Table Of Contents

INTRODUCTION.......................................................................1
STATEMENT OF PROBLEM....................................................3
OBJECTIVE OF THE STUDY...................................................4
SIGNIFICANCE..........................................................................5
REVIEW OF LETRATURE.......................................................5
METHEDOLOGY.......................................................................6
DATA ANALYSIS AND PRESENTATION...........................12
FINDING AND DISCUSSION.................................................22
IMPLICATION.........................................................................23
Conclusion.............................................................................24
QUESTIONARRIE...................................................................25
REFRENCES.............................................................................28

0
INTRODUCTION

The link of aripana in mithila culture, solely a Hindu community, demonstrates to the tantric
tradition of worshipping ‘shakti’. Thus, Mithila women through out of aripana highlights on the
equal status of both the spirit and matter, initiating human kind to attend their spiritual and
materail strength to its fullest. This paper examines the influence of tantra in the aripana, a floor
painting, of Mithila region. The ancient tradition of floor painting expresses the philosophy of
tantra , which lays a focus on balance between the spiritual and material aspects, and
glorification of feminine power as a primal source in aripana shows the influence of tantra in
mithila society, art and culture. However, mithila has advanced good balance between the
religious and secular practices so as to seek meanings in their lives that are good equilibrium
between the spiritual and material realties of the world.

The article demonstrates and examines the significance of ‘aripana’, its usefulness, and
connection to tantra. Aripana seems to have been portrayed to educate women about the deeper
understanding of the meanings of Human life through the union between the spirit and matter in
Mithila Region Aripana has been Traditionally drawn in different occasion of the life from birth
to death in the Maithali culture to show dominate Women agency by worshipping ‘shakti’ a sprit
or the enlivening energy inevitable for the functioning of the world.

The drawings on the floor portary the symbolic images such as lotus flower, yantras, temples,
dots, lines etc. These images represent fertility and propagation of life. Each object of the
paintings has its own significance since they carry the plenty of the meanings at the context of
mithila society.

Aripana, which has been passed down since time immemorial from one generation to another,
carries the principal theme of fertility and prosperity. This art, being influenced by the
philosophy of tantra, gives equal value to the physical and inner real varieties of forms, colors,
graphic patterns, and symbols used in the paintings bridges the gap between the material and
spiritual world, and enables both the artists and the viewers to realize the cosmic consciousness.
Consequently, the paper exhibits the floor drawing tradition influenced with tantra, purely a
Vedic culture.

Mithila is the great state of Nepal coverage the areas of almost half part in the eastern region
having the myth and hunger with lots of stories and history, mostly comes the names in use and
saying through the dynasty of king Janak, who rule and had their region in Mithila region.

1
Janakpur was the capital, and present janaki temple was the palaces of king janak, and used to
rule the Mithila, have the direct connection of family hood with the king of Ayodhya, after the
marriage of king janak’s daughter sita and king darshrath of Ayodhya, his son ram, also known
as the seventh incarnation of God Vishnu.

Mithila is cultural, traditional and religious places enlighten with various hand arts and design
drawn in the wall of janaki temple. The eastern region mostly the siraha, saptari, Dhanusha,
Sarlahi, and Mahatorri are mostly referred as the Mithila region and also some part of India
touched with border.

Mithila culture of Nepal has own identity and own social norms and values which do not get a
match with the people of the hilly and Himalayan region. We can also say that the people living
in Terai belt is significantly the Mithila and they speak the Language of Maithili as their own
language of communication. Nepali is the official language but the people of different region
speak and communicate in their own tongue which I s mostly in use.

Subsequently, the Mithail is the bases and roots of communication of Mithila regions people.
Mithila culture if Nepal also got almost many festival and norms, values got matched with indain
society and cultures.

Mithila culture is special and rituals that decently gives the message of unity and diversity with
all people and all society. Many people because it is totally different from the Himalayan
Nevertheless, the Mithila people are dominated and discriminated by the government and
struggling and striving for equal participation and involvement in every governmental sector for
governing and directing the country.

The culture of Mithila symbolizes the respect, brotherhood and humanity existence that gives the
golden message to every native people. Meanwhile, there are many aspects and respects and
secrets that are roar with huge sound for the displaying of Mithila culture of Nepal due to its
dignity specification.

