Madhubani by Vidushini

A New Dawn for Mithila: Bihar’s First Shilpgram Inaugurated in Jitwarpur

2026-04-24T20:33:00.000-07:00

The air in Madhubani has always been thick with the scent of handmade paper and natural pigments, but this past Saturday, it carried something even more potent: a sense of historic validation. I am incredibly proud to share that Bihar’s first Shilpgram (Craft Village) has been officially inaugurated in Jitwarpur, marking a transformative moment for the Mithila artistic community.

For those of us who live and breathe this art form, Jitwarpur isn’t just a dot on a map. It is the spiritual home of Madhubani painting. To see it transition into a structured, globally recognized craft village is a milestone that bridges our ancient roots with a sustainable future.

The Vision: A Living Museum

The Jitwarpur Shilpgram project is a visionary collaboration under the National Handicrafts Development Programme. With an investment of over ₹9 crore from the Union Ministry of Textiles and the Bihar Museum, the entire village is being reimagined as a "living gallery."

Walking through the village, you will soon see a landscape transformed:

Residential Canvases:The outer walls of homes are being whitewashed and adorned with intricate Madhubani motifs, turning every street into an exhibition.

Infrastructure for Artists:Twelve dedicated craft stalls have been established, providing a permanent marketplace where local artisans can sell directly to collectors and tourists, effectively removing the barriers created by middlemen.

Preserving Diversified Crafts: While painting is our heartbeat, the Shilpgram is also dedicated to reviving and promoting Sikki grass work, Paper Mache, Sujni embroidery, and Terracotta, ensuring that the full spectrum of Mithila’s creative output is preserved.

Honoring a Legacy of Excellence

Jitwarpur has long been known as the "Village of Awardees." It is the land of legends like Jagdamba Devi the first artisan to receive the National Award in 1970, and other luminaries like Sita Devi and Baua Devi

This inauguration is a tribute to their struggle and success. By establishing a world-class guest house and a museum on-site, the government is making it possible for art enthusiasts and researchers to stay in the village, learn from master craftsmen, and experience the "Mithila lifestyle" firsthand.

Why This Matters for the Creative Economy

As a professional artist, I see this as more than just a tourism boost. It is an economic engine. By providing artists with direct market access and modern infrastructure, we are ensuring that the next generation sees the traditional arts as a viable, prestigious career path.

The success of the Jitwarpur model is already sparking further growth. Plans are already in motion to develop similar hubs in Ranty, Rayam, Bhusara, and Tharakatti.

Final Thoughts

Seeing my heritage honored in this way fills me with a renewed sense of purpose. We aren't just looking back at our history; we are building a future where our art is respected, protected, and accessible to the world.

If you’ve ever wanted to witness the soul of Indian folk art, there has never been a better time to visit Madhubani.

Via https://timesofindia.indiatimes.com/city/patna/bihars-first-shilpgram-inaugurated-at-madhubanis-jitwarpur-village/articleshow/128652825.cms

My Experience at Craft Bazaar, Chennai – Showcasing Madhubani Art

2026-03-04T21:35:00.000-08:00

I had the wonderful opportunity to participate in the Craft Bazaar organised by the Craft Council of India at the Mother Teresa Women’s Complex, Valluvarkottam, Chennai from February 13 to February 17th, 2026. . The event brought together artisans and craft practitioners from across India and created a vibrant space to celebrate handmade traditions, Indian folk art, and artisan craftsmanship.

At my stall, I showcased a curated collection of contemporary Madhubani paintings along with my signature Madhubani wearable art collection. Visitors could explore my hand-painted Madhubani sarees, dupattas, stoles, and for the first time, a newly launched collection of hand-painted Madhubani suits.

These textile pieces are created in collaboration with talented women artisans from Bihar. Together we work to translate the rich heritage of traditional Madhubani painting into contemporary textiles that can be worn and appreciated in everyday life.

Throughout the exhibition, I had the opportunity to interact with a wide range of visitors — art collectors, international buyers, families, students, and craft lovers. Many people spent time observing the intricate detailing that defines Madhubani art, including motifs such as fish, peacocks, lotuses, birds, and other elements inspired by nature and mythology.

One of the most heartwarming aspects of the event was meeting several of my followers from Chennai and nearby areas who came specifically to visit the stall. It was a joy to connect with people who have been following my journey and to share stories about the traditions and symbolism behind Mithila painting.

The response to the collection was truly encouraging. Visitors showed deep interest in authentic hand-painted Madhubani textiles and paintings, and it was wonderful to see many pieces finding new homes with people who appreciate handmade art.

Events like the Craft Bazaar remind me how important it is to continue preserving and presenting Madhubani art from Bihar in meaningful contemporary forms. They also create valuable opportunities for conversations around Indian handmade traditions, sustainable craft practices, and artisan livelihoods.

I am deeply grateful to the Craft Council of India for providing this platform and for supporting artisans and traditional art forms across the country.

Experiences like this strengthen my commitment to taking Madhubani art to wider audiences in India and beyond, through both paintings and wearable art.

My First Exhibition in Kolkata – Boishakhi Handloom & Handicraft Exhibition

2026-02-28T21:20:00.000-08:00

Participating in the Boishakhi – Handloom & Handicraft Exhibition organised by the Crafts Council of West Bengal at the Birla Academy of Art & Culture was a special milestone in my artistic journey. This was my first exhibition in Kolkata and in West Bengal, and I am grateful that I had the opportunity to present Madhubani by Vidushini to the city’s vibrant art community.

Over the two days, I showcased a collection of contemporary Madhubani paintings and wearable art, including hand-painted sarees, dupattas, and stoles created on handwoven fabrics. My work brings together the traditional storytelling and intricate motifs of Mithila with contemporary aesthetics, and it was heartening to see how warmly the audience in Kolkata responded to it.

The exhibition attracted visitors from all walks of life art lovers, collectors, craft enthusiasts, and even international buyers exploring authentic Indian handcrafted art. Many followers of my work also came to meet me at the stall, and it was wonderful to see friends and relatives who had come specially to support me during the exhibition.

One of the most memorable moments of the event was the visit by renowned actress Moon Moon Sen. She spent considerable time at my stall, engaging in a thoughtful conversation about Madhubani art. She asked several questions about the symbolism of the motifs, the storytelling traditions of Mithila, and my personal journey as an artist. Her genuine curiosity and interest made the interaction truly meaningful for me.

I must also acknowledge the excellent organisation of the exhibition. The event was thoughtfully curated and smoothly managed, creating a wonderful environment for artisans and artists to connect with audiences who appreciate handmade crafts and traditional art forms.

For me, this exhibition was more than just a showcase of my work. It was an opportunity to introduce Madhubani art from Bihar to a new audience in Kolkata, share stories behind the motifs, and build meaningful connections with collectors, admirers, and fellow craft enthusiasts.

I return from Kolkata with a sense of gratitude and joy. The warmth and encouragement I received reaffirm my commitment to preserving and presenting Madhubani art in contemporary forms through paintings and wearable art.

I hope this is just the beginning of a long and meaningful association with the art lovers of Kolkata.

A village in Bihar refuses to let one of India’s oldest art forms die (Article in Vogue India)

2026-02-22T22:04:00.000-08:00

With many youngsters having migrated for work, it has fallen to the middle-aged and elderly to keep the village of Jitwarpur and its Madhubani heritage going

Article and Photos By Jigyasa Mishra (Published on Vogue India on 21 February 2026)

It is two in the afternoon but there’s no trace of sun in the lanes of this finely painted village. That’s how the December and January afternoons are in Jitwarpur, a craft village in Bihar; gloomy due to the weather, yet bright with pops of colour suffusing the murals. As I walk inside, closer to the houses, the smell of fresh paint hits my olfactory nerves. Two steps further, my eyes rest upon a dalaan—the open living or sitting area outside the homes in Bihar, used for formal meetings or to sip chai over conversations—painted only in red motifs, belonging to one Dhruvkala Devi. “It’s because red is the sacred colour we exclusively use for making wedding murals,” Dhruvkala explains.

Jitwarpur is a village in the Madhubani district of Bihar, considered the origin of Mithila or Madhubani paintings. Located in the Mithilanchal region of Bihar, where Maithili is the native language and people worship goddess Sita as their own daughter, it is home to the majority of Madhubani artists, some of whom own national and international honours, while others are successful business owners.

But Jitwarpur still lives a slow life. With many of the younger generations having migrated for work outside the district and even the state, it has fallen to the middle-aged and elderly to keep this ‘art village’ going. While the village is still unpopular among travellers, like most of Bihar, it is indeed a hotspot of bureaucrats and art lovers. “The current and past District Magistrates of Madhubani and Darbhanga have visited us several times with officials and family members. Researchers from across the globe also often visit us. They even bought paintings from us which were made on silk saris, dupattas and paper,” confirms Mithilesh Jha, a resident of Jitwarpur.

Mithilesh is the grandson of the late Sita Devi, a Padma Shri awardee, who was the first artist to bring Mithila painting to paper from the cow-dung–coated walls, allowing the art to travel the world, beyond the houses and walls that remained rooted in the village. “None of us has a shop or showroom here or outside the village. For us, this is pure art, limited to practice and perseverance rather than being exhibited for sales,” Mithilesh shares as he takes out a stash of fabrics painted over the years, some silk, some cotton, some saris, some dupattas, some table covers, some bedsheets. “You would find our almirahs and shelves filled with the paintings, hoping a buyer would take them home someday,” he adds, echoing how the village is not a craft bazar or museum but a lived canvas where creativity is practised for its residents without any deadline to meet and target to achieve.

