DOCUMENTATION OF WARLI PANTING

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Transcript of DOCUMENTATION OF WARLI PANTING

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DOCUMENTATION OF WARLI PANTING

OF MAHARASHTRA

Documented by

Resource Centre for Traditional Paintings

National Institute for Micro Small and Medium Enterprises (ni-msme) (An organization of the Ministry of MSME Govt. of India)

Yousufguda, Hyderbad - 500045 (India).

Sponsored by

O/o the Development commissioner (Handicrafts)

Ministry of Textiles, Government of India.

New Delhi (India)

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Acknowledgements

We are grateful to the Development Commissioner for Handicrafts, Ministry of Textiles, Government of India, New Delhi for the support given to The Resource Centre for Traditional Paintings of ni-msme to make this document.

We are equally grateful to Shri. M. Chandrasekhar Reddy, Director General, ni-msme and Dr. G.U.K. Rao, Director (School of Enterprise Development), ni-msme for their continuous advise and guidance in execution of the study.

We also extend our thanks to Shri. V.V.S. Suryanarayana and Shri. Shreekanth. V. Maha who supported us in various stages of documentation. We are indebted to all our Warli Community and artist's for their warm cooperation and providing valuable information needed for the work.

We are also thankful to Mrs. Rakhi Salunke and Shri. Nitin B. Salunke for taking responsibility of the entire field work of the Study.

K. Surya Prakash Goud, Associate Faculty, ni-msme Y. Prakash, Consultant, ni-msme

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Contents

Introduction

Purpose

Patronage

Style

Compare with other styles

Concept

The process of painting

Raw Materials

Product Range

Marketing

Costing of product

Foreign visits

List of award winner

Themes

Colour symbolism

Main features of warli art

Basic principles

Efforts for development of Walri Painting

Problems

Suggestions

Artist addresses & their works

References

Map

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The warli along with other tribes live in the Thane district of western Maharashtra, about 150 km north of Bombay (Mumbai) and stretching upto the Gujarat border.

They are spread mostly over

Dahanu and Talasari “Talukas” but in

smaller numbers can be found in

other part of the District as well, like

Mokhada, Vada, Palghar, Shahpur

and Javhar talukas.

They have their own beliefs,

life and customs which have nothing in common with Hinduism. The warli speak an unwritten

dialect mingling Sanskrit, Marathi and Gujrathi words. The word “Warli” comes from “Warla”

which means a piece of land or a field. Tribes men believe that they are called Warli because

they used to spread Viral (brushwood) for preparation of agriculture land. Agriculture,

which is their main occupation provides a bare substance to the warli's.

Warli painting, which are made by warli tribal and mainly done by the women folk.

This art was first explored in the early seventies & from then it was named as “Warli art”

Tribal people express themselves in vivid styles through painting which they execute on the

wall of their houses. This was the only means of transmitting folklore to a popular not

acquainted with the written word.

While there are no records of the exact origins of this art, its roots may be traced to thas early as the 10 century A.D. Research suggests that the tribal are the propagators of

the tradition which originated some time in the Neolithic period between 2,500 B.C. and

3000 B.C. . Their painting are similar to those done between 5,00 and 10,000 B.C. in the

Rock shelters of Bhimbetka in Madhya Pradesh. Their extremely rudimentary wall painting

use a very basic graphic vocabulary a circle, a triangles comes from their observation of

nature.

The tribe has a different culture and their lives circle around their cultural life. But

they have been blessed by nature. The main source of their art is drawn from nature. It

medium is nature and it explores nature from nature to nature seems to be the underlying

force of this art. Every thing seems to be communicating with nature and this forms the

chief characteristic of the Warli art. The Warli art has retained a kind of simplicity and

natural beauty.

Warli art originates from the idea of writing the “Dev Chowk”. The painting are

usually drawn during weddings or at the time of religious ritual. These painting can be

found, one in every two to three huts, in every village. They do not consist of myriad

primary colours. So, intimately associated with folk paintings in India. Instead they are

Introduction

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painted on an austere brown surface with the use of only one white colour, the only

exceptions are red and yellow, auspicious dots, which are used to decorate the

painting. This first impression of sobriety, however is countered by the ebullience of

the themes depicted They look outwards, capturing the life around and by Implicating

the humanness of living.

