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Janapur has Christianized after the legendry king Janak. Janakpur has supposed to be the capital of the ancient Indian kingdom Mithila. The country of goddess sita, wife of Hindu god Ram supposed to be the great hero of Hindu epic “Ramayan“. Now a days Janapur stands as the most cleanest & interesting place among the all town of terai.

Janakpur is the most important Hindu pilgrimage site in southern Nepal near Indian border.  The Janaki mandir has dedicated to goddess Sita known as the Ram sita Marriage temple, build up over the spot where Ram & sita had said to be married. Ram mandir reprehensive to god Ram & the holy pond Dhanush Sagar. Hundred of Hindu devotees come there every year to pay homage to the goddess at this temple.

Accept the religious importance; Janakpur is the center for the revival of ancient Mithila art & craft. As a traditional, mithila women have always been decorating the walls of their house with paintings depicting figures from Hindu mythology in abstract forms.

The region has linked with the road & airport so we may have got there any types’ of Transportation. There are fine hotel for the lodging & fooding.

taken from:

http://simriknepaltreks.com/adventure_activitydetail.php?cid=15&aid=97

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The tradition dates back to the age of Lord Rama. It originally pertained to decorating the mud walls of huts. The art has now reached paper, cloth and canvas. Visit the rural corners of Madhubani, and you will be amazed to see even three dimensional imageries created on paper with herbal colours!

Plan your visit during the festivals or religious occasions to experience a closer view of the magic. You can also pick up several beautiful specimens of religious themes straight from the artisan’s place to doll up your house or to make your loved ones happy. The cities though are also dotted with government emporia selling such art works.

Folklore has it that the Mithila Painting originated when King Janak called artists to create paintings at the time of Sita‘s marriage. Tulsidasa in his magnum opus, the Ramcharitamanasa, gives a vivid account of Mithila Painting decorations for the marriage of Sita.

Mithila Painting or Madhubani Painting has been done traditionally by almost every woman of Mithilanchal with the skill being passed on from one generation to another. The painting was usually done at the time of religious events and other milestones of life cycle such as birth and marriage.

Colours are derived from plants. The frequently used colours are red, green and yellow. Mithila Painting mostly depicts nature and mythological events and the themes generally revolve around Hindus deities like Krishna, Ram, Shiva, Kali, Durga etc. A large number of Mithila paintings are today exported to different parts of the world.

The original Mithila Painting is an art form practised by the women of all castes and communities of the region. The women of this country since time immemorial have been involving themselves in various forms of creativity. In their creativity one can find the relationship among nature, culture and human psyche. They use raw materials that are available in abundance in the locality where they live. Through folk paintings and other forms of art, they give life to their desires, dreams and expectations. It is a parallel literacy that essays their aesthetic expressions.

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Mithila Painting these days is normally done by women in three forms: painting on floor, painting on wall and painting on movable objects. “Aripan”, under the first category, is made on the floor with the paste of “arva” or crude rice. This rice paste is called “pithaar” in the local parlance. Apart from the floor, it is also made on banana leaves and on “peedhi” or wooden seats.A woman or a girl does it using her right hand’s fingertips.

In Tusari puja, a festival celebrated by unmarried girls to please Lord Shiva and wife Gauri in order to get a suitable husband, an “aripan” is made with dry rice powder in white, yellow and red colours. “Aripan” is of different types to suit different occasions. “Astadala”, “sarvatob- hadra”, “dasapata” and “swastika” are its main varieties.

Wall paintings are multicoloured. Three to four colours are usually used for such paintings. The pictures include those of carriers of fish, trees of fruits such as mango and birds like parrot and peacock.

Attractive floral motifs adorn the wall on three sides of the entrance. Paintings on movable objects include those on clay models of pots, elephants, birds, bamboo structure, mat, fan and objects made of sikki. Decorative multicoloured designs made on the faces of brides also fall in this category.

Faced with drought in the late sixties, twentieth century, some of the women were approached to display their creativity on paper or canvas for the market. They did and it worked. The creations got buyers in every part of the world.

Mithila Painting is now there on greeting cards, dress materials… The stylised figures, fierce lions with electrified manes, the human profiles reminiscent of ancient Cretan pottery, the bright native colours and all possible indigenous experiments appealed to the audience of the World.