“Dadi never let her fame take over her creativity. She was accompanied by her son—my father—on all the trips she took, be it our Raj Bhawan visit to meet the then PM Indira Gandhi, or Japan and the US for exhibitions. She always wanted to teach him the art, but it was all in vain. He was never interested but since he could not fully ignore his mother, he would just fill in the solid colours in the motifs and figures,” Mithilesh smiles.

Though not in the village itself, the region has several young artists who post their artwork on Instagram and run small businesses through social media. Like Swati Jha, a first-year MFA student from Darbhanga. “I have grown up seeing my mother, uncles and grandmother draw Mithila art on the walls, aripan (a kind of rangoli) on the floor and even on paper. Later, I started studying it in graduation but my focus remained on Madhubani paintings,” says Swati, who takes part in exhibitions and pop-ups to sell Madhubani-painted shawls, saris, dupattas, shirts and dresses.

Yet, artists like Dhruvkala Devi, who, at 76, still holds her number-3 Camlin brush in shivering hands to perfect the outline of Goddess Kali’s wide-set eyes, are what hold the village together and keep its traditions alive. “Come on in, you’ve only seen the dalaan. There’s more inside,” she says, gently pulling me through a narrow gallery lined with a large mural that leads into her three-room house, with yet another mural. All in scarlet red, without the interference of any other colour. “We recently ‘wrote’ all of this for my grandson’s wedding,” Dhruvkala tells me. Locally, artists refer to drawing Madhubani motifs as writing. We stand in front of the Kali figure as the gallery ends and we are joined by her daughter-in-law. “She also paints; I have taught her too,” Dhruvkala proudly reveals.

While Mithilesh learned Madhubani from his grandmother, his children did not carry it forward. He says there is a lot of love for the art in the global market, particularly among elite collectors and designers, but a big chunk of the profit is siphoned off by agents. They get the products made by local artists at cheaper rates and sell them at much higher prices. He also blames the pressure to contemporise the tradition, which, he argues, ruins the essence of the art form.

“Every day after breakfast, I begin working on an ongoing piece or start a new one,” says Mithilesh, as he slowly double lines the lotus on his canvas, perfecting the space between the first outline. He dips his brush into the black paint bottle and repeats the lining. “This one will be completed in a week,” he says, more to himself than to me.

Via Article published in Vogue India

Patna Kalam: The Vanishing Canvas of Everyday India

2026-02-21T07:12:00.000-08:00

Heartening to read in The Times of India about efforts to revive Patna Kalam, especially the interview highlighting active revival initiatives. Art forms survive when someone chooses to practice, teach, and carry them forward. May this be the beginning of a strong revival.

There are art forms that glorify kings and empires. And then there are art forms that quietly document life itself.

Patna Kalam, also known as the Patna School of Painting, belongs to the latter.
It is one of India’s most distinctive yet lesser-known painting traditions a style that chose markets over palaces, craftsmen over courtiers, and everyday life over royal grandeur.
Today, as conversations around revival begin to re-emerge, it is important to revisit its history, practitioners, and cultural significance.

Origins: From Mughal Courts to Patna’s Streets

Patna Kalam emerged in the 18th century, during the decline of the Mughal Empire. As royal patronage weakened in Delhi and other courts, many miniature painters migrated eastward in search of new opportunities. Some eventually settled in Patna (then known as Azimabad), which was a thriving commercial and cultural center.

While deeply influenced by Mughal miniature techniques fine brushwork, attention to detail, and delicate line rendering Patna Kalam developed its own identity.

Instead of focusing on emperors and court scenes, artists turned their gaze toward:

Local traders
Artisans at work
Festivals and rituals
Soldiers, musicians, dancers
Bazaar life and domestic scenes

In many ways, Patna Kalam became a visual archive of 18th–19th century urban India.

A Distinctive Style

Patna Kalam stood apart for several reasons:

1. Everyday Realism

Unlike the stylized romanticism of many court schools, Patna artists captured realism. Their subjects were ordinary people engaged in daily activities — spinning yarn, selling vegetables, preparing food, playing instruments.

2. Transparent Watercolours

Artists used subtle washes of transparent watercolour, often on paper or mica. The palette was restrained earthy tones, soft reds, muted blues, and delicate shading.

3. Minimal Backgrounds

Unlike Mughal miniatures filled with elaborate settings, Patna Kalam often featured sparse or no backgrounds, allowing the human subject to dominate the composition.

4. Fine Draftsmanship

The linework was meticulous. Even the folds of clothing and textures of tools were rendered with exceptional precision.

Prominent Practitioners

While many names have faded from public memory, several artists are historically associated with the Patna School.

Sevaks Ram (c. 1770–1830)

Often regarded as one of the earliest and most important exponents of Patna Kalam, Sevaks Ram helped shape the school’s distinct identity. His works demonstrate strong Mughal training blended with observational realism.

Hulas Lal

Known for detailed depictions of everyday occupations, Hulas Lal contributed to the documentation of social life in Patna and surrounding regions.

Ishwari Prasad Verma (1887–1949)

One of the later practitioners of the tradition, Ishwari Prasad Verma is often considered among the last significant artists of the Patna School. His work bridged tradition and modernity, but by his time, patronage had significantly declined.

Many Patna Kalam artists also produced works for British patrons during the colonial period, contributing to what later came to be described as the “Company School” style — though Patna Kalam retained its own regional sensibility.

The Colonial Shift and Gradual Decline

During British rule, some Patna artists adapted their skills to serve colonial officials who desired ethnographic documentation — paintings of local castes, trades, and customs.

While this provided temporary patronage, it also altered the direction of the art form. Over time:

Photography replaced painted documentation.
Royal and elite patronage diminished.
Modern art movements shifted aesthetic priorities.

By the early 20th century, Patna Kalam had largely faded as a living tradition.

Why Patna Kalam Matters Today

Patna Kalam is not merely a regional style — it is a social document.

It tells us:

What people wore
What they traded
How they worked
How festivals were celebrated
What everyday India looked like two centuries ago

In an era where visual storytelling is dominated by digital media, this school reminds us that documentation through art has deep roots in Indian history.

For artists from Bihar and beyond, Patna Kalam represents:

A bridge between Mughal precision and local narrative
An early form of social realism in Indian art
A reminder that heritage includes the lives of ordinary people

Revival: A Necessary Conversation

Recent discussions and interviews around reviving Patna Kalam are both timely and urgent.

Revival cannot be symbolic. It requires:

Archival research
Institutional support
Workshops and training
Inclusion in art curricula
Exhibitions and collector awareness

Most importantly, it requires artists willing to study and practice the technique deeply — not as imitation, but as continuation.

A Personal Reflection

As someone deeply engaged with traditional art forms, I feel that every regional style carries a responsibility. Whether it is Madhubani, Kalamkari, or Patna Kalam — these are not static museum objects.

They are living languages.

If we stop speaking them, they fade.

If we practice them, teach them, and reinterpret them thoughtfully, they evolve.

Patna Kalam once recorded the heartbeat of a city.
Perhaps it is time to let it record our present — again.

#patnakalam #indianart #heritageconservation #biharart #artrevival

Reflections from the 15th Edition of A Hundred Hands – Festival of Handmade

2025-12-01T08:48:00.000-08:00

Participating in the 15th edition of A Hundred Hands – Festival of Handmade, held at the iconic Jaymahal Palace, Bengaluru from November 26 to November 30, 2025, was a deeply fulfilling experience for me as an artist. Over five immersive days, the festival unfolded as a journey of conversations, connections, and shared appreciation for handcrafted traditions.

Meeting Art Lovers and Followers

Throughout the event, I met a wonderful mix of people:
– long-time Instagram followers,
– students currently learning Madhubani from me,
– art enthusiasts familiar with my journey, and
– many who saw my work for the very first time.

Their appreciation, questions, and reflections made every moment worthwhile.

A Space for Learning and Exchange

Beyond showcasing my work, the festival became a place of shared learning. I enjoyed conversations about techniques, motifs, the history of Madhubani, and the relevance of handmade art today. These exchanges enriched my own understanding and reminded me of the importance of keeping traditional arts alive.

Delightful Interest From International Visitors

This year, I had several buyers from Belgium and France who connected deeply with the intricacy of Madhubani paintings and wearable art. Watching my work travel to new homes across continents is always heartwarming.

Encouraging Support From Corporate Buyers

I also met corporate representatives from leading brands in Bangalore exploring handcrafted corporate gifts, bespoke artwork, and potential collaborations. Their interest aligns beautifully with my vision of bringing Madhubani into contemporary corporate spaces.

A Festival That Celebrates Handmade India

Participating in the 15th edition of A Hundred Hands – Festival of Handmade, held at the iconic Jaymahal Palace, Bengaluru from November 26th to November 30th, 2025 was a deeply fulfilling experience for me as an artist. Over five immersive days, the festival unfolded as a journey of conversations, connections, and shared appreciation for handcrafted traditions.

Looking Ahead With Gratitude

As I wrap up this edition, I carry immense gratitude for everyone who visited, admired, and supported my work. Festivals like this reaffirm the timeless appeal of handmade art and motivate me to continue creating with passion and purpose.

If your organisation is looking for corporate gifts, customised paintings, journals, wearable art, or Madhubani products, I’d be happy to collaborate.

Thank you for being a part of this beautiful journey.

My Experience Showcasing at Shilpkaaree Festive Edit – Jaipur, Rajasthan

2025-11-07T03:40:00.000-08:00

After a memorable participation at Dastkar Nature 2025 in Delhi, I had the wonderful opportunity to showcase Madhubani by Vidushini at the Shilpkaaree Festive Edit held at the Jaipur Club Banquet Hall from 24th to 26th September 2025.

This was my first showcase in Jaipur, and it turned out to be a truly enriching experience. Having mostly exhibited in southern India over the past few years, I was eager to explore new regions and audiences and Jaipur, with its royal charm and deep appreciation for art and design, was the perfect place to do that.

