Kalpvriksha-The Tree of Life

Paramjot Walia

Arts Of The Earth is showcasing ‘Kalpvriksha- The Tree of Life’, an unique exhibition not only because of its concept but also because it beautifully incorporates all the three styles of Madhubani art— bharni of Brahmins, katchni of Kayasths and godana of Dalits. Works of the participating artists, namely Baua Devi,Chandrakala Devi,ManishaJha, Amrita Jha, Ajeet Jha, Rubi Sharma, Sapna Karn, Rambharos Jha, Urmilla Devi Paswan, Bandana Jha and Pooja Jha embodies both the aesthetic and symbolic notation. When the strokes become a verse of a poem that is when art consumes you and forces you to listen. For the same reason these paintings are called ‘likhiya’ (to write) as these are pictorial languages expressing the personal experiences of the artists. Likhiya, because their works are their mode of expression where the strokes replace the words; the ‘kalam’ or nib replaces the brush and; the intricate forms re-create a stage depicting a live story. Originating in Maithili, a village in the State of Bihar, Madhubani paintings are made of natural pigments and vegetable dyes. Black is made by mixing soot with cow dung, yellow from turmeric, blue from indigo, red from red andalwood, green from leaves and white from rice paste. The black outlines are drawn first and then the color is filled into the spaces. Trees are an integral part of the lives of the Mithila region where the brides are first married to a mango tree and then to the groom.The importance of trees holds not only for the ceremonies but also for ritual practices and beliefs.

In this exhibition, every artist hasdepicted his own perception and importance of trees through his/her work. ‘Aditi’, a painting by a young artist, Rubi Sharma, depicts the cow and human forms with the physical interpretation of panchtantra symbolizing the imbalance between man and nature. Rambharos and Amrita Jha’s works are more ornamental in nature, adding a contemporary feel to the traditional Madhubani style of work. Bandana has taken inspiration from trees in Mauritius, while Puja has painted the typical Kadamba tree associated with Lord Krishna. Ajeet and Urmilla have expressed their thoughts employing the Gonda form of Madhubani art. In Urmilla’s work, the small forms replay ‘Raja Shailesh’, the protector of the village’s story. The seed of Gonda art was sown between 1972 and 78 when Erika Moser, a German anthropologist, made several visits to Sita Devi’s village and urged the Dusadh women to paint on paper to generate additional income for the house. Urmilla follows the legacy beautifully throughher paintings.