Looking At The Storys Behind Indian Art Cultural Studies Essay

Looking At The Storys Behind Indian stratagem Cultural Studies EssayI intend to do research on the Indian common people dodge fixs, their sorts, different symbols and forms as well as the context and cultural stickergrounds. I will focus on MDAHUBANI PAINTINGS, a sept contrivance originated from North India. This research will help me learn the characteristics of these dodgeificeistic returnion forms, which will inspire my animation bedighting and visual dash.The story of Indian subterfuge is also the story of one of the oldest and nigh brisk cultures on e prowessh. Throughout its history, Indian art has combined local usage with outside influences, and has evolved along with a well-manneredization, which has been remarkably innovative in alone atomic issue forth 18as. As in e real culture, art has been a mirror of Indias charming history from the scratch line, reflecting religious beliefs, political events, and social customs. Especially in folk liberal art s we find a compelling and beautiful record of centuries of Indian culture.Introduction to Indian Folk artworksThe somewhat lesser-known usances of Indian picture show ar the so-called folk looks dating back to a time period that may be referred to as timeless. These argon living customss, intrinsically connect with the regional historic-cultural settings from which they arise. It has an age-old heritage that nates be traced back to the beginning of civilization on this subcontinent 1. It began with cave depictions, with the natural dyes so strong that they can sedate be seen today on the walls of the caves after centuries. The folk and tribal painting succeed from the remote rural and tribal regions. Sometimes the artisans of these country spiels be non even educated. They lack the basic doer to attend schools, and as they atomic crook 18 gifted with such beautiful miserly of grammatical construction by constitution. The sundry(a) painting forms flood t ide from these regions began not upright as a painting notwithstanding also as a religious and social ritual performed daily. It began with painting the walls and floor of mud ho drills. They get everyplace the belief that this purified the ambience and pleased the deities. Various religious and symbols were therefore seen deep down the painting.The term folk paintings here encompasses pictures do in Indian closures by both men and women, for ornamentation of their abodes, portrayals of their deitys and for their various rituals and, by local headmaster painters or artisans for use of the local people. All these paintings were asseverated in a mixing of elbow rooms and themes. biography, sociology and geography inf employ the painting of each region with local flavor. Their style and tone of voice depended on the tangibles available in the place in which they were executed, these very factors that helps to find out the region.Folk art may be defined as the art farmd among groups that exist within the framework of existing society, solely, for geographical and cultural reasons, be largely separated from the sophisticated and cultural reasons, and the developments of their time. As a result, they produce distinctive styles and objects for local needs and tastes.In folk tradition, art is upkeep to the daily brio of the people. Whether he is a TAMILNADU (an Indian deposit) 2 potter who creates a massive terracotta AIYANAR (example in concomitant. Pic.1) or a MADHYA PRADESH (an Indian state) 2 tribal who creates PITHORA painting (example in addition. Pic.2), at the moment of creation, the poverty-stricken, illiterate folk, becomes a master- fashions-man who can create marvelous plastic and visual forms with a creative genius turn over over to him by generations. Topography and geography too need control over the medium of art. In the case of UTTAR PRADESH (an Indian state) 2, we can find folk paintings on the walls of the houses. Whereas i n ASSAM (an Indian state) 2, one cannot find wall paintings because close to of the walls of the house are built with cane or bamboo. The folk and tribal traditions, consider all materials available in day-to-day life are worthy of serving as a medium of expression. In this regard, artist-writer, HAKU SHAH writes, When a tribal touches a blade of grass, gourd or bead, fiber, twig, grain, pin, plastic button, conch shell, feather, thumb of flower, he sees through it, smells it, hears it, and therein starts the ritual of creation with it 3. Each transgress of the country with its own trees and plants, birds and animals, hills and dales has inspired Indian folk artists to have quadruplicate metaphors, series of symbols and innumerable images to build a rich treasure-house of art.The following are the common stylistic characters in folk-art Preference for simple outline and option of typically representational lines A simplification of colors and volumes so that shading is elimin ated Stylization of motifs to create decorative elements and Repetition of lines, of entire figures, of dots for intensive or rhythmical purposes.Following is the list of some of