The event brought together an eclectic mix of artisans, designers, and creators from across India. It was heartening to see people from all age groups visiting from young design students to seasoned art connoisseurs. Many were curious to learn about Madhubani art, its symbolism, and the intricate process of hand-painting on textiles.

My collection for the event celebrated the theme of festive elegance through nature-inspired Madhubani motifs blooming lotuses, graceful peacocks, dancing fish, and flowing vines, all hand-painted on sarees, dupattas, and stoles. Visitors especially loved the idea of wearing a piece of art that carries the soul of an age-old tradition.

The warmth and appreciation I received in Jaipur were overwhelming. Several visitors shared stories about their own connections to Indian crafts and expressed admiration for how Madhubani continues to evolve while staying rooted in its origins. Interacting with such a culturally aware audience was both motivating and humbling.

Participating in the Shilpkaaree Festive Edit was not just an exhibition it was an exchange of ideas, emotions, and traditions. It reaffirmed my belief that handcrafted art continues to resonate deeply with people when presented with authenticity and heart.

As I packed up after three beautiful days, I carried home not just sales or contacts, but the joy of new friendships, inspiring conversations, and the satisfaction of introducing my art to a new city.

Thank you, Jaipur, for such a warm welcome. I look forward to returning soon with more stories through my art.

— Vidushini Prasad
Founder & Artist, Madhubani by Vidushini

Padma Shri Dulari Devi: Married at 12, husband abandoned her:Made first painting on hospital wall where her daughter died

2025-11-05T20:37:00.000-08:00

Married at 12, husband abandoned her:Made first painting on hospital wall where her daughter died; broke down upon receiving Padma Shri

Dulari Devi

I am Dulari Devi. I am from village Ranti in Madhubani, Bihar. I have received the Padma Shri award in Madhubani painting. Currently, I am training 80 children at the Mithila Institute. I painted on the wall of the same hospital where my daughter took her last breath.

People ask, 'Dulari, how do you do all this?'

I just say, 'I turned pain into colours, otherwise I wouldn't have survived. In every painting, I make a child. That child is actually my daughter. This is how I keep her alive in colours.'

Once I went to Chennai. There I painted the story of my life. That painting came out as a book, for which I have been receiving royalty for 14 years.

Dulari Devi creating the world-famous Madhubani painting at her home. After her daughter's passing, she made painting her life.

Let me start from childhood. We had no connection with school, books or copies. Most of our lives were spent in poverty and hardship. We are from the Mallah community. We were four sisters, one brother and our parents. We used to work as labourers with our parents for two meals a day.

When I was young, I used to go fishing and collect makhana (fox nuts) in the pond with my father. Whether it was winter, rain, or summer, we had to go to the pond or river for work. When my brothers and sisters were very young, my father passed away. After that, our difficulties increased. My mother alone couldn't manage everything. Many times we had to go hungry.

When I turned 12, I was married off. At that time, I was just a child. There was a large family in my in-laws' house. Six sisters-in-law, one brother-in-law, and parents-in-law. There too, everyone had to work to run the household. I would go to sell fish and grass at my in-laws'. My husband had a very angry temperament. He would yell at me a lot. It was unbearable, but I endured everything considering my husband as god.

But when he would throw me out of the house at midnight, it felt terrible. My father-in-law would support him. At such times, I would stay at the neighbour's house. One day when they threw me out, I came back to my maternal home. By then, seven years of marriage had passed. After that, I never went back.

When I came to my maternal home, a daughter was born. There was a lot of happiness in the house when she was born. In a way, she became the biggest happiness of my life. She was named Shakuntala. Father-in-law had come to see the daughter, but my husband's behaviour hadn't changed at all. So I decided that I won't return to my in-laws' house now. I would spend the rest of my life with my daughter.

When my daughter grew a little older, mother started pressuring me for a second marriage, but I refused every time. I thought that nothing good came from the first marriage. I faced many hardships. What if the second one turned out the same way? This way, I never felt like marrying again.

Meanwhile, my daughter fell ill. We took her to the hospital. There we found out that she had typhoid. Doctors gave medicine, but her condition kept deteriorating. She died after a week. My daughter's body was lying in front of me. It felt like everything had fallen apart.

I thought that if a husband doesn't turn out good, a woman can live with the support of her child, but now my daughter had also left me. Later, I painted on the wall of the same hospital where my daughter died.

I was very worried after my daughter left. I was thinking about how I would spend my life now. Then I went to Karpuri Majhi's house in the village. He used to make Madhubani paintings. I started cooking and cleaning at his house. At that time, my grandfather also worked at his house.

Seeing my condition, one day Karpuri said, 'You should stay at my place.' My mother gave permission, then I started living there. Majhi had given me a bed and lantern to stay at his house. Paint and brush to pass the time. He used to give me 6 rupees and 4 rotis daily for working.

This way, while working at his house, I started learning painting. Majhi used to make very good paintings of Lord Ganesh. He would give me paper, paint and brush and say, 'Write your name on this and make flowers etc. Learn Madhubani painting, it is the art of our Mithila.'

After that, when Majhi and Chachi Dai would paint every day, I would stand near them and watch. I slowly started painting myself. I first started working on greeting cards. I used to get money for that. This way, while working with them, I started getting interested in painting.

Karpuri Majhi was very happy seeing my dedication. Some people had come to the village from the government to teach painting. Majhi got my name registered with them. It was the first day there. I was given a satin cloth for painting. It was very shiny and beautiful. I had never seen such a shiny cloth before that. Nervously, I refused to paint on it and returned back.

When Karpuri found out, he scolded me. He asked, 'How will this work?'

The next day he asked me to go again. When I went there, I was given cotton cloth. I drew a flower on it. Then I started learning to work on sarees. This way I would paint there and stay at Majhi's house. After that, I got lost in painting. Later an institute opened there and I worked in painting there for a total of 16 years.

During that time, Karpuri Majhi gave a lot of support. One day I was cooking food at home. He came and said, 'You are alone, how will you spend your life ahead? Get married.'

But I refused to marry again. I said, 'Now Madhubani painting is my worship. These colours are my life.'

Then he asked if I missed my daughter. I said, 'I do miss my daughter, but if I keep remembering her only, how will I make paintings?'

While doing all this, I stayed with Karpuri Majhi for 25 years and kept painting. I make a child in every painting. That is my daughter.

Actually, I love children very much. Whenever I see children's clothes anywhere while coming and going, I buy them. When someone's daughter is getting married, I miss my daughter Shakuntala a lot. These are all the reasons why there is always a small child in every painting of mine.

Dulari Devi making a painting. She learned painting in the village with help from Karpuri Majhi. After her daughter's passing, she cleaned utensils in people's homes. She made Madhubani painting her life.

Once we went to Chennai for a painting event organised by the Bihar government. There I was asked to paint my life story. I started working. In it, I showed how I used to do household chores. I used to plant rice, sell grass, and sell fish.

When four days passed, the organisers said to let it be. I told them that my story was not complete yet. Then I brought those thick papers to my home and painted the entire story one by one. Later that painting came in the form of a book. I have been receiving royalty on that book for 14 years.

Look at the walls of my house here. Madhubani paintings are made on these. In this painting, I have created boatmen, fish, fox nut, fox nut leaf, bamboo, and boats. When people come to meet me at my house, they also fill colours in it.

Actually, my life felt really empty. These colours filled that void. Colours are everything in the world. Life would become dry without colour.

In the end, I would say that there was a lot of sorrow in life. Got many setbacks, but overcame them. In 2021, I received the Padma Shri award. After that, I was honoured at Bihar Museum. I cried a lot that day. I was remembering every moment of struggle.

Currently I am teaching Mithila art and songs to children at Mithila Art Institute. There are 80 children here. I really enjoy being with these children. I hope that children will preserve this art form in the future as well.

Dulari is currently teaching Mithila art and songs to children at Mithila Art Institute. There are 80 children here. She hopes that children will preserve this art form in the future as well.

(Padma Shri awardee

Dulari Devi shared these feelings with Bhaskar reporter Manisha Bhalla.)

Original Article via Bhaskar

My Dastkar Nature 2025 Experience – Exploring Beyond South

2025-09-16T08:31:00.000-07:00

Participating in Dastkar Nature 2025 at the Nature Bazaar, Andheria Modh, New Delhi, was a truly memorable experience for me. This was my Dastkar event in Delhi, and once again, it reaffirmed why platforms like Dastkar are so special for artists and craftspersons across India.

For the past few years, most of my exhibitions and shows have been in the southern region — particularly in Bengaluru and other parts of Karnataka. This time, I wanted to step beyond the familiar and reconnect with audiences in the North. Delhi, with its deep appreciation for handmade art, felt like the perfect place to do that. The theme this year, Phool Patti the Language of Nature,” felt very close to my heart. As someone who draws inspiration from nature the flow of leaves, the rhythm of petals, and the harmony of aquatic life it blended beautifully with the essence of Madhubani art.

Over the 12 days, I met people from diverse walks of life students from neighboring schools, craft enthusiasts, fellow artists, and international visitors curious to learn about the symbolism behind each motif. What touched me most were the spontaneous conversations children asking how long it takes to paint a saree, visitors recognizing motifs from their travels to Bihar, and foreigners fascinated by how stories of mythology and nature coexist in our art.

Grateful to have my sister Subhashini with me at Dastkar Nature 2025 Delhi. Between helping me at the stall, sharing laughs, and endless chatter, she made the event so much more special.

There were also a few familiar faces including some well-known personalities and art collectors who took a genuine interest in understanding the intricacies of my wearable art. The exchange of stories and ideas made the event truly special. What I appreciate most about Dastkar is the space it creates for authentic craft voices. It’s not just an exhibition; it’s a community where artisans, designers, and art lovers come together to celebrate India’s creative heritage.

