MITHILA PAINTING HAS CARVED A DISTINCT IDENTITY FOR ITSELF IN MARKETS WORLDWIDE: ANJANI KUMAR SINGH

MITHILA PAINTING HAS CARVED A DISTINCT IDENTITY FOR ITSELF IN MARKETS WORLDWIDE: ANJANI KUMAR SINGH

13-MAY-ENG 4

RAJIV NAYAN AGRAWAL

PATNA-------------------------Bihar's Mithila region has long been renowned for its sophisticated civilization, culture, and folk traditions. Mithila painting constitutes a golden chapter of this very heritage—a legacy that has been passed down from one generation to the next, not through formal schooling or academic institutions, but through the paintings created in the courtyards, thresholds, and places of worship within the home. Women have played a pivotal role in this transmission, as the responsibility of perpetuating the family's cultural heritage traditionally rests with them. Traversing a journey from mother to daughter, and subsequently from daughter to granddaughter, this art form has now reached a level where it has established a distinct identity for itself in markets across the globe, including India. Titled 'Mithila Painting: From Courtyard to Museum,' this exhibition showcases the rich tradition, evolution, and various dimensions of Mithila painting.

This information was shared by Anjani Kumar Singh—Director General of the Bihar Museum, Patna, and former Chief Secretary to the Government of Bihar—while inaugurating an exhibition titled "Mithila Painting: From Courtyard to Museum—A 60-Year Journey." The inauguration ceremony was held recently on May 9, 2026, at the Multipurpose Auditorium of the Bihar Museum.

He explained that this exhibition presents a chronological history of Mithila painting spanning sixty years, organized in a thematic and systematic manner. Through this showcase, the exhibition connects various threads of this artistic journey—ranging from the historical records discovered by W.G. Archer in 1934, to the original masterpieces created on paper in the 1960s, and the vibrant, globally recognized works produced during the 1980s and 90s. Undoubtedly, this will prove to be a memorable experience for visitors, offering them a unique opportunity to explore and gain a deeper understanding of the traditional history and aesthetic essence of Mithila painting. Mr. Singh stated that we had envisioned the Bihar Museum as a space where Bihar's glorious history and its immensely rich folk art traditions could be showcased, thereby introducing them to the people of Bihar as well as those from other states. We wanted to ensure that even decades from now, visitors—upon viewing the paintings—would be able to understand how *Kohbar* paintings were created and what *Godna* (body art) entails. The goal was to establish a dedicated gallery for folk arts. We sought to introduce our own state to the works of renowned Mithila artists—such as Padma Shri Jagdamba Devi, Kiran Paswan, Baua Devi, Manisha Jha, Urmila Devi, Sundari Devi, and others—who have been active for 30 to 40 years and whose artistic contributions have earned them global recognition. It was for this very reason that a workshop on *Tikuli* painting was organized here, accompanied by an exhibition. Furthermore, the Mithila-Madhubani Art Center has now been brought into the spotlight through this exhibition. The paintings created by these artists command very high prices in international markets; for instance, a painting by artist Brahmadev Pandit sold for between three and four lakh rupees, while a work by Baua Devi fetched between two and two-and-a-half lakh rupees. These artists deserve to be duly compensated for the entire lifetime they have dedicated to their craft. Moving forward, we must focus on enhancing the quality and design of the artwork. Pranav Kumar, Secretary of the Department of Art and Culture, mentioned that arrangements are currently being made to facilitate online marketing for these artworks. I have also strongly encouraged the artists to sign their paintings—a practice they have now begun to adopt.

Gracing the occasion as the Chief Guest was Anjani Kumar Singh, Director General of the Bihar Museum. He was joined on the dais by distinguished guests, including Pranav Kumar (Secretary, Department of Art and Culture, Government of Bihar), Ashok Kumar Sinha (Additional Director, Bihar Museum), art critic Kaushik Kumar Jha, and national award-winning Mithila artists Manisha Jha and Urmila Devi. The exhibition commenced with a welcome song performed by Mithila artist Nibha Labh and students from the Mithila Painting Institute, Madhubani. Subsequently, the dignitaries seated on the dais unveiled a catalogue specifically curated for this exhibition. Manisha Jha, the exhibition's curator, began by welcoming the distinguished guests, stating that Mithila painting stands as a living testament to the silent strength of the women of Bihar. For centuries, this art form survived as a ritualistic language—a sacred geometry practiced within the private confines of the domestic courtyard. It was not a discipline taught in schools; rather, it was passed down from mother to daughter, preserved within the memory of their hands, and nurtured by the unwavering devotion of generations. This exhibition at the Bihar Museum celebrates precisely this extraordinary evolution of Mithila art. It is a unique saga of transformation—a journey tracing its path from the earthen courtyards of village homes to the prestigious corridors of a world-class museum. This exhibition represents the culmination of my personal 40-year engagement with this art form, as well as the essence of the artworks collected over the past three decades.

Speaking as the Chief Guest, Pranav Kumar—Secretary of the Department of Art and Culture, Government of Bihar—remarked that Mithila art serves as a reflection of Bihar's heritage. Indeed, the culture of Bihar mirrors the broader culture of India. Bihar is recognized across the entire nation and internationally, largely due to its Mithila paintings. Notably, the largest museum dedicated to Mithila painting is located in Japan, while rare examples of this art form are housed in the United States. This marks the very first time that an exhibition dedicated to Mithila painting has been hosted at the Bihar Museum. He further observed that unless Mithila painting is linked to economic viability, it cannot sustain itself. "During a visit to Mauritius, I observed that training and instruction in Mithila painting were being actively conducted there. A dedicated website has even been established for this purpose. Through the Mithila Painting Institute..." is being provided a global platform.

