CONSUMER PREFERENCE FOR MADHUBANI
ART
FOUNDATION
BUSINESS
PEARL
ACADEMY
SUBMITTED TO
– MRS. VASUNDHRA H. GUPTA
SUBMITTED BY
-
GROUP
MEMBERS: NISHA DIWAKER
SAUMAKSHI MAHANA
VAIDEHI
SUPAKAR
(SECTION - C)
Acknowledgement
We would like to take this
opportunity to express our profound gratitude and deep regard to our teachers
Mrs. Vasundhra Harsh Gupta and Mrs. Usha Gupta, for their exemplary guidance,
valuable feedback and constant encouragement throughout the duration of the
project. Their valuable suggestions were of immense help throughout our project
work. Their perceptive criticism kept us working to make this project in a much
better way. Working under them was an extremely knowledgeable experience for my
group.
We would also like to give our sincere gratitude to all the friends
and colleagues who filled in the survey, without which this research would be
incomplete.
Executive Summary
Madhubani is an folk artform
which originates from Bihar and also known as Mithila and basically made for
each occasion and festival such as birth, marriage, holi, Durga puja,etc. But
according to local mythology, the time of its origin is traced back to the time
of the Ramayana, when, for the wedding of his daughter, Sita, to Lord Ram, King
Janaka ordered his kingdom to decorate the town. The ancient tradition of
elaborate wall paintings known as Bhitti-Chitra in Bihar played a major role in
the emergence of this art form. Madhubani painting received official
recognition in 1970, when the President of India gave an award to Jagdamba
Devi, of Jitbarpur village near Madhubani. The painting was traditionally done on freshly plastered mud
walls and floors of huts, but now they are also done on cloth, handmade paper
and canvas. Madhubani paintings are made from the paste of powdered rice. After the
paintings were made with natural colours on paper previously treated with cow
dung. The painting techniques are simple and the raw materials are taken
directly from nature. Outlines were done with kalams and cotton wrapped on bamboo sticks. Today these paintings
are done on canvas, cloth and hand-made paper with readymade bottled fabric
colours with nib and fine brushes. Some of the styles of madhubani art are Bharni,
Katchni, Geru, Godna,etc. Traditionally,
natural colours were used that were obtained from plant extracts like henna
leaves, flower, bougainvillea, neem, etc. There are some places where
these paintings are preserved in their original form. They’ve created a unique Folk Art Gallery in Bangalore (INDIA) to showcase
the original artwork of traditional rural Indian artists, mostly women. As
India becomes economically more powerful, the approximately 500 million Indian
youth, with their increased purchasing power, are being greatly influenced by
the global fashion trends. People not only need to know about these but also
need to have the knowledge and a proper understanding of the richness and its
value as only the youth of this generation will be able to leave a deep
impression upon every person of the society and also on the coming generations.
1.
Literature Review
India
features an extremely rich tradition of artistry and innovation and thus has a
very rich tradition of folk art and craft, as expected of any ancient
civilization. The handicrafts of India have a great aesthetic value and
adherence to their tradition and are hence very well appreciated all over the
world. To name a few are,
Rajput
painting
(Rajputana): Rajput painting is a
style of Indian painting evolved and developed during the 18th century, in the
royal courts of Rajputana, India. Each Rajput kingdom evolved a different
style, but with certain common features. Rajput paintings represent a number of
themes, events of epics like the Ramayana and the Mahabharata, Krishna's life,
beautiful landscapes, and humans.
Mysore
painting (Karnataka): Mysore painting is an important form of classical South
Indian painting that comes from the town of Mysore in Karnataka. These
paintings are known for their elegance, soft colours, and detailed work. The
themes for most of these paintings are Hindu Gods and Goddesses and scenes from
Hindu mythology.
Tanjore
painting (Tamil Nadu): Tanjore painting is a
traditional form of classical South
Indian painting originated in the
town of Tanjore in Tamil Nadu.
The art form dates back to the early 9th century, a period ruled by the Chola rulers, who encouraged art and
literature. These paintings are known for their elegance, rich colours, and
attention to detail. The themes for most of these paintings are Hindu Gods and Goddesses and scenes from Hindu
mythology.
Pattachitra
(Odisha):
Pattachitra refers to the Classical painting of Odisha, in the eastern region
of India. 'Patta' in Sanskrit means 'Vastra' or 'clothing' and 'chitra' means
paintings. The concept of Pattachitra is closely linked with the worship of
Lord Jagannath. The main content of Patta Chitra is mostly mythological,
religious stories and folk lore.
