Women's Role in Developing Mithila Painting

In general, Mithili women take charge of the ritual life of the families, and provide the wall and floor paintings that accompany the household's daily, annual, and life cycle rituals. In painting the elaborate khobar-ghar, the oldest women of the family whose husband is still alive and who has living children will begin the painting with a red dot at its center-point. Then the best available artist in the extended family draws in the major figures and elements, after which other women and young girls fill in the details or areas of color. By this means, many young girls learn to paint at a very early age, and some prove to be extremely talented. Thus it is not surprising that when painting was transferred from walls to paper, it was women who took up the challenge and opportunity.

In the late 1960s and 1970s, with the growth of painting on paper for sale, women began earning incomes which were previously unimaginable. In many cases they were able to retain that income, and use it for the schooling of their daughters and better food and clothing for their children or themselves. For many it was an empowering experience. And at least in some cases, the families of young women who were talented painters did not have to pay, or pay as much, dowry when they were getting married. Well known painters also were invited to travel to fairs and exhibitions elsewhere in India, as well as internationally to Japan, Europe, the United States and Russia. They usually brought a son or husband along to assist them, but success in painting meant both new income and greater social status and mobility, locally, nationally, and internationally. In general this has been quite positive, though it has sometimes generated conflict and abuse from jealous husbands.