As I packed up on the last day, I carried back not just memories but also renewed energy and a sense of connection. Exploring beyond the South has opened up new perspectives for me and I’m already looking forward to returning to Delhi again soon.

Here’s to more journeys, more stories, and more conversations through art.

Madhubani Meets Japan — A Day of Cultural Harmony at the Japan Festival, Bengaluru**

2025-08-11T21:31:00.000-07:00

The Japan Festival 2025 on 10 August 2025 at Ekya School, Byrathi, was a delightful celebration of art, music, and friendship between India and Japan. I had the wonderful opportunity to participate and showcase some of my exclusive Madhubani creations, including hand-painted sarees, dupattas, and intricate artworks that blend traditional motifs with a contemporary aesthetic.

A Celebration of Indo–Japanese Cultural Exchange

Organised by Muse Creation in collaboration with the International Children’s Friendship Association (ICFA), this festival brought together one of Bengaluru’s largest gatherings of the Japanese expat community and local art lovers. The day opened with the mural unveiling at 11:00 AM, followed by a lively programme of performances Japanese choir pieces, martial arts demonstrations, musical fusions, and children’s performances that showcased cross-cultural enthusiasm.

My Participation

I displayed a curated selection of Madhubani wearable art and paintings that drew interest from both Indian and Japanese visitors. Conversations around the stall highlighted how the narrative-driven motifs and intricate linework of Madhubani resonated with audiences; many remarked on the visual harmony between Madhubani patterns and certain elements of Japanese design aesthetics. The wearable pieces sarees and dupattas painted on Tussar and Chanderi were especially well received.

Highlights & Reflections

* Meaningful interactions with the Japanese expat community and local families.

* Strong interest in wearable Madhubani pieces and commissions.

* The festival’s mural inauguration created a beautiful focal point for the day’s cultural activities.

Gratitude & Looking Forward

I’m thankful to Muse Creation, ICFA, and Ekya Schools for hosting a thoughtful, well-curated festival that fosters Indo–Japanese cultural ties. Events like these remind me why I continue to practice and adapt traditional art forms they connect people, stories, and communities. I look forward to future collaborations and more opportunities to bring Madhubani into cross-cultural conversations.

Rich Tapestry: Celebrating National Handloom Day 2025 Through the Lens of a Madhubani Artist

2025-08-07T06:25:00.000-07:00

Introduction

As we celebrate National Handloom Day today (August 7, 2025), we also celebrate the vibrant legacy of India’s handloom industry, a living tapestry of culture, craftsmanship, and creativity that has adorned our nation for centuries. As a Madhubani artist, my journey with art extends beyond the intricate motifs of Mithila paintings to the delicate threads of India’s handwoven textiles, such as Chanderi, Tussar, Kerala Kasavu, and Maheshwari.

Each fabric tells a story of people, of traditions, of their connection to the land. Through my wearable art, I seek to bring Madhubani’s narrative strength to the loom, blending it with the heritage of handweaving. This article is both a tribute and a call a celebration of India’s diverse handloom traditions and a reminder of our collective responsibility to preserve them.

A Tapestry of Tradition: India’s Handloom Fabrics by Region

India’s handloom heritage reflects the depth of its cultural geography. Here’s a curated selection of traditional handloom fabrics — each a regional marvel, rooted in legacy and technique:

Khadi (Pan-India, esp. Gujarat)
A symbol of India’s freedom struggle, Khadi is hand-spun and handwoven from cotton, silk, or wool. Its coarse texture and breathability make it ideal for warm climates, while its philosophy of self-reliance and sustainability continues to inspire modern designers.

Image Source: Opindia.com

Jamdani (West Bengal)
A fine muslin weave once patronized by Mughal emperors, Jamdani features ethereal floral and geometric motifs woven directly into the fabric. Each piece can take weeks to months to complete, testifying to the weaver’s patience and artistry.

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Image Source via Wikipedia

Banarasi Silk (Uttar Pradesh)
Woven in Varanasi, Banarasi silk sarees are known for their opulent zari work, rich textures, and Mughal-inspired patterns. Traditionally worn for weddings and special occasions, they are prized family heirlooms.

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Image source via Wikipedia

Patola (Gujarat)
Among the most intricate double-ikat weaves in the world, Patola textiles are dyed before weaving, resulting in symmetrical, vibrant, geometric patterns. Woven mostly in Patan, they are considered sacred and luxurious. Gujarat is known for its world famous double ikat patola from patan. It is a colourful and ostentatious weave with its figured body, along with the subtle merging of one shade into another. It is generally worn on auspicious and important occasions. The magic of patola textile is created by the art of lying and dyeing both the warp and west silk threads and then weaving them with great skill and precision into priceless fabric forms with clear and crisp patterns. The raw material used for weaving is cultivated silk single ikat patola is also woven in some villages of surendranagar and Rajkot district in which only weft in separately: ie-dyed before weaving to create patterns. The patterns through similar are simpler than the intricate one and are more economical than those of patan.

Image Source: Gujarat State Handloom & Handicrafts Development Corporation Ltd.

Maheshwari (Madhya Pradesh)
A blend of cotton and silk, Maheshwari fabric is lightweight with graceful stripes, checks, and floral borders. Originally created for royal use, today it lends itself beautifully to both sarees and dupattas with Madhubani art.

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Image Source: Mrignayani MP Govt Emporium

Ikat (Odisha, Telangana, Gujarat)
This resist-dyeing technique involves dyeing the yarns before weaving, creating blurred, feathery edges in the final patterns. Known for vibrant geometric designs, Ikat is used in everything from sarees to home décor.

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By Atudu — Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=46842345

Orissa Ikat

“Orissa Ikat” is a kind of Ikat known as Bandhakala and Bandha, a traditional dyeing technique, originating from Indian State of Odisha. It is generally known as ’Bandhakala’, ‘Bandha’, ‘Bandha of Odisha’. It is a geographically tagged product of Odisha. It is made through a process of tying and dyeing the warp and weft threads to create the design on the yarn prior to weaving. Orissa Ikat is not confined to geometrical design, rather fine, sharp artistic curvilinear designs in the form of Lahari, Lata (creeper), Ghagra, Deuli (temple) etc. are its special characteristics. (GI Application No.-22/Certificate Date: 07/06/2006

Paithani (Maharashtra):
A regal silk weave from Paithan, adorned with gold and silver threads, Paithani features motifs like peacocks, lotuses, and vines. The vibrant palette and gleaming zari make it a bridal favorite.

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image via Wikipedia

Kanchipuram (Tamil Nadu)
Kanjeevaram silks are renowned for their density, vivid hues, and temple border motifs. The silk is sourced from Karnataka, zari from Gujarat, and the weaving technique from centuries of South Indian tradition.

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image via Wikipedia

Bagh (Madhya Pradesh):
A block-printing craft using natural dyes, Bagh prints are inspired by flora, fauna, and jali designs from Mughal architecture. The distinctive red and black palette lends it a rustic charm.

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By Bsfs — Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=53286376

Ajrak (Gujarat, Sindh — cross-border heritage):
Traditionally worn by pastoral communities, Ajrak uses natural dyes and wooden blocks to create symmetric, geometric, and floral motifs. The deep indigo and madder tones are iconic.

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Artist Sahil Khatri printing colours on outlined motifs. https://www.deccanherald.com/lifestyle/design/in-the-heartland-of-ajrakh-3067643

Bandhani (Gujarat, Rajasthan)
This tie-dye technique creates tiny dot or wave patterns by plucking and tying parts of the cloth before dyeing. Bandhani is festive, joyful, and deeply embedded in cultural rituals.

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image via Wikipedia

Chanderi (Madhya Pradesh)
Known for its sheer texture and glossy finish, Chanderi fabric is a silk-cotton blend often embellished with zari and fine motifs. As a Madhubani artist, I often use Chanderi as a luminous canvas for my paintings.

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https://weaverstory.com/

Kota Doria (Rajasthan)
A blend of cotton and silk, woven with square-like patterns called ‘khat’, Kota Doria is airy and translucent. Ideal for hot climates, its gossamer quality gives it a royal allure.

image via Wikipedia

Baluchari (West Bengal)
Woven from silk, Baluchari sarees feature narrative scenes from epics like the Ramayana and Mahabharata on the pallu. These storytelling weaves are like visual scriptures.

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image via Wikipedia

Bhagalpuri Tussar Silk (Bihar)
Harvested from wild silkworms, Bhagalpuri Tussar has a rich, earthy sheen and a slightly coarse texture. It’s one of my favorite surfaces to paint on, resonating with the rustic origins of Madhubani.

https://www.madhubani.co.in/product/hand-painted-madhubani-tussar-silk-saree-sunshine-elegance/

Phulkari (Punjab)
Meaning “flower work,” Phulkari uses vibrant silk threads embroidered on coarse cotton, often in dazzling geometric patterns. It’s a visual celebration of life, worn during weddings and festivals.

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image via Wikipedia

Muga Silk (Assam)
Exclusive to Assam, this golden-hued silk is prized for its natural sheen and durability. Muga garments last generations and are considered auspicious.

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image via Wikipedia

Ilkal (Karnataka):
Identified by its contrasting red pallu and temple borders, Ilkal sarees use a traditional tope teni technique to join the pallu and body seamlessly.

By T B Dinesh — The Handmade March, CC0, https://commons.wikimedia.org/w/index.php?curid=67159299

Kalamkari (Andhra Pradesh, Telangana):
These are hand-painted or block-printed fabrics with intricate mythological or nature-inspired stories. The term comes from “kalam” (pen) and “kari” (work), and it’s a favored pairing with Madhubani motifs.

Chikankari (Uttar Pradesh):
Originating in Lucknow, this is a delicate white-on-white embroidery done on muslin, silk, or chiffon, with floral and paisley motifs. It evokes subtle elegance.