Madhubani
painting (Bihar): Madhubani painting is a style of painting, practised in
the Mithila region of Bihar state. Themes revolve around Hindu Gods and
mythology, along with scenes from the royal court and social events from a life
of a common man. Generally, no space is left empty; the gaps are filled by paintings
of flowers, animals, birds, and even geometric designs. In these paintings
artists uses leaf, Herbs, Flowers to make the colour which is used to draw
paintings.
Madhubani painting is a type of an Indian painting which is
practiced in the Mithila region of the state of Bihar, India, and also in the
adjoining parts of Terai in Nepal. It is also known as Mithila painting. These paintings are mostly characterized by
eye-catching geometrical patterns and shapes and are done with the help of fingers,
twigs, brushes, nib-pens, and matchsticks, using natural dyes and pigments.
These paintings are made for each occasion and festival such as birth,
marriage, Holi, Surya Shasti, kali puja, Upanayanam, Durga Puja etc.
1.1
History &
Origin
Madhubani is
a region in the northern part of Bihar, that has a distinct regional identity
and a language that reportedly spans 2500 years. The term “Madhubani” by one
account also means ‘Forest of Honey’ (‘Madhu’-honey, ‘Ban’-forest or woods).
The exact time
of when Madhubani art originated is still not known. But according to local
mythology, the time of its origin is traced back to the time of the Ramayana,
when, for the wedding of his daughter, Sita, to Lord Ram, King Janaka ordered
his kingdom to decorate the town. This great cultural region lies between the
Koshi and Narayani tributaries and between the Ganges and the Terai of Nepal. The ancient tradition of elaborate wall
paintings known as Bhitti-Chitra in Bihar played a major role in the emergence
of this art form. Women’s craving for religiousness and an intense desire to be
one with God was the original inspiration for Madhubani art and from where it
emerged out. People then used to believe that by painting something divine they
will be able to fulfil their desire. And so women began to paint pictures of
Gods and Goddesses which had such deep and divine interpretations that it
captured many hearts.
The paintings were originally done on walls coated with mud
and cow dung. The kohbar ghar or the nuptial chamber was the room in which the
paintings were traditionally done. Originally the paintings depicted an
assembly of symbolic images of the lotus plant, the bamboo grove, fishes, birds
and snakes in union. Madhubani
paintings mostly depict men and its association with nature and deities from
the ancient epics. Natural objects like the sun, the moon, religious plants
like tulsi, scenes from the royal court, and social events like weddings are
widely painted. In these paintings, generally there is no empty space left. The
spaces are filled in by drawing animals, birds, flowers, and even geometric
designs.
These images represented fertility and
proliferation of life. There used to be a tradition that the newly married
bride and groom would spend three nights in the kohbar ghar without cohabiting.
On the fourth night they would consummate the marriage surrounded with the
colourful painting. The Mithila paintings were done only by women of the house,
the village and the caste and only on occasion of marriages.
Mithila
painting, as a domestic ritual activity, was unknown to the outside world until
the massive Bihar earthquake of 1934 when the houses and walls tumbled down.
Then British colonial officer in Madhubani District, William G. Archer, while
inspecting the damage “discovered” the paintings on the newly exposed interior
walls of Mithila homes. He was struck by reported similarities to the work of
modern Western artists like Miro and Picasso. During the 1930s he took black
and white photos of some of these paintings, which today are the earliest
images of the art. He also wrote about the painting in a 1949 article in ‘Marg’
an Indian Art Journal. The drought from 1966 to 1968 crippled the agricultural
economy of the region. As part of a larger initiative to bring economic relief
to the region, Ms. Pupul Jayakar, the then Director of the All India
Handicrafts Board, sent the Bombay based artist Mr. Bhaskar Kulkarni to Mithila
to encourage women there to replicate their mural paintings on paper which, to
facilitate sales, as a source of income to ensure survival. The contribution of
foreign scholars in promoting the art form internationally has also been
immense. Yves Vequad, a French novelist and journalist, in the early 1970s
wrote a book on the basis of his research on Mithila painting and produced a
film ‘The Women Painters of Mithila’. The German anthropologist film-maker and
social activist Erika Moser persuaded the impoverished Dusadh community to
paint as well. The result was the Dusadh captured their oral history (such as
the adventures of Raja Salhesh, and depictions of their primary deity, Rahu) —
typified by bold compositions and figures based on traditional tattoo patterns
called Goidna locally. This added another distinctive new style to the region’s
flourishing art scene.
