Indian Tribal Art - State of the Art

In conjunction with Saffronart’s upcoming auction of Indian Folk & Tribal Art, Nishad Avari shares a note on Sita Devi, one of the most important and celebrated Mithila artists

Mumbai: We have already blogged about the history and aesthetics of Mithila paintings from the Madhubani district of Bihar and traced the development of this art form back to the first record of these works in the mid 1930s made by W.G. Archer and his wife Mildred.

Sita Devi photographed by Edouard Boubat, 1970, for the book The Art of Mithila by Yves Véquaud (Image Credit: http://sita-devi.blogspot.in/)

It was in the 1960s and 70s, however, that individual Mithila artists like Ganga Devi and Sita Devi began to be recognized and celebrated. As David Szanton of the Ethnic Arts Foundation notes, “It was paintings by Ganga Devi and Sita Devi thanks to government and private commissions in New Delhi and beyond, their national awards, and their [Government of India] funded participation in cultural fairs and exhibitions around the world, that brought wide-spread audiences and attention to Mithila painting” (“Folk Art No Longer: The Transformations of Mithila Painting”, Biblio, 2004).

Sita Devi, one of the most prominent early Mithila artists and among the first to transfer the traditional art form from the walls of the home to paper and canvas, was a Mahapatra Brahmin from the village of Jitwarpur. Her distinct aesthetic popularized the ‘bharni’ style of Mithila painting, which emphasizes strong colours over fine lines. “Sita Devi’s elegant elongated and richly coloured paintings of Krishna, Radha, and other gods and goddesses, are well known. However, she also painted extraordinary images of the World Trade Center, Arlington National Cemetery, and facades of 19th century buildings in New York City” (Ibid.).

Wall painting at the home of Sita Devi, Jitwarpur, 1984 (Image Credit: The Maithil Brahmans, an Online Ethnography, California State University, Chico)

Over the course of her long life (the artist passed away in 2005 at the age of 92), Sita Devi’s work brought critical national and international attention to Mithila art. In addition to her own artistic practice, Sita Devi worked tirelessly to develop and uplift her village and community through education and economic empowerment.

As an artist in residence at the National Handicrafts and Handlooms Museum in New Delhi, Sita Devi found admirers of her work in several politicians including ex Presidents and Prime Ministers like Lal Bahadur Shastri, Dr. Rajendra Prasad and Indira Gandhi. In 1975, she won a National Award, a few years later, in 1981 she was awarded the Padma Shri, one of the India’s highest civilian honours, and in 1984 won the Bihar Ratna Samman. During the course of the impressive artistic career, Sita Devi has exhibited her work in more than ten countries, and finds place in the permanent collections of the Victoria & Albert Museum in London, the Los Angeles County Museum of Art, the Philadelphia Museum of Art, the Musée du Quai Branly in Paris, the Mithila Museum in Japan and many other international institutions.

Works by Sita Devi from the collections of the Los Angeles County Museum of Art, Mithila Museum, Niigata, Japan, and Victoria and Albert Museum, London

One of the highlights of Saffronart’s upcoming auction of Indian Folk & Tribal Art (26-27 February, 2013) is a monumental painting of Krishna flanked by two attendants by Sita Devi, created in the 1970s. Rather than paper, this painting is created on board, lending it an exquisite finish. Finely detailed with flowers and a peacock at Krishna’s feet, and confidently signed by the artist, this painting is one of the artist’s finest mural-scale works, rivaling those in international museum collections.

Sita Devi, Untitled, Signed in Devnagari (lower right), c. 1970s, Earth, oxide colours on particle board
72 x 96 in (182.9 x 243.8 cm), Saffronart Auction of Indian Folk & Tribal Art, Lot no. 41

Sita Devi presents her work of art to Prime Minister Indira Gandhi in New Delhi on September 8, 1969 (Image Credit: The Times Of India Group)

Sita Devi in front of one of her paintings of Krishna and Radha (Image Credit: Rawindra Das, http://www.flickr.com/photos/16413549@N04/2888477108/)

Amy Lin of Saffronart explores the wonders of Bhil art and their significances

Bhuri Bai
Untilted
The Story by Saffronart

New York: Tribal art has been gaining popularity in recent years due to the rich cultural heritage it reflects and the bold creations it results in. In a previous post, we discussed Gond art in celebration of the first Indian Folk and Tribal Art Auction held at Saffronart. After with the Gonds, the Bhils are the second largest tribal community in western and central India. Their art focuses on their natural environment filled with songs, rituals, tattoos and folklore. In a new collection on The Story by Saffronart called Rhythms and Rituals, we’re featuring some fantastic pieces from celebrated Bhil artists.

The tradition of Bhil painting first stemmed from the home. Upon visiting a Bhil household, one will discover a delightful myriad of images from myth and folklore adorning their walls and ceilings. Every year, a new plaster of mittichitra (clay relief work) and paintings are applied to the interiors of the house. Pigments are ground from natural materials and leaves and flowers, while brushes are made with neem twigs.

Pithora horses are a common theme among Bhil artists. The traditional painter or lekhindra often paints pithoras as an offering to the goddesses. According to legend, the people of the Kingdom Dharmi Raja have forgotten how to laugh. The brave prince Pithora rode on horseback through a dangerous terrain and brought back laughter and joy from the goddess Himali Harda. Similar to all adivasi tribes, the Bhils live close to nature and lead a largely agricultural life. Their paintings reflect the changing seasons, the natural phenomena that guide their harvest, and the gods that protect them.

Subhash Bheel
Untitled
The Story by Saffronart

Bhuri Bai of Zher is one of the leading Bhil artists of our time. She started painting at a young age when the colors at a local festival inspired her to paint laughing goddesses and everyday scenes from the village. Her mother taught her how to make huts and decorate them with cows that became a prominent symbol in her work. In her adult life, she transferred the paintings from mud to paper and canvas, and continues to decorate the walls at the Museum of Mankind in Bhopal.

Lado Bai
Untitled
The Story by Saffronart

Another prominent artist is Lado Bai whose art reflects the spirituality and animism of her community. For years, she could not pursue her art because of financial constraints. Her luck turned when she was discovered by the famous Indian artist Jagdish Swaminathan. Swaminathan encouraged her to work for the Adivasi Lok Kala Academy where she had the opportunity to transfer images of festivals, rituals and animals from wall to paper.

Bhil artists are just starting to be internationally recognized. They paint the simple human joys of birth and other ceremonial occasions like harvests that are often forgotten in our modern society. The art of the Bhils along with that of other tribal groups reminds us what the simple pleasures in life are.

State of the Art

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