The art of the Warli, is part of ritual tradition and needs to be studied within

this context to be fully understood. Ritual art, here as elsewhere, exists for a very

specific purpose, where it fulfils the aims of the individual and the community. In most

cases, art is necessary for the community for while at one level it fulfils their immediate

aim, at another it represents that which the community is striving towards.

In animating what is recognised as an inner truth, the painting point the way to

that which has yet to be achieved. In very real terms , there fore it is provides them with

an 'order' a coherency which is needed in their lives.

In Warli painting an artist play with shapes. The varied shapes in a painting

attract the attention of the on looker, like our day to day life, there paintings are full

of the basic shapes like triangles, squares and circles.

At a very primary level such a picture is drawn only with the help of lines. It is thus

that in Warli culture, paintings are unique. All paintings are based on geometric shapes

as their chief source of inspiration is nature. The shapes also are devived from various

aspects of nature.

Human and animal bodies are represented by two triangles joined at the tip.

“The upper triangle depicts the trunk and the lower triangle the pelvis.”

Their precarious equilibrium symbolizes the balance of the universe, and of the

couple and has the practical and amusing advantage of animating the bodies, with

out this balance. Warli art would be devoid of rhythms and life. The pared down

pictorial language is matched by rudimentary technique and also It is believed that

these painting invoke power of the Gods.

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Far away from today's life in city and preserving in heritance of Warli art which

originally an Addim art, we find spontaneity in Warli art. This art is the life of Warli

people. Their art originates in nature. Their medium and their invention of art is also a

nature. “Taken from nature and given to nature' is the way of their drawing. Making

harmony with surroundings is the main feature we find in Warli art.

In the progressing years of India, we find pictures of animals and hunting of

animals in some places. That time hunting was the important part of the life of man.

He wandered in search of food, hunt animals and fulfilled his hunger. But when he

understood the technique of agriculture, his struggle and unsafety decreased. Then

he could satisfy his hunger easily. So his life changed. Then to satisfy their duties and

keeping himself from their anger became important for him.

Generally at the time of wedding or at the time of some religious functions

these pictures were drawn. Warli people draw pictures to show their happiness and also

to show their faiths and the holiness in their festivals and their religious functions. This

art is the symbolic communication with their deities and nature.

The purpose of this art is help the elements of their community to express their

religious feetings and to make them pleased and also to satisfy the invisible and

unexpressed strength which occupy their life.

Warli people have to face many troubles and illness. They always follow some

traditional religious rituals to overcome other problems and to find a remedy for the

disease. For that they draw pictures to make their deities happy and to praise them.

They developed this culture mainly for the harmony with the God.

Daubring the walls of house with red ochre is the tradition of Warli. After this,

Warli women draw pictures on them. Wall without picture is like a man without his cloths,

is the thinking of Warli people.

Warli painting is a hieroglyphics and it is also symbolic. The pictures of growing

vines indicates the prosperity in farms. The dub web in their pictures shows their

tolerance and square in their drawing indicates our mother earth.

Before bringing their harvest at home, Warli women daub their houses and draw

pictures of birds, animals, trees, vines with their finger prints on both the sides of their

entrance.

Holy square (Dev Chawk) drawn at the time of wedding ceremony is the request

to god to the present in this ceremony and give blessings to bride and bridegroom.

This community has immense faith in God. Himaidevi, Hirva, Ekshiryo,

Panchshirsa, Waghya, Narandev, Pavshya Dev are some of their deities. Warli also

worship Gods of Hindus viz., Mahalaxmi, Mahadev, Gauri etc. They worship five

elements of nature. They called them kansari, Dhagesar, Gayatri, Dhartari, Suryadev

Purpose

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and Chandradev . They show their reference on their deities by drawing pictures on the walls of their house. This art of drawing is a very old tradition of Warli.

Training of this drawing is not given anywhere. By tradition and by their

observation Warli people learnt this art. The information about this art is not given

any book. This is transferred from one generation to another generation. Families

having Bhagat (the prist), Dhavler cultivate this art with great faith. For cultivating

this art Warli families should know the culture, customs and tradition of their religion.

Because drawing is not only a drawing art but it is also a culture.

Rural folk artists traditionally passed on the art of Warli from mother to

daughter. Basically this art is considered as the art of Warli women.