With
financial support of Moser and Raymond Lee Owens (a Fulbright Scholar then),
along with land in Jitbarpur donated by Anthropologist Erika Moser likes of Dr.
Gauri Mishra spearheaded the setting up of the Master Craftsmen Association of
Mithila in 1977. This association was very active during the life time of Owens
working in tandem with Ethnic Arts Foundation a non-profit 501(c) 3 of USA.
Since the 1990s, Japan has also shown a keen interest in Madhubani paintings,
mainly because of the initiatives of Tokyo Hasegawa, who set up the Mithila
Museum in Tokamachi, where around 850 Madhubani paintings are exhibited on a
regular basis.
The skills
of Madhubani paintings have been passed on through centuries. Madhubani
painting has been accorded with the coveted GI (Geographical Indication) status
as it has remained confined to a compact geographical area.
1.2 Artists
and Awards
Madhubani
painting received official recognition in 1970, when the President of India
gave an award to Jagdamba Devi, of Jitbarpur village near Madhubani. Other
painters, Mahasundari Devi (2008), Sita Devi, Godavari Dutt, Bharti Dayal and
Bua Devi were also given National award. Smt Bharti Dayal won an
Award from All India Fine Arts and Crafts for fifty years of art in independent
India and the state Award for kalamkari in Mithila Painting and her painting
"Eternal Music" bagged the top award in Millennium Art Competition
from AIFAC for the year 2001. Smt Bharti Dayal is also honoured with The
Vishist Bihari Samman amid festivities to commemorate 100 year of Bihar. She
has been honoured with Indira Gandhi Priyadarshini Award 2013 for her
exceptional work in Madhubani Art, globally too. There are sometimes when women
themselves don’t want to be recognised and so their work remains anonymous.
1.3 Process of making
The painting was traditionally done on freshly plastered mud
walls and floors of huts, but now they are also done on cloth, handmade paper
and canvas. Madhubani paintings are made from the paste of powdered rice. In earliest form, Madhubani
paintings appeared as Arpana (floor paintings) and Kohbar (wall paintings),
done by the women of the Brahmin and the Kayasth castes. The traditional style
of preparing the wall for painting is to coat it with a paste of cow dung and
mud which were the primary construction materials used in the villages in this
area. This coating ensured proper absorption of colour. These colours are
extracted from leaves and flowers of different types of plants and herbs using
natural extract found locally like henna, neem
leaves, flowers etc.
The paintings were made with natural colours on paper
previously treated with cow dung. The painting techniques are simple and the
raw materials are taken directly from nature. Outlines were done with kalams and cotton wrapped on bamboo
sticks. A bamboo stick, with its end being slightly frayed, served as brushes
which are dipped in colours and applied to the medium. This same technique is
still followed by a few artists on mediums such as cloth, handmade paper and
canvas to give an authentic look. Today these paintings are done on canvas,
cloth and hand-made paper with readymade bottled fabric colours with nib and
fine brushes. Madhubani paintings are characterized by use of bold colours
along with geometrical patterns, which give them a vibrant and a symbolic
appearance.
1.4 Significance
Traditionally,
Mithila art was used to commemorate religious occasions, when Mithila art would
be drawn on the walls or on the floors of homes — the latter known as Aripan
art. While the art form has been done by pen for the last 50 or 60 years,
according to Parween, the Jhanakpur Handicraft Center in India has been
training its artists to use acrylic paint and brushes in order to adapt their
work to canvas — a form that is now referred to as Madhubani art.
1.5
Styles of Madhubani Art
There are following distinctive styles in
Madhubani art - Bharni, Katchni, Godna & Geru painting. In 60's Bharni
& Kachni style was represented by Brahman & Kayashth women & godna
geru style by dalit & dushadh but now a days there is no caste war among
the artist of Madhubani Art. Work in Madhubani Art can be seen in Craft Museum
- New Delhi, Chandradhari Mithila museum - Darbhanga, Museum of sacred Art -
Belgium, Mithila museum- Japan, Museum of Norway & many other places.
Bharni Style: The Brahmins of the society
practice this. They fill the paintings with bright colours.
Katchni Style: This is practiced by the kayasthas
of the society.. They opt for muted hues and mostly the figures and paintings
are filled with fine lines.
Geru Style: This is practiced by the harizans
(lower class) of the society. They wash the paper with cow dung and paintings
are done using earth colours.