the main folk arts from different fictitious characters of IndiaMadhubani PaintingFolk art of Madhubani from the Mithila region 2 of uniting India. There are different styles developed by different castes of the region. (Examples in Appendix Pic.16a 16h)Thanka PaintingCombining the magnificent beauty with spiritual vision, Tankha is painting solely dedicated to Buddha and his teachings. These represent how the Buddhists see the universe. It is generally in eightsome layers with the upper most layers or part interpret a immortal. The lie seven are the various elements of the universe akin, fire, earth, plaza, water and air. Colorful and geometrical, these are m all a time seen as the basis of temple architecture. These paintings are through with dedication, concentration, and passion and also with t he deep religious feeling of doing something without delay related with the supreme power. (Example in Appendix Pic.3a, 3b)Patachitra PaintingIndian art Patachitra is a pre-Islamic form of religious art. It comes from the eastern Indian state Orissa 2. Hindoo gods and goddesses and other fabulous scenes are painted on a leather- give care ascend made of several layers of old cotton glued together. (Example in Appendix Pic.4a, 4b)Kalamkari PaintingKalamkari Literally meaning pen-work, it is the religious painting on material with blocks and wax resist, from the temple town of KALAHASTHI in southeast ANDHRA PRADESH 2. (Example in Appendix Pic.5a, 5b)Warli PaintingWarli is a tribal community from MAHARASHTRA, India 2. They have made a significant contribution to the heritage of Indian tribal art. Done by both men and women, these art works show their dedication to the nature and the superpower. (Example in Appendix Pic.6a, 6b)Gond PaintingTribal painting, Gond is a freehand expre ssion of the Gond tribes of MADHYA PRADESH, India 2. Painted freehand, these two dimensional paintings reflect their perception of life. The third dimension, the reasonableness is al ship trend lacking in these paintings reflecting the simplicity of the artist. Sometimes these paintings also ascertain how colorful their imagination can be. They put colors to the b democracyest creations of the nature at times. (Example in Appendix Pic.7a, 7b)Batik PaintingBatik, wax resist painting from WEST BENGAL, India 2. Meaning wax-painting in Javanese, it originated in Indonesia and later revived in WEST BENGAL, India. The creativity of the talented dyers has given it a fresh overbold definition. The principle of batik is a simple one, wax or a connaturally resistant substance such as sieve spread is used to create patterns or motifs on cloth before it is dark or colored in some way. When the wax is at long last arrive at to be removed, the untouched cloth beneath it stands out as the pilot film color of the cloth. (Example in Appendix Pic.8a, 8b)Miniature PaintingFolk art miniature paintings inspired by the graceful romantic life style of the Mughals 4. These paintings show one moment at a time and in minute details. The love scenes, the court scenes, various solitary women, animals, flowers all were closely observed and reproduced simultaneously. (Example in Appendix Pic.9a, 9b)Santhal ArtThe Santhal tribe, one of the famous tribes belong to the Bihar state of India 2, has a typical style of painting, known as Santhal paintings. The bodies of the various forms that they paint are seldom or perhaps never in one shade, they are always striped, dotted or trained with any other geometrical pattern. They are done on a handwoven paper with poster colors. The topics are selected from the natural surroundings or fairish from the happenings of their day-to-day lives. (Example in Appendix Pic.10a, 10b)Phad ArtRAJASHTAN, an Indian state 2, the fine-tune of colors is known for Phad painting, which is done on cloth. This type of painting is chiefly found in the BHILWARA district. The main theme of these paintings is the depiction of local deities and their stories, and legends of old local rulers. Phad is a type of scroll painting. These paintings are created while using bright and subtle colors. (Example in Appendix Pic.11a, 11b)YantraTantra art or yantra is used as an instrument or medium of focus on a deity while meditating. It is used while performing religious ceremonies. It is a graphical representation of geometrical or abstract images such as triangles, squares, pentagons, hexagons or trolls. (Example in Appendix Pic.12a, 12b)ChittaraChittara, meaning picture is an expression of the village artists of KARNATAKA India 2. Chittara is done on oversewn paper. This paper is coated with mud initiatory and then the desired color of the background is given to it by various colors extracted from the natural objects. The color red is procure d by grinding a special red stone, the color black is procured by grinding burnt-out rice and soaking it in water for few days, mud and rice paste gives white. (Example in Appendix Pic.13a, 13b)Introduction to MADHUBANI PaintingsPainting is generally done by folk artists or undefiled artists in three ways wall-painting (BHITTI-CITRA), canvas-painting (PATA-CHITRA) and