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By CraftArtisansofIndia — Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=111243577

Kullu Wool Shawls (Himachal Pradesh):
Handwoven in bright colors with geometric tribal patterns, these woolen shawls are both warm and bold in design.

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https://bhutticoshawls.com/pages/about-bhuttico

Kashmiri Pashmina (Jammu & Kashmir):
Made from the fine undercoat of Changthangi goats, Pashmina is famed for its luxurious softness. Often hand-embroidered, each piece is a symbol of quiet opulence.

image via Wikipedia: A portrait of Empress Joséphine wearing a Kashmir shawl and a gown made of Kashmir shawl fabric

Gadwal (Telangana):
Known for a cotton body with a silk pallu and borders, Gadwal sarees are lightweight, comfortable, and intricately woven with motifs from nature and temple architecture.

https://gadwalweaverssociety.in/collections/gadwal-sarees/products/gadwal-pure-cotton-silk-sico-sarees-43

Mangalagiri (Andhra Pradesh):
A mix of simplicity and elegance, these cotton and silk fabrics are known for their durability and minimal gold borders.

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https://www.matkatus.com/collections/mangalagiri-sarees/products/mangalagiri-cotton-saree-mcs802459131702

Nagaland Handloom (Nagaland):
These handwoven textiles are deeply tied to tribal identity, featuring bold geometric patterns in striking contrasts, often with symbolic meanings.

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https://www.bhavanahandlooms.com/blogs/blog/nagaland-handloom

Lepcha Weave (Sikkim):
Traditionally woven by Lepcha women, these textiles have narrow stripes and are used to make traditional attire and accessories.

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https://sikkimcrafts.gov.in/weave.html

Sambalpuri Ikat (Odisha):
Featuring motifs like shells, flowers, wheels, and animals, this handwoven Ikat is prized for its durability and precision in design alignment.

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By Amiwins — Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=118745318

Tangaliya (Gujarat):
A lesser-known weave where small bead-like dots are woven into the fabric using extra weft. Traditionally worn by pastoral communities. This 700-year-old weaving craft is native to the Dangashiya community of Surendranagar, Gujarat. The community consists of weavers and shepherds. The weavers make the blankets out of sheep and goat wool for the shepherds to wear. The threads are woven to create the signature style of the weaving technique which is the effect of raised dots on the fabric. Together, they create beautiful geometrical patterns. Today, these textiles are used to make dupattas, dress material, bedsheets and pillow covers.

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https://isha.sadhguru.org/en/outreach/save-the-weave/indian-weaves/tangaliya

Eri Silk (Assam, Meghalaya):
Known as the ‘Ahimsa Silk’, Eri is spun from open-ended cocoons without killing the silkworm. Its soft, woolly texture makes it suitable for both warm and cool climates.

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By Simtastic01 — Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=91822615

Chettinad Cotton (Tamil Nadu):
Bright, bold hues and contrasting checks or stripes mark this handloom from the Chettinad region. The sturdy texture and vibrant palette make it unique.

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https://isha.sadhguru.org/en/outreach/save-the-weave/indian-weaves/chettinad-cotton

Toda Embroidery (Tamil Nadu):
Created by the Toda tribal women in the Nilgiris, this black and red geometric embroidery on white cloth reflects their close relationship with nature.

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https://isha.sadhguru.org/en/outreach/save-the-weave/indian-weaves/toda-embroidery

Venkatagiri (Andhra Pradesh):
This silk and cotton weave is known for its fine count and silver zari. It balances traditional motifs with minimalistic charm.

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https://isha.sadhguru.org/en/outreach/save-the-weave/indian-weaves/venkatagiri-cotton-and-silk

Dharmavaram Silk (Andhra Pradesh):
Characterized by broad borders and rich color combinations, these silks are often used for bridal wear in South India.

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https://isha.sadhguru.org/en/outreach/save-the-weave/indian-weaves/dharmavaram-silk

Kerala Kasavu (Kerala):
Woven in pristine white or off-white cotton with rich gold zari borders, Kasavu sarees symbolize grace and are worn during festivals and weddings. I often paint on Kasavu, respecting its clean lines and understated elegance.

Women dressed in two-piece Kasavu sari, scene from Kerala Mural, 1730 CE.By Anonymous — Detail from Krishnapuram mural painting, Public Domain, https://commons.wikimedia.org/w/index.php?curid=82576544

Conclusion

As a Madhubani artist, I find endless inspiration in these handloom traditions. Each fabric whether the gauzy shimmer of Chanderi, the rich depth of Tussar, the sacred elegance of Kerala Kasavu, or the regal finesse of Maheshwari — is not merely a textile but a canvas of culture.

On this National Handloom Day, let us celebrate more than just the beauty of these fabrics. Let us honor the hands behind the loom the weavers, dyers, spinners, and printers who keep this art alive. By wearing, gifting, and supporting handloom, we’re not just choosing slow fashion, we are choosing heritage, sustainability, and human connection.

Let the threads of tradition continue to weave our future.

Note: Part one of a two-part journey through the timeless handwoven textile heritage of India.

Source: Wikipedia, ClaudeAI, OpenAI, Ministry of Textiles, Gov of India, Textile and Handloom Corporations of Various states where the fabric originated

Originally Published on Medium

https://medium.com/@vidushini/rich-tapestry-celebrating-national-handloom-day-2025-through-the-lens-of-a-madhubani-artist-350d93f386c3

Back to Exhibiting - The Monsoon Collective at Forum South Bengaluru

2025-08-04T08:34:00.000-07:00

Returning to the Exhibition Space After a Long Gap

After a long gap, stepping back into an exhibition space felt both nostalgic and energising. From 1st to 3rd August 2025, I had the privilege of participating in The Monsoon Collective, beautifully curated by A Hundred Hands, at Forum South Bengaluru, JP Nagar.

Incredible 3 Days

The Monsoon Collective at Forum South Bengaluru was a resounding success as it truly felt like the entire community of art lovers in South Bangalore had gathered under one roof!

Grateful to A Hundred Hands for curating such a soulful handmade experience, and to everyone who stopped by, appreciated, and supported my work. The love for my Madhubani collection, especially the newly launched tote bags and wall plates, was overwhelming and deeply encouraging.

These conversations, smiles, and stories are what keep me going.

An Event That Drew the Art Lovers of South Bangalore

Walking into the venue on Day One, I was greeted by the soft hum of conversations, the earthy smell of handmade crafts, and that unique energy that only comes when creators and appreciators share the same space. It was heartwarming to see so many art lovers from across South Bangalore — it truly felt like the entire art-loving community had gathered under one roof.

Showcasing My Madhubani Art Collection

I displayed a vibrant range of Madhubani art — from wearable art pieces to intricate paintings — each one telling a story rooted in tradition.

Launching New Product Categories at The Monsoon Collective

For the first time, I introduced two new product lines:

Hand-Painted Madhubani Tote Bags — blending functionality with traditional Indian folk art.
Decorative Wall Plates — bringing heritage designs into modern home décor.

Overwhelming Response from Visitors

The appreciation was overwhelming. Many visitors shared that they had never seen Madhubani interpreted in such a contemporary way before. People took the time to learn about the symbolism behind each motif, the painstaking hours of work, and the heritage each piece carried.

Connecting with Art Lovers and Collectors

The event was filled with meaningful conversations — from students discovering Madhubani for the first time to seasoned collectors reminiscing about their own pieces. I found myself sharing stories of Kohbar motifs, the symbolism of peacocks, fish, and lotuses, and my personal journey as a self-taught artist.

A Celebration of Handmade and Heritage

Over three days, The Monsoon Collective proved to be more than just a marketplace — it was a celebration of craftsmanship, tradition, and the bond between artists and their audiences.

Heartfelt Gratitude

As I packed up at the end of the event, my heart was full. I carried back not just sales, but also the encouragement and warmth that will fuel my next creations. Thank you to everyone who came by, and to A Hundred Hands for curating this soulful handmade experience.

Pause for a Cause: Celebrating Sustainable Craftsmanship at Chitrakala Parishath

2025-08-01T06:01:00.000-07:00

On July 29–30, 2025, I had the pleasure of participating in Pause for a Cause, a beautifully curated shopping event held at the Karnataka Chitrakala Parishath, Bengaluru. The two-day exhibition-cum-sale brought together over 35 designers and brands who share a common philosophy — creating consciously and celebrating sustainability through art, design, and craftsmanship.

A Celebration of Conscious Living

The event truly lived up to its name — Pause for a Cause — encouraging visitors to take a moment to reflect on the impact of their purchases and to appreciate the artistry behind ethically made products. The exhibition showcased a stunning range of sustainable fashion, accessories, jewelry, and home décor, all blending traditional Indian textiles with modern design sensibilities.

From handwoven fabrics to eco-friendly home products, every stall was a reminder that beauty and responsibility can coexist harmoniously.

Madhubani by Vidushini at Pause for a Cause

As an artist deeply rooted in Indian traditions yet inspired by contemporary expression, I was delighted to be part of this thoughtful initiative. I showcased my exclusive Madhubani creations — including hand-painted sarees, dupattas, and stoles, along with original artworks that bring the age-old art form of Madhubani to modern audiences.

It was heartwarming to engage with visitors who were curious to learn about the stories and symbolism behind each painting — from nature-inspired motifs to mythological themes. Events like these remind me how art continues to connect people across generations and cultures.

The Cause Behind the Event

What made Pause for a Cause even more meaningful was its purpose. A portion of the proceeds from the event supported the Concern India Foundation, which works at the grassroots level in the fields of education, health, and community development. Knowing that our collective efforts as artists and designers could contribute to such impactful initiatives added a deeper layer of fulfillment to the experience.

