Goddess Mahalakshmi in Her Prime Role of Creation

$105
Item Code: DI09
Specifications:
Madhubani Painting on Hand Made Paper
Dimensions 13.5" X 20.0"
Handmade
Handmade
Free delivery
Free delivery
Fully insured
Fully insured
100% Made in India
100% Made in India
Fair trade
Fair trade
'Ashvapurvam rathamadhyam hastinadaprabodhineem,

Shriyam devimupahvaye shrirma devi jushatam.'

That is, let me be possessed of Lakshmi who equals an army well accomplished with horses, chariots, elephants etc. and let my home be her perpetual abode.

Strangely this Madhubani form of Lakshmi with eighteen arms carrying in them weapons, usually associated with Devi, Durga or Kali, is so much in consonance with the above Rigvedic Shrisukta. The common man's image of Lakshmi or Mahalakshmi is that of a divine damsel endowed with great aesthetic charm and oceans of wealth and of the most devoted coy consort of Mahavishnu perpetually engaged in massaging his feet. Hence, a form of Mahalakshmi, as this one, carrying in her various hands weapons of war, blood-shed and destruction little collates with common man's image of the goddess. This impulsive Madhubani folk realisation of the Goddess is thus more akin to the real and archaic cult of Lakshmi who, besides being endowed with gold, riches, cows, horses, servants etc.('Yasyam hiranyam vindeyam gamashchvam purushanam'), also commanded armies and was also the presiding deity of arms.

Usually as Vishnu and Mahavishnu are considered one and the same so are considered Lakshmi and Mahalakshmi, but such view is erroneous. Lakshmi is only the manifestation of primordial female energy while Mahalakshmi is the primordial female energy in her own form. Brahma Vaivarta Purana comes out with ten forms of Lakshmi of which Mahalakshmi, who resides in Baikuntha in the bosom of Mahavishnu, is her prime form. As the textual tradition has it, Mahalakshmi preceded Vishnu and pervaded not only the cosmos but also Vishnu himself. She is Vishnu's operative energy. It is said that Mahavishnu, when after the great deluge he was resting as a child on a fig leaf and was haunted by questions as to who he was, or whatfor he was there, heard a voice that announced 'All that is, it is me. There is nothing lasting but me' ('Sarvam khalvidevaham nanyadastya sanatanam'). When yet in trance, Vishnu saw a female form, attended by various powers, appear before him. It was when this female form united with him that he was able to proceed to create. Gods had lost all to demons. For its restoration they along Brahma went to Lord Vishnu and prayed him to restore their lost pride and status. Lord Vishnu told them to churn ocean and prayed Mahalakshmi to incarnate as Shri when the ocean was churned. Thus, Lakshmi as Shri was Mahalakshmi's subsequent manifestation.

This Madhubani realisation of the goddess is rightly her Mahalakshmi manifestation and a rarer one in art and mythological conceptualisation. The artist Vidyadevi has synthesised in her visualisation of Mahalakshmi her other forms too. With two elephant forms making offerings from above symbolises the blend of Gaja-Lakshmi in her form. Lotuses all around, in four of her hands and a wide spread under her feet represent her Lakshmi or Padmavati aspect. Lavishly bejeweled and costumed and with Shri as inscribed on door-jam above and under her figure is suggestive of her manifestation as Shri. With the figures of Lord Ganesha flanking on both her sides the artist has conceived Mahalakshmi in her prime role of Creation. This is also her prevalent votive form worshipped on festivals like Deepavali.

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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