Women’s Creativity Under Changing Perspectives
Kailash Kumar Mishra
Abstracts: The article deals with the history and different styles of
Mithila Paintings in the context of the role of women in it. It draws
attention to the differences between the traditional wall and floor
paintings and the canvas paintings, of modern day. It underlines the
contribution of women to the development and popularity of Mithila
paintings over many generations, and how they were brought into the
painting tradition. It also shows how this painting tradition provided
an opportunity to women in the Mithila region to garner additional
income for the family when they were challenged by natural calamities
such as drought. While describing the present status of the art form,
the article calls for an adoption of appropriate measures to retain the
tradition in its original form and vigour.
rom time immemorial, women in India have actively participated in
various forms of creativity, which explicate the relationship between
nature, culture and the human psyche. In fact, their arts of creativity can be
treated as a style of writing by which their emotions, expectations, freedom
of thoughts, social and cultural limitations, worldviews, etc., find expression.
Moreover, their significant role in some of the art forms present in many
parts of the country is noteworthy: Phulkari in Punjab; Warli in Gujarat;
Chikan in Lucknow; Weaving in the North-East; Kantha in Bengal; Miniature
Paintings in Rajasthan; and, of course, Mithila Paintings in Bihar. The aim
of this article is to focus on Mithila Painting to show how it is a parallel
literacy by which women communicate aesthetic experience and expression.
The Mithila Paintings, also known as Madhubani Paintings, are a living
creative tradition mainly practised by village women of the Mithila region
in Bihar, irrespective of caste and religion. The paintings are made on
paper, cloth, readymade...