Marriage, The Most Auspicious Ritual of Life

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Various ceremonies precede a traditional Indian marriage and this 'chitra-pata' arrests some of them on its canvas. Some of these ceremonies have ages old links, though such links are now fully forgotten. These ceremonies are sought to purify the premises and the atmosphere where a marriage has to take place, so that the detriments and evil are chased away, good, auspicious and gods enshrine and all goes well. Consecration of Ganesh, the Lord of auspices, is usually the starting point of marriage rituals. The primitive man, the pagan who worshipped trees and other entities of Nature, however, began it with the worship of mango tree, for a mango tree stood for fruition and long life. Subsequently, in his 'Phaladayaka-mudra', i.e., the fruit giving posture, Lord Ganesh was made to carry in one of his hands a mango fruit. Thus, consecration of Lord Ganesh in his 'Phaladayaka-mudra' bestowed dual bliss.

The marriage rituals, depicted in this 'chitra-pata', are a continuation of the pagan cult wherein the tree-worship was considered as the opening ritual. The top centre of the canvas portrays the bride performing worship of the mango tree. She has imprinted the impressions of her palm on its trunk and is tying a thread around it. The rituals of mango worship are considered more auspicious when performed after the sun-set. The same has been suggested by the presence of the attendant with a huge lantern. The bride invites the mango tree to come to her house, purify it and bless and consecrate her marriage with its auspicious presence. It is why the wedding 'mandapa' has in its centre a tree-model carved out of mango wood. It is around this tree-model that the bride and her groom perform seven 'bhanwaras', or the ritual rounds. The 'mandapa' itself is erected out of the mango wood and is thatched with mango leaves. This primitive cult defines ages old link of man with nature, which alone was man's benefactor.

The right top corner depicts 'suhaginas' exchanging gifts. The 'suhagina', a married woman, who has her husband living, is considered auspicious in Indian ritual tradition. Hence, before the actual wedding takes place, "suhaginas' assemble at bride's house. They purify the house of the bride by their auspicious presence and sacred melodies and bestow on the bride blessing and gifts. In exchange they also receive gifts from bride's mother. Right to centre of the canvas depicts the bridegroom being received at the threshold of bride's house. The groom is followed by a lady with her arm raised above his head. She is obviously his sister and her raised arm substitutes the 'chhatra' or standard. The tray containing auspicious banana, betel leaf, vermilion, fruits, sweets etc. has carved in its centre the figure of a mouse, the symbolic presence of Lord Ganesh. A lady stands with the 'mangala-ghata', the auspicious pitcher, symbolic of both, the earth and ocean and thereby of the entire Creation. It actually suggests that the entire Creation is welcoming and sanctifying the sacred act of marriage. The 'Alpana', considered as a decorative motif, drawn on the spot where the final marriage rites are performed and the 'Mangala-ghatas', both male and female, placed there, are actually the cosmic witness of the great act of marriage. Painted in the centre of the bottom of this 'chitra-pata', these motifs accomplish this cosmic role.

Winning a bride is not that simple. The groom and his team have to prove themselves. They are required to compete with bride's team in various feats and thrashing the paddy is one of them. Both teams thrash paddy to husk it in an 'okhali', i.e., the thrashing pot. The time taken in it and the quality level of husked rice decide victory or defeat. Defeated team pays penalty. The middle of the canvas depicts this unique sport. Before the final rites take place, the bridegroom sends to bride the wedding 'saree'. Someone from his side is seen carrying it to bride's house. Bottom left depicts the final rites. The wedding couple is performing 'yajna' by making offerings to 'Agni' or fire, invoking the same to kindle energy in their veins and warmth in their matrimonial relation. All -ladies of the house, children and maids, are extremely busy. Ahead of 'Agni-kunda' stands the tripod symbolic of the sacred tree, seven small circles symbolic of seven ritual rounds or 'bhanwaras', lotus, other flowers, Alpana, 'Mangala-ghatas' and lantern symbolising various auspices. The 'pandit' or priest and his assistant performing various rites are in the last.

The top left corner depicts consummation of marriage, which is accomplished only after the bride and her groom unite in love. The bed-chamber has been laid with red carpet strewn all over with flowers. Bride's aide, usually her sister-in-law, has taken her on to her bed. Bridegroom's 'bhabhi', his brother's wife, is coaxing him to join his bride. Outside the door lay auspicious flower plants and inside the chamber the holy motifs of 'Alpana', symbolising cosmos, tortoise and fish, two of the incarnations of Lord Vishnu, the motifs of sun and moon, wheels of ever progressing time, the rows of candles, blue lotuses symbolic of oceanic depths and zenithal heights and auspicious banana and conventional trees, all the cosmic witnesses of the sacred act of union. Jubilation is the mood of the occasion manifest in the dance of Naina Yogini, dancing with a trident and hand fan. A dancing female recluse blends in dance the spirituality with the cosmic music.

This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.

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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.

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.

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.

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.