Mr. Kumar stated that the Government of Bihar is continuously working to promote the folk arts of the state. To this end, numerous training and sales centers have been established at both the state and national levels. Mithila art is one such beautiful folk art form of Bihar, which has been accorded a Geographical Indication (GI) tag. It is a direct result of the state government's efforts that this art form has today transcended the boundaries of Bihar to carve out a distinct identity for itself both within the country and abroad—a success from which the folk artists are directly benefiting.

Shedding light on the evolutionary journey of Mithila painting, Ashok Kumar Sinha, Additional Director of the Bihar Museum, remarked that Mithila painting is not like the stagnant waters of a pond; rather, it has undergone continuous transformation over time. During the severe famine that struck Bihar in 1964–65, Mithila painting transitioned from being confined to the thresholds and walls of domestic courtyards to finding its medium on canvas. This period is considered to mark the inception of its modern phase. Prior to this, no written records regarding this art form were available. A retrospective glance at the journey of this art—from its origins to the present day—reveals a steady evolution across various elements, including designs, motifs, color palettes, compositions, and base materials. This exhibition has been curated specifically to showcase this very continuum of change.

He further noted that the exhibition chronologically traces this sixty-year odyssey of Mithila painting. This exposition is expected to prove immensely valuable for researchers, art enthusiasts, critics, and scholars alike. This marks the first instance in Bihar where an exhibition dedicated to the chronological evolution of Mithila painting has been organized on such a scale. The exhibition has been curated under the guidance of Manisha Jha, a National Award winner in the field of Mithila art. To date, Manisha has organized over 250 exhibitions of Mithila painting across more than 15 countries.

Mr. Sinha observed that the defining characteristic of Mithila painting lies in the innate simplicity of its color depiction—a simplicity that belies the profound mastery the artist possesses over the craft. The first artist to be conferred with the prestigious Padma Shri award was Jagdamba Devi, who was personally invited and honored by Prime Minister Indira Gandhi. Currently, there are approximately seven thousand artists actively engaged in the practice of Mithila painting. This exhibition traces the 60-year journey of Mithila painting—from the courtyards of homes to the halls of museums.

According to Urmila Devi—a National Award-winning artist specializing in the *Godna* style of Mithila painting—this exhibition is particularly significant. It offers visitors a unique opportunity to not only explore the history and evolutionary trajectory of Mithila art but also to gain a nuanced understanding of the subtle stylistic shifts that have occurred across its various forms. In one of my own *Godna* paintings on display, for instance, you can observe a comprehensive collection of all the motifs traditionally employed in this style, gathered together in a single frame. In contrast, a *Godna* painting created by Rama Devi reveals a distinct aesthetic characterized by the repetitive patterning of vertical lines and miniature figures. Meanwhile, Chano Devi’s *Godna* paintings—crafted using matchsticks and homemade soot—possess an intricate level of detail that is truly astonishing. Similar levels of artistic precision are evident in other artworks created within this same stylistic tradition, underscoring the vast and expansive history of Mithila painting.

Concluding the proceedings by expressing his gratitude to the assembled guests, art critic Kaushik Kumar Jha recounted an anecdote: whenever Boua Devi and other Mithila artists traveled to Japan—where they would often reside for months at a time to create paintings for Hasegawa’s art gallery—Hasegawa would tell them, "A hundred years from now, people from India will have to travel all the way to Japan just to see Mithila paintings." Perhaps he made this remark in light of the perceived indifference or neglect with which the art form was treated by the artistic community within India at the time; however, the organization of this historic exhibition today—hosted at a world-class institution right here in India—has effectively proven his prediction wrong. For this achievement, I would like to extend my special thanks to the entire management team of the Bihar Museum—and, in particular, to Director General Anjani Kumar Singh and Additional Director Ashok Kumar Sinha—whose invaluable support made the realization of this historic exhibition in Bihar possible.

Following the program in the auditorium, Director General Anjani Kumar Singh and Secretary Pranav Kumar Singh formally inaugurated the exhibition—housed within the Bihar Museum’s Multipurpose Gallery—by cutting the ceremonial ribbon. Subsequently, strolling through the gallery, all the guests observed and admired each of the displayed artworks, one by one.

The paintings by Jagdamba Devi, Sita Devi, Boua Devi, Anmana Devi, Godavari Dutt, Gopal Shah, Vimala Dutt, Chano Devi, Shanti Devi, Urmila Devi, and Ranjan Paswan serve as the focal point of attraction in this exhibition.

Gracing the occasion with their presence, the ceremony was further dignified by a host of the city's distinguished personalities—including professors, educationists, artists, and art enthusiasts—among whom were artist Padma Shri Shyam Sharma, Rajkumar, senior journalist Dr. Bindeshwar Prasad Gupta, and Mohini Priya.

Needless to say, this historic cultural exhibition—which showcases the works of 56 artists, including several Padma Shri awardees—successfully harmonizes the fundamental grammar of Mithila painting with the new artistic voices of the 21st century. Viewed through this lens, the exhibition emerges as even more significant, meaningful, exceptional, and profound; for this achievement, special credit goes to Director General Anjani Kumar Singh, Additional Director Ashok Kumar Sinha, and Pranav Kumar, Secretary of the Department of Art and Culture. It would be no exaggeration to state that, through this exhibition, a proud and positive message regarding the rich art and heritage of the state of Bihar has been conveyed across the entire nation.