MITHILA FOLK PAINTING: FROM TRADITIONAL ROOTS TO THE CONTEMPORARY GLOBAL HORIZON — AN ANALYTICAL STUDY

Abstract [English]

The initial journey of Mithila's folk painting was like a long internal journey where the pace of creation was fast but its echo was limited only to the folk environment. In the latter half of the 20th century, with the advent of paper, canvas and artificial colours, this art broke out of its traditional boundaries and became a part of the global market. While the devastating earthquake of 1954 shook the land of Mithila, it also inadvertently opened the doors of Mithila painting to the world stage. When the then SDM of Madhubani, William George Archer, was visiting the area for relief work, the amazing artworks carved on the walls amidst the debris caught his attention. He saved these rare murals in his camera. Later, when his research articles were published in the journal 'Marg', the art world was stunned. From here, crossing the threshold of Mithila, this art set out on a golden international journey, which continues even today. Since the 1970s, this art form has made deep inroads in countries like Japan, France, America and Germany. The biggest proof of this is the 'Mithila Museum' located in Tokamachi, Japan. Where thousands of rare specimens of this art are preserved. Apart from this, this art carved on the walls of Madhubani Railway Station and Koi International Airport has become a major center of attraction for foreign tourists. With the GI tag to Mithila painting, its global authenticity has increased further. Today it is not only a means of livelihood for thousands of rural women but is also leading Indian handicrafts on the global horizon through "Vocal for Local. "The incorporation of modernity has made it popular among the new generation as well, giving it an even brighter future on the international stage.