The colours create mood and hence played an important role. For instance, energy and Passion find expression through the use of red and yellow, as monochrome crashed over large surfaces of the painting. Concentration of energy and the binding force is best reflected in red while green governs the natural leaves and vegetation. Once the paints are ready, two kinds of brushes are used one for the tiny details made out of bamboo twigs and the other for filling in space is prepared from a small piece of cloth attached to a twig.

In the beginning, homemade natural colours were obtained from plant extracts like henna leaves, flower, bougainvillea, neem etc. These natural juices were mixed with resin from banana leaves and ordinary gum in order to make the paint stick to the painting medium.

Homemade paints, though cheap, was time consuming and produced less than the requirement. The solution was to switch to the synthetic colours available aplenty in the market. Now colours come in powdered form, which are then mixed with goat’s milk.

The “kohabar”, the chamber at the bride’s home where marriage rituals are performed, is replete with paintings based on mythologies. The paintings in this chamber are designed to bless the couple. The central theme of all paintings here is love and fertility, though the approach may vary.

It can commence with the story of Sita’s marriage or the Krishna-Radha episode with the ecstatic circle in which he leads the gopis. The people of Mithila, also known as Maithils, are Shakti worshippers and, therefore, Shiva-Shakti, Kali,Durga, Ravana and Hanuman also appear in their murals.

Symbols of fertility and prosperity like fish, parrot, elephant, turtle, sun, moon, bamboo tree and lotus are quite prominent in the paintings. The divine beings are positioned centrally in the frame while their consorts or mounts or simply their symbols and floral motifs form the background.

The human figures are mostly abstract and linear in form; the animals are usually naturalistic and are invariably depicted in profile. It begins with the flow of the brush without any preliminary sketching. Though natural colours and twigs have given way to brushes and artificial paints, the subject of Mithila paintings has not changed in a big way.

Although it is believed to be prevalent even in the time of the Ramayana, Mithila Painting got its due recognition only after 1950s. Earlier the paintings were drawn on mud-plastered walls during important festivals and personal ceremonies. Forcommercial purposes, today they are made on handmade paper, canvas and different types of clothes. Images of gods and goddesses, natural subjects like sun, moon, birds, animals and scenes of wedding or other celebrations are the main themes of the painting.

Mithila Painting is more than an art. If you ask the women what they are doing, they would respond, “We are writing…”. For them, their style is a kind of script through which they communicate with the menfolk or with the people of the rest of the world.

Because of money culture, some men are also now into Mithila Painting. But in its essence and nature, it remains a woman’s creativity.

taken from:http://www.tourismbihar.org/rural-tourism/rural_tourism_mithila_painting.php

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Maithili is a language of Indo-Aryan origin. It was spoken in the ancient land of Mithila and so it has incurred the name Maithili. Tirhutia is another name for the region so Maithili is also known as Tirhutia. The people in Nepal and North-Eastern Bihar speak in this language.

In Nepal, Maithili is the second state language and is used by 12% of the total population. Here, Maithili was used in the court of the Kings, during Malla period.

Near about 30 million people in the 26 districts of N.E. Bihar speak in Maithili. The Sahitya Akademi, India and P.E.N (an international organization of letters for Poets, Essayists and Novelists) have recognized Maithili.

It ranks 40th among the most spoken languages of the world, while it occupies the 16th position in the list of the most spoken languages in India. Maithilakshar or Tirhuta is its own script, which originated from Brahmi (a script of the 3rd B.C., also found in the Ahokan Inscriptions). At present the Devanagari script has been adopted because of its widespread use.

It is generally believed that the Sidhhacharyas evolved Proto Maithili during the 8th -9th century when they composed Charyapada. Since then the language has progressed steadily. Vidyapati, a very productive writer has used Avahatta, a form of Proto Maithili in his dramas, the Kirtilata and Kirtipataka. He also composed melodious poems depicting the love of Radha-Krishna in his Padavali that is written in the Maithili of medieval period. Vidyapati also influenced Nepali, Bengali, Assamese, Oriya and Manipuri literature during the medieval period.

taken from: http://www.mapsofindia.com/maithili.html

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By: KANCHAN G BURATHOKI

As we walk past Tik’e Jhya: Tattoo in Jhochhen of Kathmandu, Dr Ram Dayal Rakesh pauses and says, “Tattoos…tattoos are also a part of the Mithila culture. In fact, tattoos moved to the West from the East.”