2
STATEMENT OF PROBLEM

The Aripana, a flower drawing, had drawn everyday as well as on any occasion in Mithila
Region has been a cultural continuum from the generation to generation since time immemorial.
It has become way of life for the women of Mithila. Knowing aripana turns to know of feminine
subjectivity as ‘shakti’ a spirit or the enlivening energy inevitable for the functioning of the
world. Studying the floor drawing culture of Mithila Region, researcher wonders why ‘aripana’
is important and how aripana and tantra is associated with Mithila culture.

Mithila culture or maithil culture refers to the culture which originated in the mithila region of
the indain subcontinent. It arises when interpretation of Mithila arts are done beyond the social
semiotics of the region.

In Madeshi tradition and culture can be rich even if we get rid of the discriminating rituals. We
should address the issues of gender discrimination in madeshi culture as a sequel to the apology
compaign.

We find the earliest to mithila in the great indain epic narrative Ramayan, and it believed that
mithila artist. It is only in the last few decades that mithila artist became aware of their arts
commercial possibilities. Initially, these paintings were made on walls and it was a fro m of bhitti
chitra (wall mural).

3
OBJECTIVE OF THE STUDY

This article studies Mithila drawings ‘ aripana ‘ and amis to make connection of ‘Aripana ‘ with
tantra. Therefore, it has following objectives:

 To explore appropriate meaning and significance of tantra and aripana,

 To examine vivid reflection of tantra in aripana, and To aware other Nepalese researchers
and the researchers abroad about the vastness of ‘aripana’.

4
SIGNIFICANCE

The theme of Aripana is mostly influenced by religious motifs and beliefs of Indians. Both
practitioners and professionals of this traditional Indian art from are driven by love for nature
and devotion for the Hindu deities.
Done in primary colors of natural origin on paper and cloth, the mithila art narrates mythological
and religious events. The painting is done with fingers, twigs, brushes, nib pens, and matchsticks,
using natural dyes, and pigments and is characterized by eye – catching geometrical patterns.
It is also known as madhubani paintings is said to be have developed in the ancient city of
mithila, the birth place of Sita, daughter of king Janak . It is said to be that the Mithila paintings
were commissioned by the king to commemorate the marriage of his daughter to lord Rama of
Ayodhya. It was recognized as kulin art or art of the pure castes.

REVIEW OF LETRATURE

The term Aripana is thought to derive from the mithila arts, meaning to stand over the Mithila
culture. The true origin of certain Mithila art can be centuries old, passed down from generation
through such observation learning process. The earliest myths and legends of Hinduism also
originated in Bihar . The people of this Sita, the daughter of king Janak of the ancient kingdom
of vedeha was born in this region called Mithila, of which madhubani is a part. The folk art of
Bihar, commonly known as madhubani, refers to the market town of the same name. Madhubani
paintings also known as Mithila paintings, is practiced in the state of Bihar and also in the
Mithila region of neighboring Nepal. Mithila culture refers to the culture which is originated in
the mithila region of the Indian subcontinent. Mithila comprises Tirthut, Darbhanga, kasi, purina,
Munger, Bhagalpur and Santhal pragan division of Indian and adjoining provinces of province
no.

5
METHEDOLOGY

The article extensively analyses aripana, a floor painting tradition in Mithila Region and uses
descriptive research design. The research has been pinpointed to explore its objectives and
connection to tantra. The use of secondary sources like books, Ritual Art of the Kingdom of
Mithila of Kailash Kumar Mishra, The Tantric Way Arts, Science, Ritual of Ajit Mukherjee and
Madhu Khanna, Trantric Visual Culture. A Cognitive Approach of Sthaneshwar Timilsina, and
Tantra Discover the Path from Sex to Spirit of Shashi Solluna and articles related to Mithila art
aripana" and tantra as well as library use adequate this paper. Further, the paper completely bases
on qualitative research analysis.

