The Timeless Charm Of Madhubani Painting In India

“I have been doing this for so many years, it almost feels like second nature,” Uma Devi tells me. Her makeshift shop in Kolkata is humble, funded by her craft after she migrated from Bihar for better opportunities. The floor at her abode is lined with striking pots of colour, papier-mâché mixes, and rectangular pieces of cloth that have just been primed. “I never thought of doing anything else. I was always obsessed with marriages and Gods, and this was the perfect way to express my obsession.” At the legendary wedding of Hindu deities Rama and Sita, King Janak, Sita’s father, is believed to have commissioned women across Mithila to adorn the exteriors of their houses with elaborate paintings to commemorate this auspicious union. Not very different from how it is made today, the artists used bamboo pens, vermilion powder, sandalwood, indigo, flowers, leaves, rice paste and soot mixed, to tell lores about the community—thus laying the foundation for what would become the UNESCO-recognised Madhubani art. Its very name—derived from the words ‘madhu,’ (honey) and ‘bani,’ (voice or forest, depending on who you ask)—evokes the collective experiences and natural landscape from which it sprang.

For centuries, this art form remained largely confined to the Mithila region of Bihar, passed down through generations, almost exclusively by women. It was a ritualistic art, created during festivals, ceremonies, and significant life events like births and marriages—paying homage to its origin. The canvases were the walls and floors of their homes, prepared with a fresh plaster of mud and cow dung. The colours, derived from natural sources, were mixed with binders like gum arabic or goat’s milk. The tools were equally organic: fingers, twigs, and matchsticks. Many distinct styles of Madhubani painting emerged over time, reflecting the communities and techniques employed. The Bharni style is characterised by vibrant colours filling entire compositions, leaving little white space; while the Tantric school features mystical elements, with complex geometric patterns and symbolic depictions of deities and rituals. The Katchni style is known for its fine, intricate lines, often in monochromatic or limited colour palettes, focusing on delicate detailing, and Godna draws inspiration from traditional tattoo art, using bold and repeated patterns. The Kohbar style is specifically associated with weddings, depicting symbols of fertility and prosperity, often focusing on the nuptials of Hindu gods and goddesses.

Madhubani art remained a hidden gem until the 20th century. The 1934 Bihar earthquake, which exposed these wall paintings as houses crumbled, drew the attention of British officer William G. Archer, who documented them, bringing the art form to external recognition. However, it was the severe droughts of the 1960s that prompted a pivotal shift. The Indian government encouraged women, like Uma Devi, to transfer their skills from impermanent walls to more portable mediums such as paper and canvas— transforming Madhubani into a viable source of income. This transition marked a new era. Artists, regardless of their gender, began showcasing their work beyond the villages, leading to national and, eventually, international acclaim. Exhibitions around the world, coupled with media attention and the efforts of dedicated organisations, propelled Madhubani painting onto the global stage. Its coruscating aesthetics, intricate storytelling, and deep cultural resonance garnered widespread appreciation, cementing its status as a significant global art form and a symbol of India’s rich artistic heritage. The Geographical Indication (GI) status it received in 2007 further amplified its importance. “Madhubani art offers a unique window into an ancient civilisation,” states Dr. Ananya Sharma, a renowned art historian specialising in Indian folk traditions. “Its continuous lineage, from mythological references in the Ramayana to its contemporary interpretations, makes it an invaluable subject for study. Each brushstroke, each motif carries layers of meaning, reflecting evolving societal values, religious beliefs, and artistic expressions over millennia. Owning a Madhubani piece is to possess a tangible link to this rich continuum,” she adds.

“The market for Madhubani art is experiencing a steady ascent,” observes Rajesh Gupta, a prominent art collector with a focus on indigenous Indian art. “What makes it particularly attractive is its inherent value beyond just aesthetics. It supports rural women artisans, fostering financial independence and preserving traditional skills. Furthermore, the distinctive visual language, with its bold lines and vibrant colours, makes it highly appealing in contemporary interiors, adding a unique, soulful touch.” Over the years, notable artists like Sita Devi, Jagadamba Devi, Mahasundari Devi, Godawari Dutta, Dulari Devi, Shanti Devi, and Shivan Paswan emerged, their individual styles winning them prestigious awards like the Bihar Ratna and the Padma Shri. Through it all, Madhubani art held a deep and auspicious connection to weddings, making it a perfect conduit to celebrate and symbolise marital bliss. Traditionally, the Kohbar style of Madhubani painting was explicitly created for the nuptial chamber, also known as the Kohbar Ghar. These paintings were believed to invoke fertility and harmony for the newlywed couple. “The motifs in Kohbar paintings are not arbitrary,” explains Dr. Sharma. “They are potent symbols: the lotus and bamboo groves represent fertility and proliferation; fish and birds in union signify love and procreation; and deities like Shiva and Parvati or Radha and Krishna bless the union.”

While the traditional themes of mythology, nature, and daily life persist, modern Madhubani artists are increasingly incorporating contemporary socio-political issues. This diversification of subject matter, alongside experiments with new mediums beyond paper and cloth (such as pottery, home décor, and apparel), and even exploring 3D forms, showcases the art’s adaptability and relevance. Today, artists like Bharti Dayal, renowned for seamlessly blending traditional motifs with modern elements and themes, and Mahalaxmi Das, who uses the traditional Kachni style to address modern narratives on gender roles and societal inequalities, are putting a new spin on the art form. Alka Das is another artist who has notably used Madhubani to depict historical movements like the Champaran Satyagraha, permanently exhibited in Bitiharva. These artists, among many others, are not only preserving a dynamic cultural heritage but also demonstrating its enduring power to comment on the world around us.