Mithila Art

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Mithila, the birth place of Hindu goddess, Sita and the great medieval poet Vidyapati, was part of the ancient kingdom of Videha during the later Vedic age. Tirabhikti was another name from Mithila, which was first to make contact with oriental cultures, and consequently strengthened its own.It is supposed that Janakpur, a historical city in the southeast of Nepal was the capital of the ancient Mithila, the kingdom that was first to make contact with oriental cultures and consequently strengthened its own. At present Janakpur is the center of Maithili culture.
Maithili culture is combination of smiles and tears, pain and pleasure, ups and downs, adversity and prosperity of Maithili people who are an ancient people. So it is not an exaggeration to say that cultural life in Mithila has its root in richly renowned and fruitful past Maitrei, Yagyabalkya, and Gargi in the sphere of philosophy, famous king of Mithila Janak in the sphere of wisdom and his dutiful daughter, Janaki in the field of service and sacrifice, have their firm polices in the history besides many other composers, poets, painters, and sculptures of the classical, romantic and modern age.

Mithila is the region of Maithili speaking people where ancient ritual practices have survived unhindered for centuries. Several traditions of womens floor- and wall- art were associated with these ritual practices, and continue till recently in their orthodox form. W.G. Archer named a communal activity rooted in tradition the art of art in Mithila, as . Mithila art is inseparable aspect of Maithili culture. of Mithila region in Nepal is different from Madhubani Art of India however both are known as . In Nepal, is a part of family ceremonies, village festivals and religious celebrations. Maithili women whether literate or illiterate, the upper caste or lower caste make this art on these occasions. As more sophisticated art is practiced by upper caste (Brahman and Kayastha), the schedule caste or backward people draw very simple arts of animals like horses and elephants and different plants which are not complicated and complex but very innovative and unique in their designs and motifs.

Girls from watching the work of their mothers, grandmothers and other relatives and neighbourss, learn the art of Aripan or floor drawings has been handed down generation to generation. In drawing Aripans, no brushes are employed; the drawing is usually drawn through nimble fingers. The material used is powdered rice made into paste with water, which is called Pithar in Maithili. But sometimes-dry powder (made of rice) is also used. Besides this natural white colour (of rice powder), sometimes turmeric is mixed to produce the yellow effect, and sindur (Vermillion) for red is applied. The ground is smeared with clay or cow dung before drawing for lending sanctity to the yantra.

Wall arts are drawn on the occasion of some festivals; annual ritual events and important sacraments such as births, sacred thread ceremony, a child tonsure ceremony, wedding etc. The inner and outer walls of the houses are embellished with decorative motifs and mythological scenes after white washing every year on the occasion of Deepawali, the festival of lights. The images of snakes are drawn on the occasion of Naag panchami (festival of worshipping the god of snake). On Durgasthami (the eighth day of Durga festival) the mud walls flanking the entrance of the room of family deity are smeared with rice paste on which the women of the family paint the images of Durga astride a lion or a tiger in red clay. In some cases only a circular or a triangular female head is depicted.

Marriage is one of the most important occasions to be blessed with Mithila arts. Various motifs are painted on the walls of the brides home/or on the paper wrapping various packets of Vermillion powder used for the wedding ritual.

Drawings of the wedding party itself may also adorn the walls of the family courtyard, celebrating the occasion. In addition to all these motifs, the images of many birds and animals, sun and moon, and people have specific interpretations. An elephant stands for good luck; a fish for fertility and good luck; a parrot for love and affection. Peacocks, tortoises, and scorpions also appear frequently in Mithila art and have specific meaning. Human figures may be used to tell stories and illustrative events.

These arts have always been temporary because of their dependence on walls, generally made of mud, which account for their fading away so soon, say, after five or six years. It is because of their temporary nature and sudden disappearance or washing away, due to the crumbling of the walls, that there is hardly any segment of the wall arts done in the past. The ritual bound tradition of floor and wall art with local natural colour (red from red clay, black from root, yellow form turmeric or petals of flowers) by women were still prevalent in the 1990, when the handmade lokta paper was introduced as the surface art by Claire Burkert to the Maithili women of Janakpur and its neighboring villages. Once the art descended from the walls or scrolls, they became freer in expression with the easy availability of modern brush and acrylic colours.

These artists departure from the repetitive art of magical symbols, ritual motifs and Aripan, which they have inherited as a part of living. Gradually led to distinctive artistic creations. Thus, the most of Mithila art started capturing the everyday life of Maithili people, moments of performing rites as it became exportable product now-a-days except the handmade lokta paper and handmade cotton clothes, this art is done on note-books, photo-frame, writing sets, recycled cards, mirrors, ceramics, bags and cushion covers, table cloth, ash-tray, T-shirts and tapestry. Its market value has been increasing day by day. And most of the women artists of Mithila are able to earn decent income from this art that is a kind of empowerment.

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