PRACTICES ‘ARIPANA’ IN MITHILA

Painting as the oldest form of all arts, Aripana has become the way of life of people of Mithila
Region it operates from the birth to death rituals of people for various purposes from time
immemorial. In this respect, Lok Nath Dulal m his article "Dasa Mahavidhyas Painted Scroll of
National Museum an Illustrative Art Heritage of Nepal" mentions painting as "the mother of all
other arts, the history of creation of painting is older than other forms of art" (Dulal, 554) As
Dulal states foregrounds the practice of painting since the Human came into existence. Similarly,
Sthaneshwar Timilsina, in his book Tantric Visual Culture: A Cognitive Approach mentions art
as, "the ingenuity of the Human mind has been expressed in art since the beginning of
civilization of Paleolithic cave paintings or the pyramid sphinx depicting a man-lion" (Timilsina,
31). Hence, paintings seem to hold the center stage of Human civilization. Aripana is an act of
floor painting practiced in the Mithila Region According to KK Mishra, in his article Mithila
Paintings Women's Creativity Under Changing Perspective, mentions that the word aripana
means "to smear' derived from Sanskrit. The formation of aripana is to smear and decorate the
ground. Pithar, moistened white rice paste, made with the help of water and sindhur, red
vermillion is used to make aripana. Aripanas are drawn on the floor using one or two fingers of
the right-hand dipping into pith and with the dot or dots of sindhur along with white, red, green,
yellow and black colors. It has combinations and elaborations of symmetrical, floral and
geometrical designs measuring from six or eight feet across Aripana patterns are a part of each
and every auspicious ceremony in Mithila, be it a puja, a vrata (fast) or a samskara (mundan,
vivah, yajnopavita, etc). On the eve of a ceremony, Aripana designs are prepared in the
courtyard, in front of the door and a number of other places Any ceremony or ritual is considered
incomplete without this traditional art form adorning the ground. Initially, Aripana designs were
drawn in order to make the cultivated land fertile and fruitful by magical performances.
However, today it has become a part of numerous ceremonies and rituals. While drawing
Aripana, brushes are not used. It is drawn for worshipping purpose Aripana-drawing begins from

6
a simple, geometric point of the most complex drawing of the eighteen hands of the Goddess
Durga the Goddess of Power. The geometrical lines are linked to the Hindu religious tradition of
tantra.
The designs or the motifs used in Aripana fall into different categories like; images of Human
beings, birds and animals, Images of flower (lotus), leaves, trees and fruits; Tantric symbols, like
yantras, bindu (dots), etc.: images of Gods and Goddesses, and other objects like lamp, swastika,
mountain, rivers, etc reflecting the artist's originality and imagination. The land and people North
of the river Ganges, in the state of Bihar lies a land called Mithila, shaded by old mango groves
and watered by the rivers from the Himalayas of Nepal. The art of aripana or floor-painting,
handed down from generation to generation, is the way of life in Mithila. There is not a single
house in Mithila in which ceremonies are held without aripana The Women of Mithila specialize
in drawing circular patterns of designs too. Even now, most of their work remains anonymous.
The Women, most of them illiterate, are reluctant to consider themselves individual producers of
works of art and only a few of them mark the paintings with their own name. Among the first
modem outsiders to document the tradition of Madhubani painting were William and Mildred
Archer Mr. Archer was a British civil servant assigned to the district during the colonial era. The
Archers obtained some drawings on paper that the Women painters were using as aids to
memory.
Moreover, R. N. Pandey says, "the so-called 'Aripana' is a magic circle representing a magically
purified space for rituals and domestic religious ceremonies’ (pandey) The philosophy of tantra
deals with the creative mystery that inspires us to drive our actions towards inner consciousness.
Tantra believes that an individual attains higher consciousness, not through renunciation and
detachment, but through the acceptance and attachment with the physical world as well. Tantra
blends both the spirit and matter, and thereby enabling Humans to realize their material and
spiritual potentials. Ajit and Madhu assert, Tantra has healed the dichotomy that exists between
the physical world and its inner reality, for the spiritual, to a tantrika, is not in conflict with the
organic but rather its fulfilment (Ajit and Madhu, 9). Thus, tantra does not see the outer and inner
world as two different realities, but two inseparable parts of the one world. Tantra, a Sanskrit
word, is formed from the soot tan- that means to expand. Tanta lays emphasis on the expansion
of one's inner consciousness through the understanding of the functioning of the world, and
thereby realizing his or her inherent spiritual powers.
In addition, Shashi Solluna in his book Tantra Discover the Path from Sex to Spirit says, "The
term Tantra' itself belong to a set of spiritual writings known as the Agamas. These often take the
form of a conversation between Shiva and Shakti, the divine masculine and feminine" (Solluna,
12) and Shiva means consciousness and awareness' and 'Shakti refer to energy or power
(Solluna, 70) According to him, tantra leads from material world of family life to spiritual which
can be possible with its connection rather than detachment to each other. Ajit and Madhu,
likewise, assert. Tantra is neither religion nor mysticism but an empirical - experimental method
which has been absorbed as a cultural pattern valid for everyone and not limited to any exclusive