floor-painting (ARIPANA). Of these the wall-painting and the floor-painting are very popular in MITHILA region 2. The Wall-painting or mural paintings, popularly known as MITHILA painting or MADHUBANI painting.MADHUBANI, literally meaning from the forest of honey is the name of the village from where comes the MADHUBANI paintings. Situated in the indoor of northern India, this art is the expression of creativity in the day-to-day life of the local people. Done mainly by the females of the family, this art is regarded as a part of daily ritual. Initially all vegetable dyes were used for the paintings but today they ha ve access to the variety of poster colors to provide to their needs and to enable them for more(prenominal)(prenominal) experiments with colors. The estimated date cant be traced back to the actual era that brought MADHUBANI art in to existence. It is however centuries old art that is assortd with the normal lives of the villagers. In that region it is believed that every morning the worshipped deity comes invisibly to the household to bless the processs of the family and also to bring more prosperity. So this art started as a welcome painting for deities. It started from the entrance floor and the exterior of the house. Passed from mothers to their daughters, the art of MADHUBANI has constantly been improving in its quality. As this tradition was initialized with a purpose of decorating the exterior of the house, the walls and the floor always served as the canvas.Floor-painting (ARIPANA)The art of ARIPANA or floor-painting has been handed down from generation to generation. There is not a single house in MITHILA in which ceremonies are held without ARIPANA. The women of MITHILA specialize in drawing circular patterns of designs with a white liquid paste made of ground rice mixed with water. Sometimes vermilion is also applied, anyway white, red, kelvin, chicken and black colors. In various ARIPANA designs, they have the images of gods and goddess painted on different shapes and forms with multiple colors, reflecting the artists originality and imagination. ARIPANA is an indigenous intelligence information, which means the art of drawing embankment or wall. The word is derived from ALIMPANA or ALEPANA (of Sanskrit origin) and though grammatically correct, it falsifies the real origin of the word 5.(Example of ARIPANA art in Appendix. Pic.14a, 14b)The land and peopleNorth of the river Ganges, in the state of BIHAR 2 lies a land called MITHILA, shaded by old mango groves and watered by melt water rivers of NEPAL 2 (Indian neighbor country) and the Him alayas. MITHILA has played a noteworthy part in the political and cultural life of ancient India. It is a land full of the beauty of landscape in sharp contrast to the nefariousness of poverty in which its people, most of whom are talented painters, live, who accept their fate, sound or bad, and paint for painting sake.It is give tongue to that altogether MITHILA was the home where the educated and the learned might always find a generous patron, stillness and safety, where courts were devoted to learning and culture and where poets and philosophers lived in honor and affluence. Even though women in the villages close to MADHUBANI have been practicing their folk art for centuries, the macrocosm at large has come to know about these women and to consider them to be artists lonesome(prenominal) in the last forty years. Even now, most of their work carcass anonymous. The women, most of them illiterate, are reluctant to consider themselves individual producers of works of art an d only a few of them mark the paintings with their own name.Among the first clean-fangled outsiders to document the tradition of MADHUBANI painting were William and Mildred Archer. Mr. Archer was a British civil servant assigned to the district during the colonial era (till 1947). The Archers obtained some drawings on paper that the women painters were using as aids to memory. Works that the Archers collected went to the India Records magnate in London (now part of the British Library) where a small number of specialists could study them as creative instances of Indias folk art 6.The women painters in MADHUBANI lived in a closed society and were unwilling to paint openly. Eventually due(p) to a drought (1966-68) in the surrounding areas of MITHILA that resulted in severe scotch crisis women began to mercenaryize their art. The All India Handicrafts Board 7 encouraged the women artists to produce their paintings on handmade paper for commercial sale. The government of India, th e state government of Bihar and the regional craft guilds has all come in together to initiate the productions and marketing for these women painters. This jerky change in the form of art and its presentation has enabled the world to constitute a new form of art with an enviable linkage to the lives of women 8.The mien of paintingThis style of painting belongs to North Bihar. In keeping with the tradition under which it began, the style is replete with symbols of fertility like the white lotus plant, the bamboo grove, birds, fish, etcetera in union. The