Sahasrara Chakra Blossoming
A withdrawn yogi is caught amidst his sadhana. Underneath the red and blue striated dhoti, His limbs are locked into padmasana. With his hands resting on the broad-based knees, the sadhaka is in the stance of intense contemplation. His golden-coloured body is giving off the ebullient glow of one steeped in sadhana, in touch with each of one’s chakras. According to ancient hathayogic texts, chakras in one’s body are the points of ascending culmination of one’s primal nadis (a nadi is a quantum of existential being).This folk art composition depicts the blossoming of the sahasrara chakra, which is situated at the crown of the head. The word ‘sahasrara’ literally means ‘thousand’: the imagery of this chakra, according to the Hathapradipika, comprises a lotus with a thousand jewel-like petals. From the solid-coloured petals of the yogi’s sahasrara chakra to the rudimentary features of His face, this composition bears the hallmark of a quality Madhubani painting.Note the richly coloured serpents that flank the central seated figure. Figuratively, they arise from His kundalini (the coccygeal seat of energy, dormant in most of us) and motion towards the superiormost chakra of human anatomy. Note how skilfully has this motion been conveyed by the undulations of the serpentine bodies. His long black hair is an indication of the years he has spent in sadhana in order for His kundalini to awaken and traverse to the sahasrara.


Madhubani Painting on Hand Made Paper Treated

Folk Painting from the Village of Madhubani (Bihar)

Artist: Goluji

21.00 inch x 29.00 inch

Madhubani Art

Madhubani painting, also known as Mithila painting is done with fingers, nib-pens, twigs, and matchsticks. The eye catching paintings are for every occasion and festivals. Most of the Madhubani paintings depict men and its association with nature, and scenes & deity from ancient epics. Natural objects, plants, social events are also represented in Madhubani paintings, which are loved by art lovers.Madhubani which literally translates into "forests of honey" refers to a rural art form developed by women from Mithila, an area in the state of Bihar, in India. These eye catching and vibrant paintings have a very distinct style that captures the viewer's attention with their geometrical patterns and bright colors. Generally Madhubani paintings are identified by the fact that there is no space in the painting/canvas left uncovered. Typically the paintings will also have a margin or a border, but this too will be embellished with geometrical patterns, or flowers or other motifs. The colors are bright, vibrant and eye catching. There is very little shading in the paintings, though not entirely absent.

Traditionally rice ground into paste was used to create these works of art. These paintings were usually made on the eve of important dates, to mark the ceremonies to be performed, like a wedding, or a puja (prayer ceremony). Today Madhubani art is practiced on paper, cloth and other medium as well. Traditionally the domain of women, male artists are now beginning to learn and practice this art form.

Almost anything can be used as brushes. The strokes are precise and bold at the same time. The colors for the paintings are natural dyes derived from the vegetation found in the forest and other natural substances. Charcoal and soot is used for black and rice powder for white. Yellow color is extracted from turmeric, red from sandalwood, blue from indigo and so on. This painting style and the natural colors used give Madhubhani paintings a raw rural charm and makes this style so popular

Since Madhubani art developed primarily as decorations for social and religious ceremonies, the themes tend to be religious in nature. Hindu gods and goddesses are a common theme in Madhubani paintings. In addition other popular motifs that represent nature- like the sun, moon, flowers, fish, and trees are also used. Some Madhubani themes also reflect local life. There is a theory that the different styles in Madhubani paintings can be traced back to different castes. Upper caste of higher class women's styles reflected themes restricted to religious symbols and gods, while the paintings themselves displayed greater sophistry and intricacy in patterns. These are referred to as the Kanchi and the Bharini style of Madhubani paintings. While the upper castes restricted themselves to religious or mythological themes, the lower castes or classes, expanded on various themes, portraying day to day life. These paintings seem less intricately patterned but display greater emphasis on volume and depth.

Madhubani artists are practically unknown. A traditional art form passed down from one generation of women to another; very few of the painters consider themselves as artists. Madhubani paintings generally carry no mark of the creator. Sadly, several styles and schools of Madhubani painting have become extinct, as there are no practitioners of those styles anymore. Madhubani paintings began to receive national as well as international attention around the 1970s, with many Madhubani artists’ receiving national awards. National and international art markets began to recognize and create a demand for these vibrant and intricate paintings. Art Houses have developed in the state of Bihar, which mass produce Madhubani paintings to meet the demand for them. However, this business model does not recognize the individual artist and the focus is on the art house.

However, the art houses are also able to mobilize and maintain interest in Madhubani paintings, thus keeping alive a centuries old art form.