7
group or sect" (Ajit and Madhu. 13) It indicates that tantra is empirical and experimental not
religious or mystical. It is a cultural pattern which is a socio-economic way of life practised by
any social animal Further, Sthaneshwar Timilsina in his book Tantric Visual Culture A Cognitive
Approach points forth.
Timilsina indicates the connection of Human body and mind with cosmic energy in tantric
discourse which hints to the path from materiality to spiritualityFurthermore, different yantras
depicted during the floor painting further provide the evidential connection to tantra. The
portraits of Maha Kali yantra and Shri yantra present one of the varieties of aripanas

Figure: From left-Maha Kali Yantra & Sri Yantra

These sorts of yantras also used in aripanas relate to shakti worship. This establishes Women
agency relating to tantra. Thus, aripanas are drawn for ritual, security, and fertility motifs as the
trademark of Hindu culture.
Thus, tantrism, giving equal footing to phenomenal world as well, speaks up for the perfect or
complete experience of the whole the individual's realization and union with what Madhu and
Ajit call the "cosmic consciousness as Purusha, a male principle" and "cosmic force of nature as
Prakriti, a female principle" (Ajit and Madhu, 15) Moreover, tantra advocates spirituality through
materiality vividly reflected in aripana in Mithila.

8
TANTRIC IMPACT IN ARIPANA

The "Aripana" is filled with a detailed description of natural life forms and their connection with
the religious and spiritual belief systems inherent in the Mithila Region, and each image
contributes significance to the meaning of the whole. The images drawn in aripana are life
affirming and symbolize the underlying philosophy of the society Mithila floor drawings are
filled with the tantric images, Hindu gods and goddesses, and folk themes, and mythological
characters and symbols The Hindu religious practices tantric tradition in the Region, and other
local myths and themes are reflected in aripanas.

Problems arise when interpretation of Mithila arts are done beyond the social semiotics of the
Region Most of the interpretations rely on the western perspectives which have nothing to do
with Mithila culture, tradition and way of life. The reading of Maithili arts through the lens of
Freudian psychoanalysis misses the original and true meanings. In this context, Neel Rekha
views, "It has also shown how western scholars interpreted Maithil art from alien paradigms and
created a romanticized history Women's voices got silenced in the process. Interpretations
internalized and articulated by the artists themselves complicate our understanding of Maithil
art" (Rekha, 19) Thus, meanings are required to be drawn not based on any western theoretical
criticisms, and the subjective perspectives of the local artists or scholars, but on the socio-
cultural context of the Mithila society

Though Mithila is a patriarchal society, Women have a lot of space to exercise their glorious
presence in the social realm. It's true that male enjoy the freedom of movement and other socio-
economic privileges, but it does not mean that Women are inferior, and taken only as the object
of patriarchal pattern. As tantrism has a considerable influence over the Mithila way of living,
Women had equal status, at times even higher than that of men. Regarding the tantric view of
feminine subjectivity, LoriliaiBiernacki states:
One finds everywhere the Tantric saying that the god Siva- who usually is conceived as supreme
spirit- is actually a mere corpse (sava), a dead body, mere matter, without the feminine principle
(shakti) The male god is the "dead body" while the female is the enlivening "spirit"
Ichnographically, this appears in the well-known image of the goddess Kali astride the
corpseSiva (Biemacki, 62)
This shows that Women, who the patriarchy has been viewing as objects. are in fact spirits.
Women are the life-giving energy, without which even the supreme Hindu god, Shiva, also
remains a non-entity that is corpse. This establishes the subjectivity of Women, and thereby
recognizing the great presence of Women in a patriarchal society.