We make a turn at the lane that meets Dharma Path and stop in the middle of the road to look at the building located next to Snowman, the popular pastry shop. The colorful paintings on the faded yellow walls of the narrow structure are dusty, yet recognizable.

“Yes, these are original Mithila paintings,” Rakesh, 68, says and points out, “Some of the key motifs of Mithila art are elephants, horses, fishes, parrots and peacocks, all considered auspicious.”

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Rakesh, a former literature professor, is a key scholar of folk culture in Nepal and is the author of books such as “Folk Festivals of Mithila” (1998) and “Janakpur: The Sacred Jewel of Nepal” (2005).

“Like the Hindu religion, which has no date of origin, Mithila art has existed for ages,” he states of the art concentrated in the southeastern Tarai flatlands of Nepal.

The center of Mithila art, however, is Janakpur, the capital city of the ancient kingdom of Mithila. Home to Sita or Janaki, the consort of the Hindu god Ram Chandra, Janakpur is a famous Hindu pilgrimage site for its Janaki Temple and is the district headquarters of Dhanusha in southeastern Nepal.

Mithila art products and paintings, in recent times, have flooded handicrafts shops in Kathmandu and one can find everything from mirrors and ceramic pots to huge intricate paintings on lokta (daphne) paper and hand-embroidered cushion covers, selling anywhere from Rs 150 to Rs 6,000 and above.

This however, is a recent phenomenon and before Mithila art became ubiquitous in Kathmandu’s curio shops, it was popularized in countries like USA and the UK by American citizen Claire Burkett, the founder of the Janakpur Women’s Development Center (JWDC).

Established in 1989 with the aim of empowering women in the area, the art was taken to another level with the transfer of the floor and wall paintings onto textile, paper, canvas and ceramics. The first exhibition of Mithila paintings was held in Kathmandu in 1990.

“Mithila art is traditionally made during various festivals and religious ceremonies such as Diwali, Chhat and weddings,” shares Sudhira Karna, 52, who has been working at JWDC for the past 15 years. Come monsoon, these paintings are washed away by the rains and are repainted during Diwali or Tihar.

“These customs are very much alive even today,” she highlights, adding that Mithila art is a skill passed from mother to daughter. It is therefore an art form dominated by the women of the community.

“Oh, the boys, they go to school to get good education,” smiles Karna, one of the 40 married women who are currently employed at JWDC. “Paintings on lokta paper are the highest in demand due to their closeness to wall paintings and portability,” she says. Thick lokta papers have rough textures that are close to mud walls.

Widely used Mithila images, which are very close to the Madhubani art of India, include deities such as Vishnu, Ganesh, Radha and Krishna, Sita and Ram. Apart from religious subjects, daily life activities carried out by the women, for instance, fetching water, combing hair, taking vegetables to the market and giving birth are also portrayed in these colorful paintings where the figures have simple abstracted physical features, usually depicted in profiles. Besides the above mentioned, creatures that are painted also include tigers, cows, crows and turtles.

“Aripans and Kobohar are two important aspects of Mithila art, which also has tantric influences,” explains Rakesh. Aripans are motifs painted on the floor to sanctify the earth at the start of a religious ritual. Depending on the occasion, aripans are of different kinds. On the other hand, Kobohars are images painted on the walls of a newly married couple’s room, also known as Kobohar Ghar.

While the traditional style and purposes of the art remain, the natural pigments once used are becoming rare with modern-day acrylic, poster and wall paints cheaply available in numerous colors.

Green beans, different flowers, vermillion powder and soot from oil lamps were mixed in cow milk or dung to create colors that were applied with bare fingers or with a piece of bamboo wrapped with cotton. Now with brushes and six colors – white, yellow, blue, green, black and red – the women of JWDC mix up to 60 different secondary and tertiary colors.

Following in the Center’s footsteps there are now two dozen such organizations in Janakpur that employ Maithili women coming from poor economic backgrounds, says one of the few male Mithila artists, Shyam Sundar Yadav. Yadav, from Siraha, is also the curator of the Mithila Yain Art Gallery in Thamel, Kathmandu. ‘Yain’ stands for Kathmandu in Newar language.

