000			02097nam a22003137a 4500
008			220314b xxu||||| |||| 00| 0 eng d
020			_a9780944142332
037			_cGifted _nVijayan Kannampilly
041			_aEnglish
082			_a759.95412 _bJYO/GA
100			_aJyotindra Jain
245			_aGANGA DEVI : Tradition and Expression in Mithila Painting
250			_a1
260			_aAhmedabad _bMapin Publishing _c1997/01/01
300			_g135
500			_aIn the Mithila region of north Bihar there is an old tradition of painting the walls of the nuptial chamber. The paintings are an assemblage of symbolic images of the lotus plant, the bamboo grove, fishes, birds and snakes in union, and represent fertility and the proliferation of life. According to conventional ritual practice, the bride and the groom spend three nights in this chamber without cohabiting, and on the fourth, amidst the paintings, consummate the marriage. Ganga Devi, both as a person and as an artist, was rooted in the tradition of Mithila painting. While the tradition was deeply ingrained in her and was a source of inspiration in her work, and of courage in her tormented personal life, she was one of the few Mithila artists to respond spontaneously and sensitively to the new possibilities offered by the availability of paper in the region. The creative expression of rural and tribal artists has always been seen by most art historians as a product of ethnic collectivity whose authenticity lies in the remoteness of time and space. This study is the first of its kind, tracing the growth of a rural artist's work from her early paintings to her venturing out into narrative and autobiographical work, and the invention of a new pictorial vocabulary.
650			_aGanga Devi -Indian painter
650			_aPainting
650			_aLife and Works
650			_aMithila - Bihar- India
650			_a Asia-Mithila
650			_aPainting, Indic
650			_aHindu painting
650			_aFolk art
650			_aBiographical Writings
942			_cREF
942			_2ddc
942			_2ddc
999			_c186624 _d186624