art shifted to drawing paper in the 1960s, and this brought with it a new freedom and creativity. Paper is movable and economically feasible too. Figures from nature mythology are adapted to suit this style. The themes designs widely painted are the worship of Hindu deities such as KRISHNA, RAMA, SIVA, DURGA, LAKSHMI, SARASWATI, Sun and Moon, TULSI (basil) plant, court scenes, wedding scenes, social happenings around them, etc . Floral, animal and bird motifs, geometrical designs are used to fill up all the opens. There is hardly any empty space in this style. The skill is handed down the generations, and hence the traditional designs and patterns are widely maintained. One of the main features of MITHILA paintings is simplicity. All that is required for the artist is a suitable surface, ordinary paints, and local brushes. Preliminary sketching is hardly required in MITHILA paintings because the outlines are developed in a single sweep of the brush.Tools applyNo sophisticated tools are needed in MADHUBANI paintings. Artists are still unacquainted with the modern brush. The traditional brush is made from a bamboo-twig by wrapping the twig up with a piece of cloth or by having its end frayed in such a way that the fiber looks like a bundle of hair.Color SchemeThe artists rail the colors. Black is obtained by mixing soot with cow dung yellow from turmeric or pollen or lime and the milk of banyan leaves d ocile from indigo red from the KUSUM flower juice or red sandalwood green from the leaves of the wood apple tree white from rice powder orangish from PALASHA flowers. The raw materials were mixed with goats milk and juice from bean plants. Today green, blue, red and orange have been added to these colors. The colors are applied flat with no shading. There is normally a recapitulate line drawn for the outlines, with the gap between the lines filled by cross or straight bantam lines. In the linear painting, no colors are applied. Only the outlines are drawn. Some villages only produce black ink drawings. Other villages use pink, yellow, blue, red and parrot green, each paint mixed with the traditional goats milk. jar of Hindu religion and mythology in Indian folk artsHinduism holiness has been a definitive influence on Indian Art. Hindu Paintings featuring Hindu gods, Hindu goddesses, and the various Hindu pantheons are one of the most tumid symbols of Indian and Hindu Art.Hindu god/goddess in brandingIn India, manufacturers try to affect the psyche of consumer, by branding an item with the names and images of Hindu deities. They bring the premium image of a idol and His virtues and concord them to their product, thus exploiting the mass recognition of well-established imagery of the God to boost product branding. The beauty of this strategy lies in the fact that the companies using Gods images do not have to be concerned about any kind of talented property issues like copyright, thus enjoying an immense credibility just by virtue of having connected their name to a venerated name. This kind of branding shows the popularity of god/goddess images in India and the corporate/legal freedom of their use. Manufacturers use images and names of Hindu Gods on product labels and promotion materials to attract buyers attention. Even in the States some of the promise card companies like MCI, which target Indian consumers, photographic print Gods images on its int ernational phone cards and sometimes even the phone card itself is named after a God. In India the largest group of advertisers are the viands marketers, followed by marketers of drugs and cosmetics, soaps, automobiles, tobacco, appliances, and oil products. All of these companies somehow associate their products virtues with the virtues of a God and try to sell it to the consumer, who can very well relate to the image presented. For instance, Indian jewelers use image and name of Goddess LAXMI, who is considered the ruler of all material wealth extensively. One of the most famous names among jewelry shops in India is Maha Laxmi Jewelers. (Examples of some Ads and products in Appendix. Pic.17a 17j)Forms and symbols in MADHUBANI PaintingsThe motifs of the designs include conventionalized flora and fauna, circles in series, spiral or curvilinear devices, series of short lines, foot-points of fragmentary (imagi infixed) pictures illustrating legends and stories, gravid glimpses of e nvironmental and natural life. While the religious paintings include various gods and goddess, the lay and decorative paintings contain various symbols of prosperity and fertility such as elephant, horse, fish, lion, parrot, turtle, bamboo, lotus, flower, PURAINA leaves, PANA, creepers, SWASTIKA etc. Besides, we also come across in these paintings aspects of artless animal life, which plays an important role in the rural economy of MITHILA. The animal, in fact, is a duplicate representation of energy and character of God. Thus, the subject theme generally falls into two groups(1) A series of heavenly forms.