Looking Ahead

Participating in Pause for a Cause was not just about showcasing art — it was about being part of a movement that values sustainability, craftsmanship, and compassion. Events like these reinforce my belief that art and fashion can go beyond aesthetics to create awareness and inspire mindful choices.

I left the event with a full heart — grateful for the conversations, the appreciation, and the opportunity to contribute to a cause that truly matters.

Chennai, Craft, and Conversations: My Experience at By Hand From The Heart – Makers Market

2025-07-28T07:37:00.000-07:00

Chennai, Craft, and Conversations: My Experience at By Hand From The Heart – Makers Market

This past weekend, I had the pleasure of showcasing my work once again at By Hand From The Heart –Makers Market in Chennai and what a vibrant, fulfilling experience it was.

As an artist deeply rooted in the traditions of Madhubani painting, every opportunity to share my work with a new audience is a gift. This was my second time at the Makers Market, and I felt just as excited and grateful as I did during my first.

The venue at Primrose 131 in Mylapore was buzzing with energy filled with color, craftsmanship, and curious visitors. What stood out most was the diversity of the audience. From young children to teenagers, from millennials to elderly art lovers people from all age groups stopped by to explore and engage with my art.

I was particularly touched by the elderly visitors who not only took the time to walk through the exhibits but also stood by to share their memories, thoughts, and appreciation for the intricacy of Madhubani. Their warmth reminded me how deeply traditional art continues to resonate across generations.

But perhaps the most pleasant surprise was the number of young visitors and kids who paused to ask questions, observe details, and even express interest in learning the art form. To see children so organically drawn to handmade art in a world dominated by digital speed gave me hope and joy.

Events like this not only allow me to present my paintings and wearable art — from sarees and stoles to home décor and accessories but also to witness firsthand how art connects, inspires, and starts conversations.

A heartfelt thank you to the By Hand From The Heart team for curating such a meaningful platform, and to everyone in Chennai who came by and supported handmade.

Until next time,
Vidushini Prasad
Madhubani Artist | Founder – Madhubani by Vidushini

Madhubani and Gond Artists Call on the President of India

2025-05-28T22:56:00.000-07:00

Celebrating the Keepers of Our Heritage: Madhubani and Gond Artists Call on the President of India

On May 26, 2025, a deeply meaningful moment unfolded at Rashtrapati Bhavan, as a group of exceptional folk and tribal artists were honoured as part of the ongoing Artists in Residence Programme - Kala Utsav. These artists, practitioners of Madhubani art from Bihar and Gond art from Madhya Pradesh, were invited to stay at Rashtrapati Bhavan from May 20 to 27, 2025, a recognition of their commitment to preserving some of India's most treasured traditional art forms.

This initiative, organized by the Government of India, not only gave these artists the honour of staying at one of the most iconic residences in the country but also offered a national platform to showcase their lifelong dedication to indigenous art.

As someone who has spent over two decades immersed in Madhubani art, this news fills me with immense pride and a sense of belonging. It is not just an art form for me—it is a way of life, a language that speaks through lines, colours, and age-old motifs. I have had the honour of learning from many such traditional practitioners, and my work today—whether on canvas or textiles—stands on the shoulders of their wisdom.

Artists Representing Madhubani Art

Among the artists who were felicitated are some of the finest torchbearers of the Mithila painting tradition: Shanti Devi, Ambika Devi, Manisha Jha, Priti Karn, Ranjan Paswan, Urmila Devi, Shravan Paswan, Kumari Nalinee Shah, Moti Karn

Their contributions extend far beyond their own villages or regions. These artists have taken the visual language of Madhubani across India and the world, nurturing a legacy that dates back centuries—filled with symbols of fertility, spirituality, nature, and daily life. From intricate Kohbar paintings that bless newlyweds to vibrant depictions of gods, flora, fauna, and celestial bodies, their work tells stories that are timeless and deeply rooted in our soil.

Gond Art: A Celebration of Nature and Storytelling

The group also included renowned Gond artists, each known for their unique ability to translate folklore and mythology into striking visuals:Durgabai Vyam, Subhash Vyam, Nankusia Shyam, Ram Singh Urveti, Dilip Shyam, Champakali, Heeraman Urvety, Japani Shyam Dhurwey

Gond art, like Madhubani, is a vibrant testament to the storytelling traditions of India’s tribal communities—where nature, animals, and ancestral spirits intertwine with patterns that mesmerize the viewer.

The Significance of Kala Utsav

Kala Utsav, the heart of this initiative, celebrates the diversity of Indian folk and tribal arts in their original, unaltered forms. It brings these forms into the national spotlight—not as relics of the past, but as living, breathing expressions of culture that continue to evolve and thrive. That this recognition comes from the highest office in the country sends a powerful message: that traditional art is not peripheral, but central to the Indian identity.

My Journey with Madhubani

My own journey with Madhubani art began with curiosity and grew into a lifelong devotion. Over the years, I’ve had the privilege to not only practice the art but also share it with others through exhibitions, workshops, wearable art collections, and collaborations with institutions. Every time I pick up the brush, I feel connected to a lineage that stretches back through generations of women and men who painted their walls, floors, and hearts with stories of gods, nature, and everyday life.

Seeing artists from the heartland of Mithila be acknowledged at Rashtrapati Bhavan is both humbling and inspiring. It reaffirms my belief that no art form is ever too "folk" or too "local" to command global respect. All it needs is a platform and recognition—and the artists will do the rest.

To the artists who were part of this special programme: Thank you for carrying the light forward. Thank you for keeping our heritage alive.

A Moment of Pride for Every Madhubani Artist!

2025-05-14T22:35:00.000-07:00

The Bihar State Sports Authority has officially entered the Guinness World Records for creating the world’s largest Madhubani painting on canvas — a magnificent masterpiece made with natural colours like turmeric, beetroot, carbon, and flowers.

Over three days, 50 students from the Mithila Chitrakala Sansthan, guided by six faculty members, brought this vision to life — painting not just a canvas, but a legacy. This record-breaking artwork is more than just a feat of scale; it’s a vibrant tribute to the timeless beauty of Mithila tradition.

Speaking to ANI, Prateek Prabhakar, a teacher from the Mithila Chitrakala Sansthan, shared the details of this extraordinary accomplishment. "It is the largest painting on canvas made with natural colours. Fifty students from Mithila Chitrakala Sansthan worked on and completed this painting. These students were guided by six faculty members. All the colours used in this painting are natural, and it took us three days to complete it," said the teacher.

As a Madhubani artist, moments like this fill me with deep pride. To witness our age-old art form being celebrated on a global stage reaffirms everything we strive for — to preserve, promote, and evolve this living tradition.

Let this record be a reminder: Madhubani is not just art — it is identity, storytelling, and soul.

A Journey Recognized: Top 20 Indian Art Blog for 2025!

2025-05-14T22:11:00.000-07:00

Dear friends and fellow art enthusiasts,

I'm thrilled to share some wonderful news with you today: this blog has been named one of FeedSpot's Top 20 Indian Art Blogs for 2025!

When I published my first post back in 2006, I never imagined where this journey would lead. What began as a simple desire to document my artistic experiments and growth has blossomed into something far more meaningful than I could have anticipated.

Looking Back

Nearly two decades ago, I sat at my desk, nervously clicking "publish" on that first post. I wasn't sure if anyone would read it, care about it, or connect with what I was sharing. Back then, the digital art community in India was just beginning to take shape, and I simply wanted to carve out a small space where I could reflect on my creative process.

Those early posts—filled with unrefined techniques and uncertain brushstrokes—documented not just art pieces, but a personal evolution. Each stroke, each color choice, each finished piece became markers on this winding path of artistic discovery.

The Numbers Tell a Story

Today, as I look at the counter showing over 375,000 page views, I'm humbled and somewhat amazed. These aren't just numbers; they represent connections, moments of inspiration shared, and a community that has grown alongside this blog.

But what matters far more than metrics are the stories we've shared:

The comments where you've told me how a particular technique helped you breakthrough in your own work
The messages about how certain pieces resonated during difficult times
The photos you've shared of your own art inspired by something you saw here

To My Readers

This recognition belongs as much to you as it does to me. Without your continued support, engagement, and enthusiasm, this blog would simply be a personal diary. You've transformed it into a living community.

To my earliest followers who encouraged me when viewership was in the single digits—thank you for believing in this journey before anyone else did.

To those who have joined somewhere along the way—your fresh perspectives and energy have kept this space vibrant and evolving.

To the silent readers who visit but rarely comment—I see you in the analytics, and I create with you in mind too.

What's Next

This recognition from FeedSpot isn't an endpoint but a milestone on a continuing journey. It inspires me to:

Explore new artistic territories I've been hesitant to share
Collaborate more widely with emerging talents
Create more in-depth tutorials based on what you've told me you want to learn
Foster deeper discussions about Indian art in the global context

Gratitude

As I reflect on nearly twenty years of blogging about art, I'm filled with profound gratitude. For every comment, share, email, and word of encouragement—thank you. For pushing me to be better, to try harder, to experiment more boldly—thank you. For creating a space where creativity is celebrated in all its forms—thank you.

This recognition affirms what I've always believed: that art has the power to connect us across differences, that sharing our creative journeys matters, and that the Indian artistic voice deserves to be amplified on the global stage.

So here's to you, to us, to the next chapter of this artistic journey. I can't wait to see where it leads.

With a heart full of color and gratitude,

Vidushini

What has been your favorite post or art piece from the blog over the years? I'd love to hear your thoughts in the comments below!

A Heart in Ashes: My Reflections on the Dilli Haat Fire

2025-05-04T23:15:00.000-07:00

As I sit to write this, my heart is heavy, my hands tremble, and my mind replays the vibrant colors of Dilli Haat now reduced to smoldering wreckage. I am a Madhubani artist, a keeper of Mithila’s ancient storytelling through intricate lines and vivid hues. For me, Dilli Haat was not just a marketplace—it was a sacred space, a cultural heartbeat where artisans like me poured our souls into creations that carried the weight of our heritage.