9
Young unmarried Mathil girls pant aripans on the auspicious occasion of Tusari Puja in order to
get good husbands. In this occasion they draw a temple, the moon, the sun, Navagrah (rune
planets) as shown in the pictures below:

Figure: Tusari Puja Aripan

In the above Aripana, three figures of temples are in three colors using rice, vermillion, and
turmeric powders. These are gunas (basic attributes), tamas (inertia), and sattva (transcendence).
The Gauri yantra is drawn at the centre of the temples. It is supposed to ward-off negative energy
and evoke the positive wave in the conjugal life. The use of yantra in the figure is the
worshipping of "sakti" which indicates the influence of tantra in Aripana.

The aripana is basically about the rituals, security, and fertility theme carrying the tantric
philosophy of bhoga - the sensual pleasure which leads a person to achieve oneness with the
divine. The sexual symbols painted in aripana represent the Mithila belief on material world that
becomes a vehicle for spiritual fulfillment. Ant and Madhu opine, Sex is regarded as physical
basis of creation and evolution It is the cosmic union of opposites; of male and female principles.
This joy of union is equated with supreme bliss (ananda), obliterating differences between male
and female in a state of complete union. In this state all impulse and function become Siva-Sakti"
(Ant and Madhu, 26). Women express their subjectivity in aripana, and liberate themselves
having given emphasis on the pleasure principle Thus; their drawings reveal the tantric emphasis
on the synthesis of bhoga and yoga, or matter and spirit.

10
The Women making aripana without any training dominated art perpetuating the shakti cult-the
female principle is dominant and lords like Bishnu or Shiva remain subordinate. Aripana links
with tantra, the triangle of which represents three things - desire, knowledge, and action - brings
forth the play of female powers of desire (symbolized by goddess Laxmi), knowledge
(represented by goddess Saraswoti), and action (dramatized by the audacities of goddess Durga)
Parbati as Durga, in particular, epitomizes the affirmation of the powers of nature, fertility, and
sexuality as in the following figure of aripana shows

Figure 2. Sasthi Puja Aripan

Most of the Maithilaripanas foreground the feminine, material side of life as does the above
painting through celebration of the Productivity of young Maithil girls symbolized by the lotus
Aripanas symbolize a life style distinguished by a deliberate enjoyment of sensual and sexual
experiences as appropriate vehicles for the realization of the primal reality or power, thereby
embodying resistance to patriarchal, Brahmanical culture. Hence, it is ritual as well.

GRAYS AREAS OF ARIPANA

The researcher views various areas to be researched regarding 'aripana' of Mithila Region in
Nepal. The socio-economic, cultural, academic as well as religious aspects of aripana are yet
unexplored for home and abroad in the arenas of knowledge. Therefore, a great deal of
investments and different researches are to be conducted in aripana would enlighten the Human
civilization about Human art and life.

11
DATA ANALYSIS AND PRESENTATION

The data collection was done through the survey model where 20 samples was taken from the
university students. Through the data collection, gathering and measuring information on
variables of interest, in an established systematic fashion that enables one to answer stated
research questions and its outcomes are represented in a tabulation format.

Satisfaction towards Mithila Culture in every society

1. How much are you satisfied with Mithila culture in every society?
20 responses

45 41.9
40

35

30

25 22.6
19.4
20

15
9.7
10
4.3
5

0
very satisfied 4.3satisfied Dissatisfied Very Dissatisfied I don't know

Satisfaction towards Mithila culture in every society

According to data shown in the Chart , 41.9% of the respondent (out of 40) were dissatisfied
with the Mithila culture in every society followed by 22.6% responded that they were not either
satisfied or dissatisfied with Mithila culture in every society . Likewise, 19.4% of the respondent
seemed to be satisfied with Mithila culture in every society, about ten percent (9.7%) were very
dissatisfied and rest of the percentage seemed to be very satisfied. This shows the majority of
individuals being out dated with the Mithila culture involvement scenario in their daily life. The

12
population which tends to be more inclined with the cultural values at today's time value seems
disturbed with the culture scenario of Nepalese context.