(2) A series of strictly selected vegetables and animal forms.For different occasions, they have different forms and symbols habituated to these paintings.Wedding PaintingsAt weddings, the following objects the sun and moon, a bamboo-tree, a circle of lotuses, parrots, turtle and fish come into prominence. These paintings draw their themes mostly from the PURANAS and epics. T he most giving image looming largest on the walls are the bamboo-tree and the ring of lotus, the KAMALAVANA or PURAINA. The focus is on fertility, and the marvelously intricate diagrams of the KAMALAVANA, the PURAINA and the forest of bamboos are, as pointed out by Archer, MANDALAS and diagrams of the fat organs. The lotus circle is not only a lotus but also the symbol of the brides sex, while the bamboo-tree is a bamboo, it also represents the phallus. (Although sometimes it is said that the women artists iconize the husbands patrilineage as a stand of bamboo.) In other words, lotus is a female and bamboo is a male. According to Archer, the latent symbolism reaches its heyday in the many paintings in which the bamboo-tree is depicted not as reserved and apart but as driven through the center of a clinging circle 9.There are also minor symbols of parrots, turtles, fish, sun and the moon. In Indian context, the parrots symbolize the lovebirds and they feature constantly as images of the bride and bridegroom in folk songs and poetry. Turtles also have a significant place because they associate water with all its beneficent power with marriage, their strange shape being diagrammatic of the lovers union and their head and tail emerging from the shell looks like the exact counter part of the bamboo plunging in the lotus. Then, there are fishes which are emblems of fertility and, finally we have sun and moon who are inserted because of their life-giving qualities.(Example of marriage art known as KOHBAR in Appendix. Pic.16a 16h)About the MADHUBANI painting Artists Baua DeviBaua Devi is one of the most respected artists in the MITHILA community, and certainly the most successful. She lives in JITWARPUR, the village where she was born. Her work has been exhibited widely throughout India as well as the Center Georges Pompidou in Paris and at the MITHILA Museum in Tokamachi, Japan 10. Also, at the MATRIX show at UC Berkeley Art Museum, 1997 11 included two mural-sc ale paintings by Baua Devi, one depicting the life of KRISHNA, the other, a festival around a pond in a Mithila village.The scope of MADHUBANI paintings, its popularity in India and in other parts of the worldMADHUBANI Painting has lately received much attention and popularity. There are quite a few websites devoted to MADHUBANI painting. I simply would like to add that the credit for bringing recent and massive popularity to this art form goes, in large measure, to the Lalit Narayan Mishra. In his capacity as the Minister for Railways in Mrs. Indira Gandhis cabinet, reproductions of these paintings adorned the coaches of many fast and super-fast trains. 12 Copies of the paintings became a hot-selling item for both native and foreign travelers. The reproductions could be found in plenty, for instance, among the hawkers in the bustling course side market along the JANPATH in New Delhi, India a must for the foreign tourist Credit is due also to Mr. Bhaskar Kulkarni, erstwhile membe r of the Indian Handicrafts Federation. He was the first to organize an exhibition of this school of paintings at New Delhi in 1967 13. This brought instant international recognition. Folk art is having a treasure house of symbolic language to contribute as a gift to Modern art. Folk in a sense carries the connotation of anonymity, collective wisdom, spontaneity and simplicity. With the development of Anthropology a new awareness has come into understanding the primitive and folk traditions. Anthropology has proved that regionalism in art is not against internationalism. 14ConclusionMADHUBANI paintings are popular because of their tribal motifs and use of bright perfect(a) colors. I would like to explore how these unique features of folk art could be successfully translated into the form of Animation.Based on my research I have these findings about MADHUBANI PAINTINGS characteristics-The figures are recognizable by a face in profile while the rest of the body faces the front.-The face has one very large eye and a bumpy sort of nose coming out of the forehead.-The figure outlines are drawn as a double line with diagonal hatching between them.-The borders are extremely adorn either geometrically or with ornate floral patterns.-Clothing also is highly decorated with geometrical, floral or even animal patterns.-The drawings of animals are well recognized for what they are, but again tend to be very stylized.-The forms and symbols in these paintings have their own significance and different forms and symbols are used on different occasions.-There could be different interpretations of symbols and its uses.-These paintings have a limited number of colors and each color has its own meaning. Artists prepare the colors applied.