Commendable presentation by Mrinal Singh, a Mithila Painting artist
Patna: Mrinal Singhs experimental Mithila Painting garnered the main attention in the three-day folk painting exhibition held at Bihar Lalit Kala Academy, Patna from 2nd to 4th August.
His painting style is unique and fineline called “Kachhni”, which makes him distinct from other artists.
The artist chose the subject for the exhibition very intelligently which was a song called "Piya Mor Balak, Hum Taruni…", which he painted on the canvas. The song was written by Maithil Kokil Vidyapati, which doesn’t need any mention in the Maithil society.
In this song of agony by the great poet, the desperation of a distressed young woman to get her husbands love has been depicted. The artist has portrayed the young heroine of this song at the center stage with immense intricate lines and the emotion is evident. And, other characters of the song like Batohia, Haat ke Log, Dhenu Gai and others have also been carved prettily.
Artists forte lies in studying any subject at every levels to understand the relevance and emotion. His storytelling style and linking the painting with music and tradition have received a lot of praise.
The chief guest of the exhibition, Mr. Ashok Kumar Sinha, Additional Director (Bihar Museum) admired the artist and his art work via the unique storytelling style. And, also mentioned that the artist view of presenting the art, culture and emotion is praise worthy. The state and national award-winning artists who had come here also specially congratulated Mrinal.
“Piya mor baalak, hum taruni…”
Artist: Mrinal Singh
About the Artist
Mrinal is originally a resident of "Bhith Bhagwanpur Deodhi, Madhepur, Madhubani". He had his early education and upbringing in Patna, Bihar and is currently based in Delhi. After completing his MBA from IIM-Bangalore, he is working in a technical leadership role in the corporate sector. Due to his interest in art, literature and culture, he has pursued art for medium of expression.
Painting Synopsis
Resources used : Very diluted Acrylic color for the base, thick diluted black Acrylic color for the line work, 3 different nibs, nib holder, 00 Brush for outline, 06 brush for filling the background, 440 GSM Handmade Sheet - Size : 22"/30"
Inspiration behind bringing this painting to reality:
“Piya mor balak, hum taruni…” is one of those melodies whose music left a profound imprint on my teenage cognizance. That melodious voice of Late Sharda Sinha Ji was like a means of my inner contentment. As my mental intelligence settled with age, my mortality also advanced. At this juncture of my life, when I can comprehend emotions, my heart was filled with compassion as I tried to understand the connotation of this song. The inspiration for painting this song was not just to depict the emotion, but to experience it as well, while I went through the process. In this creation, I have tried to portray the agony and emotional state of the young heroine of this song composed by Maithil Kokil Vidyapati, while she does not receive love in reciprocation by her husband.
This painting is an experimental painting, mainly painted in the Kachni style of Madhubani painting. The heroine of the song is significantly painted and focused in the center and other characters of the song are placed on both sides of the heroine.
Description:
Piya mor baalak, hum taruni| Kaun tap chuki bhelau janani||
Pahiri lel sakhi dakshinak cheer| Piya ke dekhait mora dagadh shareer||
According to my imagination, in the 14th century, polygamy by men and child marriage of teenage girls was commonly practiced in Indian society. Perhaps, this must have been the background for composing this poem. The distressed young woman, questioning the very existence of her womanhood, puts on maquillage and is dressed up. As can be seen in the picture, she is dressed up and is shown filling her hair parting with “Vermillion” as a symbol of being a married woman in Indian Hindu context. While putting on makeup, the heroine hopes that her husband will be attracted to her. But this could not happen. As a result of this act, the heroines tender heart seems to have been burnt by fire. Which is significantly painted in the painting. A flying bird has been depicted in her nose ring, which means that the heroine wants to break all her bonds and take a big flight. And the fish in her earring means that the heroines yearning has been compared to the yearning of a fish without water.
Piya lel god kaye chalali bajaar| hatiya ke lok poochhai ke laagu tohaar||
Nahi mor deor ki nahi chhot bhai|poorab likhal chhal swami hamaar||
Keen-sighting the coldness amid the heroine and her husband, when the people in the market asked about their association, the heroine says that he is neither her brother-in-law, nor her younger brother. Rather, Creator has made him as her master. The people in the market, his brother-in-law and younger brother are painted symbolically in the picture to demonstrate this context.
Baat re batohiya ki tohi mora bhai| hamro samaad naihar lene jaaya||
Kahihun baba kinai dheni gaay| dudhwa pilaayak posta jamai||
Nahi mor taka achhi nahi dhenu gaay| kon vidhi posab baalak jamaai||
The heroine calls the traveler as her brother and requests him to deliver her note to her parents home. In Mithila, the wealth of a household is judged by their cattle. So the heroine sends a message to her father that she is no longer able to serve her husband and that he should buy a cow and serve his son-in-law. This means that by being away from her husband, even if only for a few moments, her heartache will be relieved. But she receives the unsatisfactory retort that her father does not have enough wealth to buy or send a cow. This means that the father wants the heroine to serve her husband and lead her domestic life. This is depicted in the painting by drawing a traveler carrying a letter and a cow.
Bhanai Vidyapati suni brajnaari| dhairaj dhaya rahu milat Muraari||
In the preceding line of the verse, Vidyapati consoles the heroine by telling her to be patient; she will surely receive the affection and love of her husband in the form of Krishna. To depict the image of Krishna, his flute and peacock feather are drawn in the painting around Heroine’s husband.