Satisfaction of cultural demand Approach in every caste

2. How far are you satisfied with the cultural demand in every caste?
20 responses

35
32.3

30

25.8
25

20 19.4

15
12.9

9.7
10

0
Very Satisfied Satisfied Dissatisfied Very Dissatisfied I don’t know

Satisfaction towards cultural demand in every caste

According to data shown in Chart, 32.3% of the respondent (out of 40) was satisfied with the
cultural demand in every caste followed by 25.8% respondent who is dissatisfied with the future
approaches. Similarly, 19.4% of the respondent seemed to be very dissatisfied, 12.9% of the
respondents were very satisfied with the cultural demand in every caste. Likewise, about ten
percent (9.7%) were unknown about the matter of mithila culture.

13
Satisfaction towards the Aripana material towards mithila culture

3. Are you satisfied with the Aripana material towards mithila culture?
20 responses

45

40 38.7

35

30
25.8
25
19.4
20

15 12.9

10

5 3.2

0
Very Satisfied Satisfied Dissatisfied Very Dissatisfied I don’t know

Satisfaction towards Aripana material towards mithila culture

This is for the inclusion of all caste and cultured group citizen. According to the data shown in
Chart , 38.7% of the respondent (out of 40) were satisfied with these material followed by 25.8%
of respondent dissatisfied with the material. Moreover, 19.4% of the respondent were very
satisfied with the material for mithila culture .while 12.9% of the respondent were neither
satisfied nor dissatisfied with the material of aripana towards mithila culture . Furthermore, very
few were very dissatisfied with the Aripana material towards mithila culture.

14
Satisfaction towards arts of Mithila paint

4. To what extent are you satisfied with art of mithila paint?

20 responses

35
32.3

30
25.8
25

20 19.4

16.1
15

10
6.4
5

0
Very Satisfied Satisfied Dissatisfied Very Dissatisfied I don’t know

Satisfaction towards art of mithila paint

According to the data shown in Chart , 32.3% of the respondent (out of 39) were satisfied with
the f' performance followed by 25.8% were dissatisfied with the art of mithila culture. Likewise,
19.4% of the respondents were neither satisfied nor dissatisfied with the mithila art performance
and 16.1% of the respondents were very dissatisfied with the performance. Very few respondents
were very satisfied with these performances. The performance of female is the epitome of their
work skill and man powering success after holding half of the culture program.

Percentage of Madeshi community culture program

15
 5 In your opinion, what is the present percentage of Madeshi community culture program?
20 responses

45

40
40

35
32.3

30 29

25

19.4 20
20

15

10

Percentage of Madeshi community culture program

While surveying, according to the data shown in Chart, 32.3% of the respondent (out of 40) told
that they had no idea about culture program about this community. Likewise, 29% of the
respondent told that the other culture holds 50% of the nominee as female in the culture division
followed by 19.4% of the respondent marking 30% of nominee in the culture program. Very few
respondents were present there to mark ten percent, 20% and 40% as a nominee percentage of
community culture.

16
Percentage of Females performance to make Aripana

6 In your opinion, what percentage of females is performed to make Aripana?

20 reasons

35
32.3

30

25
22.6

20 19.4

15

10 8.5
8

0
0
less than 10% 10-20% 20-30% 30-40% 40-50% Do not know

Percentage of Females performance to make Aripana

At the time of modernization and era of feminism, data shown in the Chart, it says that, 32.3% of
the respondent (out of 40) marks less than ten percent females holding position of their
performance at the Madeshi culture followed by 22.6% marking 20-30% as the position holding
basic level. Likewise, 19.4% of the respondent marked 10- 20% females holding the position of
other culture and another 17.7% marked for no absolute idea regarding it. Very few respondents
marked 30-40% female holding their performance while none of the respondent market 40-50%
in the survey.

17
Opportunities to male Candidates to Participate in Aripana culture programme

7. What is your expectation level that the cultural will provide more opportunities to male
Candidates to participate in the upcoming Aripana culture programme?
20 reasons

50
45.2
45

40

35

30

25 22.6

20

15 12.9

10
4.5
5

0
Highly Moderate Low Not sure

Opportunities to male candidate for Aripana program

According to the data shown in Chart, 45.2% of the respondent (out of 40) had moderate
expectation level that the cultural programme will provide more opportunities to the male
candidates to participate in the upcoming program followed by 22.6% of the respondent with low
expectation in it. Likewise, 19.4% of the respondent weren't sure about the opportunities culture
party will provide to the male candidates and 12.9% had high expectation level regarding the
madeshi parties to provide opportunities to male nominee in upcoming programme.