The fire that ravaged over 30 stalls on April 30, 2025, didn’t just destroy goods worth crores; it incinerated decades of dreams, livelihoods, and the irreplaceable artistry of my fellow craftspeople. I am shattered, yet I feel compelled to share my anguish and hope for a better tomorrow.

Dilli Haat has been the cornerstone of my career. I still remember the first time I walked through its bustling lanes, my eyes wide with wonder at the kaleidoscope of crafts—Kashmiri shawls, Rajasthani pottery, and, most profoundly, the Madhubani paintings that spoke to my soul. It was here, surrounded by the work of fellow Madhubani artists, that I found my calling. Their intricate depictions of mythology, nature, and life inspired me to pick up my brush and tell my own stories. Over the years, Dilli Haat became my stage, where I showcased my art, connected with buyers, and felt the pride of representing Bihar’s rich tradition. Just last year, in my TEDx talk at Amity University, I spoke of Dilli Haat as a beacon for artisans—a place that gave us dignity, visibility, and a chance to sustain our craft in a world that often overlooks traditional art. To think that this haven is now a charred memory breaks me.

The news of the fire hit me like a physical blow. I saw the videos circulating on social media—flames leaping into the night, artisans standing helplessly as their life’s work turned to ash. I thought of Nitin Kumar, a fellow Madhubani artist, who lost half his inventory, painstakingly created over months. I thought of Rafiq Ansari, whose brass idols from Moradabad melted in the inferno. I thought of Haqeem Sajid, whose Kashmiri shawls, each a testament to years of skill, were gone in 22 minutes. These are not just losses of goods; they are losses of identity, of hope, of the very essence of who we are as artisans. For me, every Madhubani painting is a piece of my heart—a story of my ancestors, my culture, my struggles. To imagine those stories consumed by fire is unbearable.

My anguish is deepened by knowing that this tragedy could have been prevented. Shopkeepers have long pointed to the lack of fire safety measures at Dilli Haat. Expired or malfunctioning fire extinguishers, flammable materials like fiber and polythene used in stalls, locked emergency exits, and poor access for fire tenders were all accidents waiting to happen. Ram Kumar Yadav, another Madhubani artisan, rightly said, “If the shops had been built with safer materials, this might not have happened.” The Delhi Tourism Department manages Dilli Haat and must answer for this negligence. How could a cultural landmark, hosting 150,000 visitors daily, be so unprepared? How could the dreams of artisans, who travel from remote corners of India to sustain their craft, be so carelessly endangered?

I implore the government—both Delhi and central—to act with urgency and empathy. First, compensate the affected artisans fully and promptly. The losses are not just financial; they are emotional and cultural. Delhi Minister Kapil Mishra has promised compensation and an investigation into the fire’s cause, but words must translate into action. Artisans like Kuldeep Kumar, who lost chikankari kurtas worth Rs 80–85 lakh, or Ajai Shahu, whose jewelry worth Rs 70–80 lakh vanished, cannot wait months for relief. Second, Dilli Haat’s infrastructure should be restored with fire-resistant materials, functional extinguishers, accessible emergency exits, and regular safety audits. This must be a priority to ensure such a tragedy never recurs. Third, honor Dilli Haat’s original vision as a haven for genuine artisans, not traders or middlemen. The yellow-ribbon campaign by Dastkari Haat Samiti has long fought for this, and now is the time to listen.

Founder President, Dastakari Haat Samiti, Jaya Jaitly’s recent article captures this decline with honesty and clarity. I fully support her call to action. This tragedy must not be brushed aside with superficial fixes.

Dilli Haat is more than a market to me; it’s a tapestry of India’s soul, woven by the hands of artisans who keep our traditions alive. My connection to this place runs deep—it’s where I found inspiration, community, and purpose. I cannot bear the thought of it remaining closed, its gates sealed, its spirit silenced. I urge the government to rebuild the physical space and the trust and hope of every artisan who calls Dilli Haat home. Let this fire be a lesson, a call to protect our cultural heritage with the care it deserves. Let us rise from these ashes, brushes in hand, ready to repaint our stories.

With a heavy heart and unwavering resolve

Vidushini Prasad, A Madhubani Artist

About Dilli Haat:

Located on Sri Aurobindo Marg in South Delhi, Dilli Haat has firmly established itself as one of India’s most iconic cultural and commercial hubs, drawing locals, tourists, and artisans alike. Its journey to prominence is a story of vision, collaboration, and a unique blend of tradition and contemporary charm.

Dilli Haat was established in 1994 as a joint initiative by the Delhi Tourism and Transportation Development Corporation (DTTDC), the Government of Delhi, and the Ministries of Textiles and Tourism, Government of India.

The concept, championed by craft activist Jaya Jaitly, founder of the Dastkari Haat Samiti, aimed to empower rural artisans by connecting them directly with urban consumers, bypassing exploitative middlemen. This foundational principle resonated strongly with both creators and customers.

Unlike traditional temporary weekly “haats”, Dilli Haat was conceived as a permanent yet dynamic marketplace. It successfully brought the vibrancy of rural India—its crafts, cuisine, and culture—into the heart of the metropolis. This fusion appealed immensely to Delhiites and tourists seeking authentic Indian experiences.

Sources: Information drawn from web reports on the Dilli Haat fire, including New Indian Express, The Indian Express, and LocalSamosa, as well as posts on X reflecting artisan sentiments.

Dilli Haat Fire: A Personal Reflection and Hope for Artisans' Revival

2025-05-01T00:15:00.000-07:00

Dilli Haat has always held a special place in my heart. It was here that I first encountered the intricate beauty of Mithila art, sparking a lifelong appreciation for India's diverse handicrafts. The vibrant stalls, the artisans passionately showcasing their work, and the cultural tapestry woven through every corner made Dilli Haat more than just a market—it was a celebration of heritage.

On the evening of April 30, 2025, tragedy struck as a massive fire engulfed Dilli Haat. The Delhi Fire Service received the emergency call at around 8:55 PM and swiftly dispatched 13 fire tenders to the site to tackle the blaze. Fortunately, no casualties were reported, but the fire ravaged approximately 25 to 30 stalls, leading to the loss of goods worth crores. Artisans, who had dedicated decades to building their livelihoods, watched helplessly as their life's work turned to ashes. (Massive fire in Dilli Haat, 13 fire engines deployed - WATCH - India News | The Financial Express)

In response to this calamity, Delhi's Law and Justice Minister Kapil Mishra assured the affected vendors of compensation and support. He emphasized the government's commitment to helping artisans rebuild and regain their footing. This promise offers a glimmer of hope amid the devastation, signaling a path toward recovery.

However, the fire also brings to light longstanding issues within Dilli Haat. Originally envisioned as a haven for genuine artisans, the market has increasingly been dominated by traders and middlemen, sidelining the very individuals it was meant to uplift. Efforts like the yellow-ribbon campaign by Dastkari Haat Samiti have sought to reclaim space for authentic craftspeople, but challenges persist. (Mission derailed: Dilli Haat is meant for artisans but dominated by traders, Split Down The Middle: At Dilli Haat, a yellow-ribbon campaign to reclaim space for artisans | Delhi News - The Indian Express)

As we reflect on this incident, it's imperative to rebuild the physical structures and restore Dilli Haat's foundational purpose. By ensuring that genuine artisans are prioritized and supported, we can honor the market's legacy and its countless stories.

Let this be a turning point—a moment where we come together to preserve our cultural heritage, support our artisans, and ensure that places like Dilli Haat continue to inspire for generations to come.

Join My Kohbar Painting Workshop – April 29 to May 30, 2025

2025-04-21T06:27:00.000-07:00

Dive into the world of Kohbar, the sacred wall painting from northern Bihar, traditionally created during weddings to bless the couple. In this structured 5-week workshop, I will guide you through each motif, its symbolism, and the complete composition of a 2ft x 2ft Kohbar artwork.

What You’ll Learn:

✅ Major Kohbar motifs: lotus, purain, birds, animals, deities & more
✅ The deep symbolism behind each element
✅ How to compose a complete traditional Kohbar
✅ Live interaction and personal feedback in every session

Workshop Details:
Dates: April 29 – May 30, 2025
Mode: Live on Zoom (No recordings)
Time: Every Tuesday & Friday | 7:30 – 9:30 PM IST
Open to all – No prior experience required
Limited seats to maintain individual attention

📩 Register Now via WhatsApp: +91 96112 53298 or email to vidushini@madhubani.co.in

Students Immerse In Madhubani's Vibrant Colours As Bihar’s Folk Art Blossoms Into Rs 100-Crore Industry

2025-04-18T19:54:00.000-07:00

While promotion of Mithila painting began decades ago, now students from far and wide are taking keen interest on learning the nuances of the art

Students Immerse In Madhubani's Vibrant Colours As Bihar’s Folk Art Blossoms Into Rs 100-Crore Industry (ETV Bharat)

By ETV Bharat English Team

Published : April 18, 2025 at 4:54 PM IST

4 Min Read

Madhubani: As the brush strokes swirl to make figures and figurines with precision, the vibrant indigo, red, mustard yellow and leaf green pigments infuse life into peacocks, lotus and forests. The papers, clothes and walls speak one story in hundreds of hues. Be it depiction of an episode from the Ramayana or a generic one showing a woman carrying a potful of water, the colour scheming, geometry, and intricate patterns, in perfect balance with each other, bring alive what is called Madhubani art.

