunes.

Krishna’s position along with the cowherd maiden with the pot on her head on his right illustrates yet another legend known in the ‘lila’ tradition as ‘Dana-lila’, sometimes translated as realising toll-tax. Krishna did not approve that the entire milk-products that involved the labour of his friends was exported to Mathura to feed Kansa and his demons and wanted that they were given their due share. When not heard, one day he decided to post himself along his friends on Vrindavana’s outskirt on the passage leading to Mathura and demanded all couriers of milk-produce their share in it, and the pots of those who did not give such shares were broken as token of his disapproval and resentment.

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.
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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.
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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.
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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.
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