18
Declaration of Female Position in Madeshi community

8. When the artist talk about the representation of females in their Madeshi community,
What kind of position does the other community member commonly declare for them?
20 reasons

50 45.2
45
40
35
30
25 22.6
19.4
20
15
10
4.5
5
0
s ce ke w
io no
ol en es
a
or
tf flu t' k
In am on
eyp s s rn Id
k le f o
ith ith on
w w iti
n ns os
si tio ti o y p
po si i ar
p po s id
hi or b
ers ni su
ad Ju a
le as
st
Ju

Declaration of Female Position in Madeshi community

According to the data represented by the Chart 7.8, 45.2% of the respondent (out of 40) marks
just as a subsidiary position for namesake when Madeshi community declares representation of
female in a position holding case followed by 22.6% respondent marking junior position with
less influence meant to the culture decision making. Moreover, 19.4% respondent chose artist
position with key portfolios when the artist talk about representation of female in party caucus
position while 12.9% were neutral with their remarks.

19
Optimization towards Future of Mithila art

9. How optimistic toward the future of Mithila art?

20 reasons

40
35.5
35

30

25
22.4 22.4

20 19.4

16.1
15

10

0
Highly optimistic Optimistic Pessimistic Highly pessimistic Unknown

Optimization towards Future of mithila art

According to the data shown in Chart , 35.5% of the respondent (out of 40) were optimistic
towards the future of mithila art remarkable presentation in mithila culture followed by 22.6%
who were neither optimistic nor pessimistic towards the future of mithila art in Nepal. Likewise,
19.4% of the respondent were pessimistic towards the future of mithila art in Nepal and 16.1%
were highly optimistic towards the female participation. Very few respondents were highly
pessimistic towards the future of mithila art.

20
Barriers for Low facilities in mithila art
10. In your opinion, which of the following barriers are most responsible for low facilities in
mithila art?
20 reasons

35
32.3 32.3

30

25
22.6

20

15

10
6.4
5 3.3 3.1

0
Educational cultural financial Favoritism in Cultural and All of the Above
Nomination Favoritism

Barriers for Low facilities in Mithila art.

According to the data shown in Chart , 32.3% of the respondent (out of 40) believe that all the
reasons such as educational, cultural, financial and favoritism in nomination were the barriers
responsible for the low facilities in mithila art. Likewise, another 32.3% of the respondent
believes favoritism in nomination as the biggest barriers responsible for low facilities followed
by 22.6% respondent marking culture as the main barriers of it. Moreover, few of them have
marked educational, financial and favoritism as an individual barriers of low facilities in mithila
art.

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FINDING AND DISCUSSION

The art is not only the depicts the social structure but also the cultural identity of the land with its
depictions on themes of religions, love and fertility. Madhubani paintings are among the most
famous paintings in the world. This popular art of the Mithila region expresses the creativity and
sensitivity of its people.

It is done in primary colors of natural origin on paper and cloth, the mithila art narrates
mythological and religious events. The painting is done with fingers, twings, brushes, nib-pens,
and matchsticks, using natural dyes, and pigments and is characterized by eye – catching
geometrical patterns.

Majorly practiced by the people of Nepal and Bihar ( A North-eastern state of Indian), is now
one of the most popular art forms. The Madhubani Paintings are also known as art of mithila
because this style of painting originated from a place called Mithila (In Bihar, India currently).

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IMPLICATION

The dazzling Mithila artwork produced by Maithali women of Nepal can be traced back as far as
the 7th century and has been passed from generation to generation since. Mithila painting also
known as Madhubani art or painting in India is a traditionally designed painting created by the
women of various communities in the Mithila region of Nepal and India. As the former capital of
the kingdom of Mithila, Janakpur has emerged as the centre for both preserving and promoting
this ancient art.

Initially, the women folk of the village drew the paintings on the village drew the paintings on
the walls of their home, with fingers, twigs, brushes, and matchsticks as an illustration of their
thoughts , hopes, and dreams . With the change in time and traditions, the paintings started
becoming a part of festivities and special events, like marriage. Slowly and gradually, the Mithila
painting starts developing on paper and canvas crossing the traditional boundaries and started
reaching connoisseurs of art, both at the national as well as the international level.