Godna Style: These are symbolic paintings that
are done with black and the use of few colours.
1.6 Colour
Traditionally, natural
colours were used that were obtained from plant extracts like henna leaves, flower,
bougainvillea, neem, etc. Then, to make the paint stick to the painting medium,
these natural juices are mixed with banana leaves resin and ordinary gum. In
recent times, synthetic colours that come in powdered form are easily available
in the market. However, traditional artists still use colours derived from
natural sources. The most popular natural colours in Madhubani art include deep
red which is derived from Kusuma flower, black from burnt jowar, green from Bel
trees, orange from Palasa flower and light yellow from turmeric mixed with
banyan leaf milk. Two different kinds of brushes are used - one for small
details that is made out of bamboo twigs and the other for filling in the space
that is made from a small piece of cloth attached to a twig. Use two
dimensional imagery, and the colours used are derived from plants. Ochre and
lampblack are also used for reddish brown and black respectively.
1.7 Distribution
There is this All-India Handicrafts Boards which initially
encouraged women to share their work with the larger world for commercial sale
and the major reason behind getting them out of Bihar was to make people know
about the existence of the paintings. Generally people get to know about
different art forms from different places. After proper surveys and research we
found ways how people know about the Madhubani Art form. One of them being exhibitions
held all over India.
The preservation of the
beautiful paintings is possible only when artists, art galleries and government
agree to work together. There are some places where these paintings are
preserved in their original form. They’ve created a unique Folk Art
Gallery in Bangalore (INDIA) to showcase the original artwork of traditional
rural Indian artists, mostly women. They also organize periodic exhibitions to
raise awareness about this priceless art. Just like us there are youth who like
reading blogs and so many of them have learned a lot from online websites too.
1.8 Indian Youth and Fashion
As India becomes economically
more powerful, the approximately 500 million Indian youth, with their increased
purchasing power, are being greatly influenced by the global fashion trends.
Fashion has become a necessity for the youth of India. They all want to look
smart, attractive and up-to-date. Many get influenced by their favourite
celebs, many with the intention to show off and many even due to peer pressure.
The youth is spending a lot of money for being “fashionable”. But in India, the
youth is only aware of the high-end fashion brands and has only just an idea,
or worse, never even heard of the traditional art forms of India. It is very
important for the youth to know and accept the traditional art forms and save
them from becoming a rare museum piece. People not only need to know about
these but also need to have the knowledge and a proper understanding of the
richness and its value as only the youth of this generation will be able to
leave a deep impression upon every person of the society and also on the coming
generations.
2
Research Problem
After doing secondary
research, these are the following problems that were faced -
- In today’s brand conscious scenario, do people really recognize the Indian traditional art forms?
- Would people prefer to use Madhubani art form in their daily lifestyle?
- Do people want it to get commercialized?
- What type of brands should it get commercialized with.
3
Research Objective
On the basis of the research problems
discussed above, these few research objectives were framed –
3.1 Main Objective: To find out the awareness among the people about Madhubani Art in Delhi.
3.2 Sub – Objectives:
·
To
study the Indian traditional art forms, especially Madhubani Art, and the
lifestyle of the artisans practicing it.
·
To
find out a few suitable brands which could help it getting commercialized.
4
Research Methodology
4.1 Research Design
Methodology used for the research is
descriptive in nature as it describes and explains the characteristics of the
topic being studied.
4.2 Data Collection Method
Did an extensive secondary research
for Literature Review followed by a questionnaire for primary research.
4.2.1 Data Collection Tools
The secondary research was sourced
via internet and the primary research was conducted through questionnaires.
4.3 Sample Design
The sample group for the study is the ‘fashion
conscious youth’ of the age group 18-22 years in Delhi, and other demographic
factors being gender, monthly disposable income.
4.3.1 Sample Size: 50 respondents.
4.3.2 Sampling Technique: Convenience non-probability sample.
5
Data Analysis and Findings
5.1 Data Analysis: Data was analysed with the help of statistics. Different tools were
applied depending on the nature of the questions. For demographic factors pie
chart was made and for psychographic factors pie chart and mean was applied.
5.2 Findings:
5.2.1 Demographic Factors –
·
66%
of the respondents were females.
·
30%
of the respondents were of 20 years of age.
·
56%
of the respondents had an income level of more than 1.5Lakhs rupees.
·
68%
of the respondents were doing Under Graduation.
