Tuesday, June 27, 2017

Tuesday, June 13, 2017

My Madhubani@Sampoorn Santhe

Would be showcasing some of my latest #Madhubani news work as Sampoorn Santhe BLR Manpo Center (Next to Manyata) June 15 to 25 #mithila

Sunday, August 28, 2016

Donated my work to CRY

 "In a country of more than a billion, a large number of #children suffer from high #malnutrition rates, poor sanitation and other issues including #childlabour. According to statistics, #India is home to the largest number of children in the world and it has 20 per cent of the 0-4 years’ child population of the world. Being a #mother, I understand the needs of a child. I always wanted to help the underprivileged children in some way but did not know how to do it. But then I got in touch with #CRY for one of their noble initiatives of sourcing art from prestigious artists. I readily agreed and wanted to do my part by contributing through my artistic skills so I thought of creating some work for CRY. I hold CRY in high esteem for long and am proud to have been associated with the organization. I'll be more than happy to participate in similar initiatives for CRY in future," Vidushini Prasad, Artist
You too can #doyourbit at www.cry.org
#madhubani #art #painting #motherandchild

Thursday, August 11, 2016

Dedicated to World Elephant Day 2016

Posting one of my creations and dedicating to World Elephant Day 2016. 

Pl post, if you have created any Madhubani with Elephant as the theme and support the cause.

Background: On August 12, 2012, the inaugural World Elephant Day was launched to bring attention to the urgent plight of Asian and African elephants. The elephant is loved, revered and respected by people and cultures around the world, yet we balance on the brink of seeing the last of this magnificent creature.

 The escalation of poaching, habitat loss, human-elephant conflict and mistreatment in captivity are just some of the threats to both African and Asian elephants. Working towards better protection for wild elephants, improving enforcement policies to prevent the illegal poaching and trade of ivory, conserving elephant habitats, better treatment for captive elephants and, when appropriate, reintroducing captive elephants into natural, protected sanctuaries are the goals that numerous elephant conservation organizations are focusing on around the world.

World Elephant Day asks you to experience elephants in non-exploitive and sustainable environments where elephants can thrive under care and protection. On World Elephant Day, August 12, express your concern, share your knowledge and support solutions for the better care of captive and wild elephants alike.

Support World Elephant Day so that we can continue to be a collective voice speaking out on behalf of elephants!

Sunday, February 28, 2016


Fabindia at Phoenix City, Bangalore has decorated one of their sections with a Madhubani created by me

Monday, November 02, 2015

As politicians wrangle for votes, Mithilanchal’s heritage wallows in neglect

 | TNN | Nov 2, 2015, 11.12 PM IST

Women painting a silk saree at a village in Madhubani.Women painting a silk saree at a village in Madhubani.
MADHUBANI: Politicians in Bihar have given a miss to the rich cultural heritage of the Mithilanchal region over decades, though the state has basked in the glory of Madhubani paintings, acclaimed globally.

Successive governments in Bihar have also ignored the heritage of renowned Bengali writer Bibhuti Bhushan Mukhopadhyaya, whose native house — visited by famous shehnai player Bismillah Khan and classical singer Ram Chatur Mallick in the heart of Darbhanga town — now lies in ruins. A number of Bengali films were based on Mukhopadhyaya's works and his book "Kushi Pranganer Chithi'', translated as `Kushi Pranganak Chithi' in Maithili, was also included in the curriculum of Bangla literature in schools and colleges in Bihar and West Bengal.

At village Ranti in Madhubani district, the 'jantra' painted on the wall of the drawing room of national award winner Godavari Dutt is mesmerizing. Vibrant and colourful, the painting, depicting man's connection with Nature, reflects the rich culture of the region which had grabbed global attention decades ago.

"It took me several months to make this painting," said the octogenarian, who now, due to her failing health, finds it difficult to walk. Dutt has travelled with her paintings to several countries, including France and Japan. "This painting is our cultural heritage and is done in every household in this village and Jeetwarpur, where many famed painters, including Padma Shri Sundari Devi, have lived.

She rued that though the paintings had done very well in the national and international markets, painters couldn't reap benefits as the government failed to streamline their marketing. "Middlemen are minting money by selling our work nationally and internationally while we are paid a pittance for our hard work," she said, adding the government should at least fix rates for sale of the paintings.

Sunday, October 04, 2015

The Tribal Art Paradox

The appreciation of folk art as 'art' is just skin deep, says Gargi Gupta of DNA as she discusses the destruction of a Madhubani painter's mural 

  • MuralMural by Madhubani artist Ganga Devi that was painted over

The recent destruction at Delhi's Crafts Museum of a large mural by Ganga Devi, a pioneering Madhubani painter, strikes at the root of the paradoxes surrounding tribal art today.
On the one hand is the lack of appreciation — the bureaucrats' disregard for a large, important work by an internationally-acclaimed artist, a Padma Shri awardee no less. Ganga Devi's mural was, according to Jyotindra Jain, the former Crafts Museum director, who first flagged its destruction on Facebook, "the only example of a complete iconographic rendering of Mithila's kohbar ghar". (Kohbar ghar is the nuptial chamber which would traditionally be covered with paintings depicting auspicious and fertility symbols. Madhubani paintings even now depict motifs ofkohbar ghar murals.)
Besides, its tragic history — it was one of the last works she executed while undergoing chemotherapy for cancer — added to its importance. According to Jain, "Ganga Devi used to weep due to the painful treatment and had painted the chamber to occupy herself with something she found creatively engaging." Undoubtedly, had it been a modernist master — Husain or Souza, for instance, instead of Ganga Devi — a work with such a poignant back story would never have been painted over in a thoughtless "modernisation" drive.
There has been a growing market for Madhubani and other forms of tribal art in recent years but it's mostly for small works, churned out in bulk by artists who've renounced the painstaking, traditional methods for modern, quicker methods so they can keep prices at the Rs1,000-2,000 levels.
Prices, even in auction (art auction house Saffronart has had a dedicated sale of folk and tribal art since 2012) where large works by senior, important artists come up for sale, have remained low, barring a few exceptions like Gond artist Jangarh Singh Shyam. At the recent Saffronart "folk and tribal art auction", for instance, a work by Baua Devi, an early exponent of Madhubani painting like Ganga Devi, sold for Rs 42,900, less than its estimated high price of Rs 45,000.
But over and above these, the Ganga Devi episode reveals the more fundamental paradox of Indian tribal art. Traditionally, these paintings were part of the artists' daily lives — they decorated their walls with them, re-touched them when they became faint and when they had completely worn out, the walls would be repainted and covered again with art.
This changed in the 1960s, when under the likes of arts administrator Pupul Jayakar, artists J. Swaminathan and Bhaskar Kulkarni, and American anthropologists Raymond Owens and David Szanton, those like Ganga Devi were persuaded to switch to paper. That gave their art-works longer shelf-life and mobility, and brought prosperity as well as new identity as artists.
But as the destruction of the Crafts Museum mural shows, the appreciation of our folk artheritage as "art" runs only skin deep — until the next renovation when the officials think nothing of destroying another lot of art-works instead of finding ways to preserve them.