Bhanwara-Pata, A Symbolic Depiction of Indian Marriage Rite

$155
Item Code: DE02
Specifications:
Madhubani Painting on Hand Made Paper treated with Cow DungArtist Vidya Devi and Dhirendra Jha
Dimensions 2.5 ft x 1.8 ft
Handmade
Handmade
Free delivery
Free delivery
Fully insured
Fully insured
100% Made in India
100% Made in India
Fair trade
Fair trade
This chitra-pata, rendered using a wider range of colours than usually does a Madhubani painting, represents the prime marriage rite and the broad features of a traditional Indian marriage. The hexagonal magic ring, in which six circles rotate around a centrally located larger one, is the focal point, as also the cardinal feature of the painting. The bride's face enshrines all the rotating circles, as also the central one, each consisting of dual rings, the inner one plain and the outer one made of temple motifs. The loops connecting the six rotating circles have hexagonal thrust further intensified by six lotuses painted in the centre of each one and by six colourfully rendered turquoises. Amongst the graphics, hexagons and octagons, as also their multiplications, the sixteen and thirty-two armed, are considered to be the auspicious and helpful mystic forms. The entire body of traditional Alepana or Alpana cult in India is based on these graphic formations. The artist, in arranging these rotating circles, has made wide use of this graphic symbolism. She has also created the octagonal effect by the eight fish swimming in octagonal ring. The hexagons and octagons symbolise wider angles, broader vision, mutual accommodation, liberal approach and an open mind, so significant for the two, the bride and her groom, unknown so far, joining in inseparable unity.

The broad features relating to marriage rite have a somewhat serialised form, beginning with two ladies, clad in blue and red towards the centre on the left, talking. The lady in blue has come with the proposal of marriage. The second step depicts the lady in blue seated and eating something, obviously the sweet, as the proposal has been finalised. Just below them, towards the lower left corner, there sit the bride and her groom worshipping elephant, symbolising Ganesh, the harbinger of auspices and remover of detriments. The bride has before her a pot containing water, tray containing sweets and basket containing flowers for the performance of the worship ritual. Then begins the journey towards the final goal. There lay on the way the mangala-ghata, the auspicious pot, symbolising the earth and the ocean, their forbearance and invaluable treasures, to reveal when attempted at discovering. Ahead the mangala-ghata, there is the auspicious banana plant with lotuses growing on it. They assure fruition and purity.

Above the banana plant, towards the centre on right, the groom is seen leading the bride towards the magic ring, the Bhanwara-chakra, which consists of seven circumambulating steps around the axis. In the painting these seven rounds, the pheres, have been dually represented, first by the seven circles, the six rotating and seventh located in the centre, and secondly, by seven strips, the three comprising the circumferential ring, the next two by rotating turquoises and the fish and the rest two by two rings of the central circle. Towards the left of the magic ring, two persons are seen carrying a palanquin with the bride in it, the farewell to the bride. That broadly summarises the marriage rite.

The pata includes other auspicious symbols also. The upper corners are flanked by the symbols of the sun and the moon, the fire-like orange coloured sun with a male bearing on the left and a female like soothing moon on the right. A pair of peacocks, the auspicious bird of the heaven, symbolising brilliance and colourfulness in life, perch in the centre on the top. The entire canvas lay strewn with multi-coloured flowers and creepers. To add further auspice to the banana plant, the artist has flanked it by a couple of parrots, a sacred bird and messengers far off lovers. In addition to their graphic role, the turquoises and fish are highly auspicious beings and have a significant place in Indian mythological tradition. The entire theme is contained within an enormously elaborate and picturesque border comprising of two rows of lotuses, one facing the other creating in between a black zigzag string beautifully defined by contrasting yellow leaf motifs. This border has been framed inside two orange strips binding the whole in the absolute unity.

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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