5.2.2 Psychographic Factors –
·
After
finding out the correlation between fashion consciousness and importance of Madhubani
Art, it was found that there is a very poor correlation which means that both
the factors are not related at all and do not affect each other.
·
48%
of the respondents mostly shop weekly.
·
62%
of the respondents mostly shop from the stores.
·
50%
of the respondents spend around 6,000-9,000 rupees on shopping monthly.
·
56%
of the respondents are aware of some of the Indian traditional art forms.
·
84%
of the respondents are aware of Madhubani art.
·
Most
of the respondents agree that the art should be commercialized.
·
Most
of the respondents want the art to be introduced into home furnishing line.
Clothing line is almost equally preferable.
·
52%
of the respondents want the products’ price to be around 10,000-15,000 rupees.
·
Most
of the respondents want the art form to be incorporated with the brand Global
Desi. The brand Fab India is almost equally preferred.
6
Conclusion
After doing the survey it was found
that most of the respondents were female, around the age of 20years perusing
Under Graduation with the monthly family income of more than 1.5 Lakh rupees.
After going through the
questionnaires thoroughly and applying statistical tools, it was concluded that
most of the respondents were aware of the Madhubani art, yet they want it to be
commercialized in home furnishings and clothing line. About half of the
respondents wanted its price to be around 10,000-15,000 rupees. The brands most
preferred for the art form to be incorporated with were Global Desi followed by
Fab India.
7
Reference List
·
Carolyn Brown Heinz, 2006,
“Documenting the Image in Mithila Art,” Visual Anthropology Review, Vol. 22,
Issue 2, pp. 5-33
·
Krupa, Lakshmi (4 January 2013), "Madhubani
walls", The Hindu. Retrieved 5 February 2014.
·
"Know India: Madhubani Painting",
India.gov.in. Retrieved 2013-09-21.
·
Prakash, Manisha (May 29, 2007), "India: Ladies’
Fingers and a Flavour of Art", Women's Feature Service.
·
Madhubani
painting - Upendra Thakur - Google Boeken, Books.google.com.
Retrieved 2013-09-21.
·
Shetty, Akshatha (18 July 2012,
9:20AM).
·
Tripathi, Shailaja (22 November
2013), "Madhubani beyond the living rooms", The Hindu,
Retrieved 3 February 2014.
Annexure:
Questionnaire-
LOCALITY:
1. What is your gender?
a)
Male
b)
Female
2. What is your age?
a)
18 years
b)
19 years
c)
20 years
d)
21 years
e)
22 years
3. What is your family’s monthly income?
a)
Less than ₹ 50,000
b)
₹ 50,000 – 1Lakh
c)
1Lakh – 1.5Lakhs
d)
More than 1.5Lakhs
4. What is your education level?
a)
Higher secondary
b)
Under-graduate
c)
Post-graduate
5. Are you fashion conscious?
a)
Yes
b)
No
6. How often do you shop?
a)
Weekly
b)
Monthly
c)
Quarterly
d)
Yearly
e)
Depending on mood
7. From where do you generally shop?
a)
Street shops
b)
Stores
c)
Online
d)
Overseas
8. How much do you spend on shopping monthly?
a)
Less than ₹ 3,000
b)
₹ 3,000 - ₹ 6,000
c)
₹ 6,000 - ₹ 9,000
d)
More than ₹ 9,000
9. Are you aware of traditional art forms?
a)
Yes
b)
No
c)
Some
10. Do you know about Madhubani paintings?
a)
Yes
b)
No
11. Do you feel that the importance of
Madhubani painting is dying?
a)
Yes
b)
No
12. Does it need to be commercialized?
_____________________________________________________________________
Strongly Agree Neutral Disagree Strongly
Agree
Disagree
13. In which lifestyle product would you like
Madhubani art to be incorporated with? Please rank according to preference (4
to most preferred and 1 to least preferred).
a)
Clothing ____
b)
Home furnishings ____
c)
Accessories ____
d)
Others ____
14. What should its price be?
a)
Less than ₹10,000
b)
₹10,000 - ₹15,000
c)
₹15,000 - ₹20,000
d)
Above ₹20,000
15. What brand/s would you suggest Madhubani
art should be combined with? Rank the following factors according to preference
8 for most preferred and 1 for least preferred.
a)
Shivan & Narresh
b)
Forever 21
c)
Fab India
d)
Global Desi
e)
UCB
f)
W
g)
Ed Hardy
h)
French Connection
Data Analysis Table- Please refer to previous posts “Coding Sheet” and “Tally Sheet” for
detailed description.
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