Madhubani painting, or Mithila art, which mostly dwell on mythical stories from epics or everyday life, harps heavily on flat hues with no shading, perspective or illusion. It is a pure form of art which is practised using twigs, matchsticks, fingers, and bamboo brushes. The art that once was limited to mud walls of homes during celebration of marriage, birth, and festivals, is now finding a pride of place in galleries, saris, and scrolls, and most importantly being accepted and appreciated by the younger generation.

The art, Bihar's own, has grown into a Rs 100-crore industry with demand increasing globally. And taking forward this movement is a government-run institute in Saurath village, Madhubani where hundreds of youth are being trained to learn the art and eke a livelihood.

Functioning under the Department of Art, Culture and Youth, the Nitish Kumar government got the Madhubani Chitrakala Sansthan inaugurated in 2022.

“The institute runs two courses here which focus on Mithila painting and crafts.

While one is a three-year degree course, the other is a six-month diploma course,” explains

Nitish Kumar, District Art and Culture Officer and administrative head of the institute,

that takes in students only through an entrance examination. "It is imparted to the

selected students free of cost," informs Kumar.

Forms for the degree course are released in April while the entire process is completed by July. On the other hand, the certificate course is held twice a year, in July and January. "We also provide scholarships here. Students pursuing degree course get Rs 1500 per month while those in the certificate course are paid Rs 1000 a month. Even the government has made provision of free accommodation and food for students coming from places far and wide," he informs.

The institute charges a one-time registration fee of Rs 3000 while students have to pay around Rs 2000 as examination fee.

Acharya Pratik Prabhakar of Mithila Chitrakala Sansthan says that the students in the degree course are trained in Sikki art, natural art, cow dung painting etc all of which are a part of Mithila painting. The styles can be differentiated as Kobhar, Bharni, Godna. They are also given classes in handling computer, photography, marketing so that they can market their own creations.

"There is a batch of 30 students who are trained by Padma awardee teachers like Dulari Devi, Shivam Paswan, his wife Shanti Devi and many other artists," says Prabhakar.

Dulari Devi, Padma Awardee Madhubani artist taking class (ETV Bharat)

Speaking to ETV Bharat, Dulari Devi detailed on Madhubani painting and how the students are first trained to make fish, paan, makhana - important motifs of the painting - on the board. Then those are translated on to clothes, paper, statues, terracotta, decorative items and jewelry. "Students are usually from Bihar and also other places like Delhi, Mumbai, Gaya, Sitamarhi. Free accommodation is arranged for those coming from far away places," says Dulari Devi.

Mostly belonging to the younger generation, the students enrolled in the institution are equally passionate about the art and want to take it to greater heights. "We want to move forward with our skills. Since there is no load or pressure on our guardians we learn stress free which is important to pursue any creative art," say students Pranav and Neha Kumari.

With Mithila painting turning into a big industry with great potential, it is gradually

becoming a big source of employment today. Till 2018-19, its business in the country

and abroad hovered around Rs 55 to Rs 60 crores. But now it has touched Rs 100 crore.

IN Bihar, there are villages like Ranty, Mangaroni, Jitwarpur where Madhubani artists are

found in every house. Their creations are much in demand worldwide.

No wonder, in the last 48 years, eight artists from the state have been conferred with Padma Shri.

It is believed that Mithila painting, though a very old form of art, came into prominence after the Bihar earthquake in 1934. Then a British officer William George Archer who had come to assess the damage, saw a Mithila painting on the walls. He took its picture, wrote an article and introduced the painting to the country and the world.

Via ETV Bharat

https://www.etvbharat.com/en/!offbeat/madhubani-art-promotion-training-and-marketing-bihar-padmashris-take-art-to-new-level-enn2504180301

A Memorable Showcase at PiliTaxi – Memories of Summer, Hyderabad

2025-04-10T00:42:00.000-07:00

PiliTaxi Chapter 48—Memories of Summer turned out to be a truly memorable experience! Held on the 4th and 5th of April at the beautiful Crafts Council of Telangana (CCT) Spaces in Banjara Hills, the event brought together a vibrant mix of sustainable fashion and lifestyle brands, and I was honored to be one of them.

It was my first time showcasing Madhubani by Vidushini inside the CCT premises, and I couldn't have asked for a warm welcome. The event was very well received, with a steady and enthusiastic crowd over both days. Visitors deeply appreciated the intricate detailing in the Madhubani artworks and wearable art I brought, and it was heartening to see so many connect with the stories and symbolism woven into each piece.

We responded well across our offerings—from framed artworks to sarees, dupattas, stoles, and even our smaller art products. Many art lovers and textile enthusiasts engaged in meaningful conversations, and we received several thoughtful queries, especially about the process, materials, and significance of the motifs.

What stood out most was the interest in our Madhubani Art Masterclass. Several attendees expressed a keen desire to learn the art form, understand its cultural roots, and explore how they could bring Madhubani into their own creative practice.

Overall, it was an event full of art, conversations, curiosity, and connections—exactly what keeps this journey so fulfilling. Thank you to the PiliTaxi team and the Crafts Council of Telangana for providing such a beautifully curated platform. I'm looking forward to returning soon!

A Memorable Madhubani Art Workshop with NIT Patna

2025-03-30T23:32:00.000-07:00

Some experiences leave a lasting impact, and my recent online Madhubani Art Workshop with NIT Patna was undoubtedly one of them. Conducting a session for over 100 enthusiastic participants from a premier engineering college in the city I hail from was both memorable and fulfilling. The workshop took place on March 27, 2025.

A Homecoming of Sorts

Patna holds a special place in my heart, not just as the birthplace of my brand but also as my hometown. My parents still reside there, and connecting with young minds from NIT Patna made this workshop even more meaningful. It felt like bringing a piece of my journey back home, sharing the rich heritage of Madhubani Art with students who may not have had the chance to explore it otherwise.

Flawless Coordination & Seamless Execution

When ExpressonITP, NIT Patna’s Premier Art and Literary Hub, invited me to conduct this workshop, I was thrilled at the opportunity. Expresso was formed in 2019 with a vision to celebrate the infinite mind. Expresso amalgamated the Literary and Arts Clubs of NIT Patna and brought them together, 'Infinite Ideas, One Place.'

Their team displayed impeccable coordination from the planning stages to the execution, ensuring a smooth experience for everyone involved. While I’m more accustomed to Zoom for online sessions, Google Meet worked flawlessly, making the transition seamless.

Engagement, Enthusiasm & Exploration

The session was a deep dive into the world of Madhubani Art, covering:

The History & Cultural Significance of Madhubani
Symbolism of Key Motifs like the fish (prosperity), peacock (beauty & love), sun (energy), and elephant (wisdom & strength). I focussed on one fish during my demo.
The Madhubani Technique – the double-line approach, intricate patterns, and vibrant color schemes
Live Demonstration – guiding participants through traditional borders and a simple yet beautiful Madhubani composition. I introduced the fish motif, a significant element in Madhubani art symbolizing prosperity, fertility, and good fortune. I demonstrated different ways to create this motif, showcasing variations in shapes, patterns, and detailing. The first image captures a detailed Madhubani fish with intricate linework and ornamental patterns, emphasizing the traditional double-line technique. The second image presents multiple stylistic variations, allowing participants to explore diverse interpretations while maintaining the essence of Madhubani aesthetics. This exercise encouraged them to experiment with composition, border integration, and symbolic storytelling, making their artwork unique yet rooted in tradition.

The level of engagement and curiosity from the students was inspiring. Questions poured in about technique, motifs, and even modern applications of Madhubani in contemporary art and fashion. It was heartening to see the interest of students from a technical background appreciating this heritage art form's artistic and cultural depth.

A Truly Rewarding Experience

Conducting this session felt like bridging tradition with technology and heritage with modernity. It reinforced the idea that art has no boundaries – that creativity thrives even in an engineering college, and students are eager to explore traditional Indian art.

I extend my heartfelt gratitude to ExpressonITP for their flawless organization and to all the participants who made this workshop so special. The energy, coordination, and enthusiasm made this one of my most memorable online workshops.

Looking forward to more such enriching interactions!

Reflections on a Wonderful Event at Bangalore International Centre

2025-03-20T06:50:00.000-07:00

Reflections on a MEMORIES OF SUMMER Event at Bangalore International Centre

The recent event at Bangalore International Centre

Date: March 1 & 2, 2025an incredible experience! The energy, the interactions, and the love for handmade art made it truly special. Over the course of two days, I had the opportunity to showcase our collection of hand-painted Madhubani art on sarees, dupattas, and stoles, and the response was heartwarming.

One of the event's highlights was meeting so many new people who resonated with the stories behind my work. Some of my longtime followers also dropped by, sharin

g their appreciation and support, which made the experience even more meaningful. It was particularly inspiring to interact with art enthusiasts and fellow creatives who were eager to learn about the intricate details and cultural significance of Madhubani.

Another memorable aspect was the diverse audience—many elderly visitors reminisced about traditional art forms they grew up with, and their admiration for my work was both humbling and encouraging. Seeing art evoke nostalgia and admiration across generations reaffirmed the timeless appeal of Madhubani.

As I wrap up this experience, I am excited for what’s next! If you missed this event, stay tuned for more opportunities to experience the magic of Madhubani at future exhibitions and showcases.

Looking forward to sharing more of my work with you soon!

Join us at MEMORIES OF SUMMER at Bangalore International Center

2025-02-26T21:49:00.000-08:00

Join me at MEMORIES OF SUMMER – Chapter 45, a celebration of art, culture, and creativity! I am thrilled to bring our Madhubani Art collection, featuring intricate hand-painted wearable art on silk sarees, dupattas, and stoles.

Venue: Bangalore International Centre, Domlur, Indiranagar
Date: March 1 & 2, 2025 (Saturday & Sunday)
Time: 11 AM – 8 PM

Immerse yourself in the timeless beauty of Madhubani, a heritage art form crafted with love and tradition. We can't wait to see you there!