Mithila art, at this gallery, is promoted as a form of fine art, as opposed to handicraft products. “When we started this gallery, we used to sell paintings for Rs 1,000,” he recalls and continues, “Now, with the growing importance and interest, we’re able to sell the same works for Rs 12,000.”

Yadav is a selective curator and ensures that the paintings are of high standards. Current works at the gallery carry names of artists Babita Shah and Madan Kala Karn, including his own. Yadav believes in creating distinct styles as artists and encouraging creativity, unlike mass producing hand-painted pencil holders and jewelry boxes. Rakesh, on the contrary, is against ‘fusion’ forms that are emerging in Mithila paintings from drawing with ball points pens on canvas to using marker pens on white boards.

Not too far from Mithila Yain Gallery is the famous eatery Fire & Ice, at the entrance of Thamel, which has parts of its walls painted with Mithila motifs. However, Bhumi Restro Lounge in Lazimpat has its walls specially designed by six JWDC women with mud brought all the way from Janakpur.

“We had to provide some cow dung,” laughs Rinesh Amatya, one of the owners of Bhumi, sharing that several customers inquired about the mud relief and paintings when the restaurant opened some three years back. A pair of elephants, a witch, and once again, plenty of fish flank the walls that face the outdoor patio.

Taking some 22 days, artists Sudhira Karna, Sita Karna and Urmila Yadav climbed up on bamboo scaffolding to paint the walls of Mahaguthi Handicrafts in Kupondole, Patan. Made over two years back, the paintings depict the narrative of Sita and Ram’s wedding in Janakpur, along with a huge Ganesh.

Stretching up to two stories high, the indoor painting is indeed a treat for Mithila art lovers. “We’ve got the entire upper section dedicated to Mithila art,” shares Amir Shahi, a staff of 21 years at Mahaguthi. Only a few steps away is Sana Hastakala which also carries Mithila art and craft products as well as Rakesh’s books for those who want to know more about Mithila art and culture.

“Apart from promoting our culture, Mithila art is now a huge tool for empowering women,” firmly asserts Rakesh of the art which no longer is limited to ceremonial purposes.

taken from: http://archives.myrepublica.com/portal/index.php?action=news_details&news_id=29092

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Wall and floor paintings that reflect life cycles and domestic rituals have been a long-standing tradition in the Mithila region of India. Centered in the state of Bihar, Mithila is an ancient cultural region of Indian civilization known for a wealth of diverse artistic production. British colonial official William Archer first discovered the intricate beauty of Mithila painting in 1934 when he was documenting the aftermath of a major earthquake. Archer’s photography of the exquisite, yet ephemeral paintings, prompted officials to encourage painting on paper as a means to supplement meager family income in the aftermath of a devastating drought in 1966. As Mithila painters embraced working on paper, word of their vibrant works spread throughout the country and have now achieved international acclaim. 

Contemporary Mithila paintings reflect a shift in subject matter from ancient epics and local legends to include national and international politics as well as personal narratives. For example, painter Shalinee Kumari’s Women can do everything depicts women in a variety of powerful roles –  from climbing mountains to working in science labs – against energetic swatches of yellow and red. In Tsunami in Sri Lanka, Amrita Das renders the chaos and heartbreak of the 2004 tsunami in sweeping lines of black and red ink. Mithila paintings reflect a uniquely modern Indian aesthetic that values vibrant colors, fine details, and lush storytelling.

The commercial success of Mithila paintings has also raised the status of its women artists and the general economy of the Bihar state. Ancient Gods and Modern Politics traces the extraordinary development of this artwork that encompasses ritual art, folk art, and contemporary art.

About The Ethnic Arts Foundation (EAF)

The Ethnic Arts Foundation is a non-profit organization founded in 1980 dedicated to the continuing development of Mithila painting. The EAF supports several different activities: purchasing paintings directly from the painters; organizing exhibitions; underwrites research and publications on Mithila paintings and Mithili society; facilitating sales of works, with profits being returned directly to the artists. The exhibitions also expand national and international appreciation of the painting tradition. In January 2003 the EAF established a free Mithila Art Institute in Madhubani to further the training and opportunities of talented young Mithila painters. www.mithilapainting.org.

taken from: http://www.cafam.org/Mithila.html

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