English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

The Indian subcontinent has seen the emergence and extinction of multiple populaces, but the remnants of their existence have been reflected in the creations that they left behind, a form of which is visual-art. In its embryonic stages, visual-art was not individualistic, but rather an echo of the society put into one work of art, a portrayal of native lands and cultures. Madhubani painting, holding similar characteristics, was born in Mithila, home to four of the six Schools of Philosophy of ancient India. Mithila’s rich classical culture intermingling with the vivid folk traditions, led to the creation of multiple cultural rituals, out of which Madhubani painting is one. Madhubani painting started as a form of visual-art on an earthen surface, often coated with cow-dung called aripan, developing into a mural style of painting and was eventually commercialized, when paper and fabric was introduced to make the art portable and sellable. This form of art is a highly gendered space, mostly involving women, charged with ritualistic motifs used in the celebration of events, such as wedding rituals, harvests, chaurchan, kojagara and full moons, among others. From the 1970s, the artform has become more commercialized and individualistic rather than community based. The medium of the painting has transgressed from using dyes procured from natural resources such as soot, harshringar flower, bamboo reeds, etc. to the usage of fine-liner pens and other modern stationary items. The contemporary artists are compelled to conform to the ever-changing eagerness for novelty by the market, changing the intrinsic nature of this artistic space. Through our paper, we aim to adopt an anthropological approach to analyze the transition of Madhubani painting to a commercialized artform, encapsulating the features of avant-gardism from the highly ritualistic, gendered and most importantly, a vernacular artform of the people of Mithila.

The Madhubani Metamorphosis: The Intersection of Art, Ritual and Gender Roles