A Rare Form of Goddess Kali

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This portrait of Kali is most characteristic of Madhubani folk art. The artist has extremely simplified her form using the technique of graphics but has packed in this simplified form of the goddess such magnificence and robustness that it almost captivates the viewer's eye. It has the fragrance of the soil of Mithila - its own colour-cult, vision of perspective and set of symbols, but has an as much impulsive adherence to early Indian tradition of Devi iconography and Devi rituals as evolve in early texts, especially in Agni, Garuda, Devi and Bhagavata Puranas. As has been acclaimed with greater unanimity in these texts the Goddess has been conceived in the painting as Shiva's spouse. Devi Bhagwata assigns to her a nature which dominates and controls even her Lord Shiva, though otherwise the latter is known to command and control the entire cosmos. It is in pursuance to such Puranic cult that she is sometimes depicted in iconographic representations as standing on Shiva's figure lying under her feet.

This form of Kali, with ten heads and twenty arms, is a rarity in Devi iconography. Her multi-armed manifestations with as many as ten arms are common. This physiognomic magnification depicts the folk view of her cosmic expanse. The figure of the goddess, by covering with her ten heads and twenty arms the entire canvas, symbolises her all pervading entity, that is, the entire cosmos is under her yoke and eye. As in the 'puranas' the Goddess has been painted here, save for a lotus and lamp, only with the attributes of war, blood-shed, sacrifice, frenzy, destruction and violence. Rosary, pot or anything, which promotes life, or a hand raised to bless or impart 'abhaya', the auspicious and divine symbols of Indian iconography, are not her attributes. In her right hands she carries a drawn sword, lamp, mace, a multi-headed trident, an arrow, goad, trident, bowl and lotus and in her left hands the 'chakra' or wheel, suckle, noose, shield, bow, spear, conch, serpent and decollated human head. On her waist she is wearing the girdle of alike-dismembered human hands and a garland of skulls upon her breast. Her eyebrows seem to consist of vulture type winged creatures. She has her blood smeared tongues rolling out her all ten mouths. Artist's vision of the goddess is both votive and aesthetic, awe striking as well as lavishly ornamented, a queer blend of conflicting elements - the awe and beauty.

For the unity of form the artist has created her Kali figure with two more or less realistic hands, which constitute her main figure. Other eighteen hands sprout like branches in geometric symmetry from behind these main two arms. The pointed crowns consisting of floral motifs balance the oddity of multi-heads.

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.

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.