-The artist uses traditional brushes (made from a bamboo-twig) for drawing.With time medium has changed. Originally these paintings were done on walls in villages. Later, the artists successfully transferred their techniques of wall painting to the medium of paper. Now most of the artists use watercolors and handmade papers. At the same time they maintain the characteristics and style of paintings although the medium has changed. In order to create a new lineage of non-agricultural income, different organizations encourages the artists to produce their traditional paintings on handmade paper for commercial sale. This way now it also widely spread. Even in the more recent work on paper, the themes are normally the Hindu Gods and Goddesses and stories from Hindu mythology. They exhibit their paintings throughout India as well as different parts of the world. Now with the advent of digital tools like Macromedia Flash, which can produce the similar kind of drawings using different combinations of pencil and brush strokes. Use of digital tools also makes these drawings faster and more effectively as these paintings has lots of repetitive patterns.So we can say, transferring the techniques of wall painting to the medium of paper gained these paintings more popularity and recognition. Same way I strongly feel that when these styles and characteristics of MADHUBANI paintings will be transformed into digital medium, such as animation, it will take the paintings to the attached level, where these folk art styles will be used by more and more digital artists from India and all over the world.End Notes1 Based on the art history timeline the art produced on the Indian subcontinent from about the third millennium BC . However based on the recent findings, An archeologic site off Indias western coast may be up to 9,000 years old. The revelation comes about 18 months after acoustic images from the sea-bed suggested the comportment of built-up structures resembling the ancient Harappan civilization, which dates back around 4,000 years. .2 States from India. Map of India Appendix Pic.153 Thakur, Upendra, MADHUBANI Painting. New Delhi Abhinav Publications, 1982.4 Roy, The Bratas of Bengal, The RANGOLI or ARI PANA, KOLAM or MURGGY, as it is known in Bombay (now Mumbai), TAMILNADU and ANDHRA, is a pleasing ornamentation of the ground.5 The Mughals ruled in India from 1526 to 1857. The Mughal period can be called a classical age in northern India. In this cultural development, the Indian traditions were amalgamate with the Turko-Iranian culture, brought to the country by the Mughals.6 Gene R. Thursby, University of Florida .7 Ministry of Textiles (Govt of India) 8 Madhubani Painting Workshop Brochure. .9 Archer, W.G., MADHUBANI Paintings. Mumbai, 1998.10 The Mithila Museum in Tokamachi, Japan. .The Mithila Museum is housed in a converted schoolhouse in Tokamachi, Niigata Prefecture, situated in Japans juggle country. Here approximately 850 Mithila paintings, more than 300 paintings that the Mithila artists created in Japan, Warli paintings by an patriarchal group in India, and Indian teracotta statues and figurines, are exhibited on a everlasting basis.11 Baua Devi and the Art of Mith ila. .MATRIX August 15 through October 26, 1997 at the UC Berkeley Art Museum.This is the first United States exhibition of paintings on paper by the Indian artist Baua Devi. The exhibition also includes a selection of works by other artists from the Mithila region of northeastern India. Baua Devis paintings explore an array of personal and mythological themes. An image, which she has come to adopt as her own is the nag kanya, or snake in the grass maiden, a creature with the torso and head of a beautiful muliebrity and the lower body of a snake. The nag kanya resembles the snake goddess Manasa, whose attributes echo those of the primeval Hindu god Shiva. The nag kanya also derives from the real snakes that occupy the washy region where Baua Devi lives.12 Railways in North Bihar. .13 Mr. Bhaskar Kulkarni. .14 The Art of Folk Tradition. .ReferencesThakur, Upendra, MADHUBANI Painting. New Delhi Abhinav Publications, n.d.Thakur, Upendra, History of MITHILA. New Delhi Abhinav Publicat ions, n.d.Jain, Jyotindra, Ganga Devi Tradition and Expression in Mithila Painting. Ahmedabad, India Mapin Publishing Pvt Ltd., 1997.A fine deem on a leading artist who practiced what is sometimes called the Kayastha style of MADHUBANI painting.Vequaud, Yves, The Women Painters of Mithila. London Thames and Hudson, 1977.A book that contributed to and then reflected the worldwide popularity of MADHUBANI painting.Osaki, Norio, MADHUBANI Paintings. Kyoto Shoin, 1998.Shearer, Alistair. The Hindu Vision Forms of the Formless. Thames Hudson, 1993.Aldred, Gavin. Indian Firework Art. Trafalgar Square, 2000Prakash, K. Authentic Folk Designs from India. New Delhi Dover Pubns, 1995.Dawson, Barry. roadway Graphics India. Thames Hudson, 2001.Archer, W.G., MADHUBANI Paintings. Mumbai, 1998.Anand, Mulk Raj, MADHUBANI Painting. New Delhi Publications Division, Ministry of Information and Broadcasting, Government of India, 1984.Online exhibit of MADHUBANI Paintings. .About an Artist..The MAITHIL I BRAHMANS An Online Ethnography.. market God About religious content on Indian television.