23
Conclusion

Aripanas, aimed at rituals, security, and fertility motifs of the material world which functions as
a means of achieving the spiritual fulfillment. All the life affirming symbols portrayed in the art
works representing the theme of fertility and regeneration highlight the significance of material
reality, and through the consumption of the physical pleasure, Human can attain their oneness
with the cosmic consciousness Tantrism, that regards man and woman as two sides of the same
coin, has greatly inspired Women's drawings, and so Women through their drawings establish
their equal space in the patriarchal Mithila society by presenting themselves as Sakti-a spirit or
the enlivening energy inevitable for the functioning of the world. Hence, Aripanas' in Mithila
reflect the understanding of Women sakti' as a tantra becoming inseparable in day-to-day activity
of people in Mithila Region in the form of floor panting drawn all the year round on any
occasional almost every day.

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QUESTIONARRIE

FOR SURVEY OF FEMALE PARTICIPATION IN POLITICS:

INTRODUCTION:
NAME:
CASTE:
RELIGION:
AGE:
EDUCATION STATUS:
OCCUPATION:
WARD NO:

1. How much are satisfied with Mithila culture?

a) Very satisfied
b) Satisfied
c) I don’t know
d) Dissatisfied
e) Very dissatisfied

2. How far you satisfied with cultural demand in every caste?

a) Very satisfied
b) Satisfied
c) I don’t know
d) Dissatisfied.
e) Very dissatisfied

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3. Are you satisfied with Aripana material towards mithila culture?

a) Very satisfied
b) Satisfied
c) I don’t know
d) Dissatisfied
e) Very dissatisfied

4. To what extent are you satisfied with art of Mithila paint?

a) Very satisfied
b) satisfied
c) I don’t know
d) Dissatisfied
e) Very dissatisfied

5. In your opinion, what is the present percentage of Madeshi community culture program?

a) 10%
b) 20%
c) 30%
d) 40%
e) 50%

6. In your opinion, what percentage of female are performed to make Aripana?

a) less than 10%

b) 10%-20%
c) 20%-30%
d) 30%-40%
e) $40%-50%
f) Don't Know

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7. What is your expectation level that the cultural will provide more opportunities to make
candidates to participate in the upcoming Aripana culture program?

a) Highly
b) Moderate
c) Low
d) Not Sure

8. When the artists talk about the representation of female in their Madeshi community?
What kind of position does the other community member commonly declare for them?

a) leadership position with key portfolios

b) Junior positions with less Influence
c) Just as a subsidiary position for namesake
d) I don't know

9. Optimistic toward the future of Mithila art?

a) Highly optimistic
b) Optimistic
c) Pessimistic
d) Highly pessimistic
e) Unknown

10. In your opnion, which of the following barriers are lost responsible for low facilities in
mithila art?

a) Educational
b) cultural
c) financial
d) Favoritism in Nomination
e) Cultural and Favoritism
f) All of the Above

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REFRENCES

Biemacki, L. (2007). Sex. Talk and gender Rites Renowned Goddess of Desire Women, Sex and
Speech in Tantra OUP, New York, pp. 61-92
Dulal, L. (2019), DasaMahavidhyas Painted Scroll of National Museum an Illustrative Art
Heritage of Nepal International Journal of Research and Analytical Reviews (RAR), 6(2), 554-
565. Retrieved from http:/www.itar org/viewfull.php?p_id=IJRAR19K3210.
Mishra, K. K. (2003) Mithila Paintings Women's Creativity Under Changing Perspectives.
Indian Folklore Research Journal.1, (3), pp. 93-103.
Mookerjee, A. & Khanna, M. (1977). The Tantric Way Arts, Science, Ritual Hudson Ltd,
Boston,
Pandey, R. N. (2008), Nepal through the Ages. Delhi Adroit Thames, &Neel, R. (2010). From
Folk Art to Fine Art Changing Paradigms in the Historiography of Mithila Painting Journal of
Art Historiography,2, pp. 1-20
Timalsina, S (2015) Tantric Visual Culture A Cognitive Approach Routledge, New York
Solluna, S. (2017). Tantra Discover the Path from Sex to Spirit Hay House India, India

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