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Mithila paintings have been created since early times by women in the villages of the central Bihar region of India. For centuries, these large, wall paintings were made by woment to commemorate marriages and decorated the khobars or wedding chambers. These village artists painted scenes from Hindu mythology, and especially the great epic, the Ramayana. Mithila paintings on the walls of homes are usually large and prominently displayed. Characteristics of the style are that the entire surface area of the picture is filled. The combination of figures and designs are outlined and filled with vibrant colors. Vegetation, animals and geometric patterns are placed freely in the "open" areas. Blank space is avoided. As a woman works on her painting, she does so in prayer and meditation, believing that the deity is drawn into the work.

Mithila paintings are named after the legendary setting of the Ramayana, the kingdom where Rama earned the right to marry Sita. Mithila is located in fertile plains at the foothills of the Himalaya. Today the village of Madhubani ("Forest of Honey") near the border of Nepal, along with other villages in the region, are experiencing a renewal of this ancient artistic tradition. Since the 1960s, local artists have been doing their work on paper, practicing the skills passed from generation to generation. With government and nonprofit foundation support, these vibrant paintings are now reaching an international audience.

Stylistically, the paintings have been characterized by caste differences. Work by the Kyashta caste have shown images in black and /or red inks. Brahmin paintings, also typically executed for weddings, were done in brilliant colors. Conversely, Harijan agricultural laborers (Dusadh) would use a mixture of cow dung and water as drawing ink producing dark, earthy tones. When the brown lines dry, they would apply black ink dots to the lines.

In the mid-1960s, in response to a devastating drought, several women began doing their paintings on paper; they were encouraged by national cultural and development leaders to sell their works to generate badly-needed income. By the 1970s their paintings had become nationally and internationally recognized. During the last twenty years, various distinctive styles have developed and several men have become accomplished painters. At the same time, the images have expanded to include scenes from everyday village life, local legends, and the aforementioned Ramayana.

Recently, the artists have expanded their work to show works of social criticism, feminist issues, and national and international events. Paints made with natural pigments and vegetable colors are increasingly replaced by ready-made paints and markers. Caste conventions, related to color and style, are no longer strictly adhered to in the more recent Mithila paintings.

UNIT CONTENTS

• Overview
• Background
• Bibliography
• Image Library