Almost all Warli Communities in Warli area in generally practice this art.

Warli painting’s are characterized by the simple strokes employed to say the

profoundest things. In Warli painting, the use of colour is restricted to a stark white against

earthen background. Geometric designs dominate most painting, dots and crooked line

are the units of these composition.

Warli painting’s express various folk imaginations, befits and costumes the whims and

moods of tribal life make for interesting themes. They are authentic depictions of a way of

life.

The style of painting evolved from its mural form. They draw inspiration from every

day lives for their themes. The painting are beautifully executed and resembles pre-historic

cave painting in execution and usually depict scenes of human figures engaged in

activities like hunting dancing , sowing and harvesting.

Warli painter systematically used the simple circle, squares, triangles and line all these

geometrical shapes to create wonderful motifs. Anatomical or iconographical principals

are not followed. These painting are not a perspective view effect.

But they are symbolic, imaginary and beautiful. The folk features are visible in

motifs. Importance is given to imagination of the painter as they have aesthetic sense, love

for nature, and trust in life, which is depicted in the painting.

Patronage

Style

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Warli Painting Saora Painting

Red clay is used as a coat on the wall Red clay is used as a coat on the wall

Rice paste with gum is used for painting Rice paste with gum is used for painting

Chaukat or Chawk square used to draw

Dev Chawk and “Lagna Chawk”

(God and marriage chawk)

Mandala, which is a square or rectangular

shaped figure is used to draw the deities

or spirits.

Birds and animals figures both are same

as Saora.

Male and female figures are triangular

in shape.

Birds and animals figures both are same

as Warli.

Male and female figures are triangular

in shape.

Themes of fertility house hold and

agricultural activities.

Themes of fertility house hold and

agricultural activities.

The Dhavleris Sprinkle to cleanse

the house

liquor is offered to deities before

starting the painting

Warli tribal painting also similar to Hase Chittara.

Comparison to Warli and Saora

Saora and Warli both the painting tradition’s that have emerged at different points

of time in human evolution and history. We felt that there were number of aspects in both

the traditions that resembled with each other.

Saora painting is in odisha as well as in the border of Andra Pradesh adjoining odisha.

Comparison to Other Styles

Warli Painting Saora Painting Chittara Painting

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This art is 2 dimensional with no perspective or proportion.

Warli painting is simple and linear with maximum use of triangular shapes. They

draw inspiration from every lives for their themes.

The most important aspect of the painting is that is does not depict

mythological characters or images of deities, but social life. Pictures of human beings

and animals along with scene from daily life are created in a loose rhythmic pattern.

It also represent fertility as the tribal belief revolve around the circle of Birth and

Death . Tribal worship nature in many forms sun and moon, god of thunder, lighting

wind, rain etc.

Different gods are worshiped in different season. In the coming of the first rice

crop they worship the God of rain in a festival called “Naran-Deva.” In other festivals

that follow, the tribal worship the goddess of fertility, household peace, harvest and

many more. No wedding takes place without the drawing of “Mother Goddess” in the

front portion of the Bride’s house.

At all occasions birth, marriage, and death they draw circle, symbol of “Mother

Godess” Death is not the end for them rather it is a new beginning that is why circles

best represents the art of tribal.

This Warli paintings are part of their symbolic world that has been nurtured

through generation.

However symbols used are not universal and one symbol does not necessarily

stand for something specific in all paintings.

Traditional concepts are still adhered to but at the same time new concepts

have been allowed to seep in which helps them to face new challenges from the market.

Concept

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The process of painting during the

wedding is as important as the completed

picture itself, this is evident in the careful

preparations that are made for the

painting.

The walls are built with “Karvi reeds” or

“Bamboo stick” and plastered with cow

dung or mud. Most often the painting’s are

made on the outer side of the kitchen wall.

This wall usually faces the entrance door.

Despite this there is a very little light on the

painting.

A rectangular part of the wall was given a coating of geru (red mud), when this

is dried up, a brownish red surface is created over which the 'Savasini's began painting

with the bamboo stick chewed at the end to make it as a paintbrush, dipped in white

pigment. The white pigment is a mixture of rice paste and water with Mohu tree gum

for binding. The white Colour prepared by nicely washed rice soaked in water. For three

days by changing the water every day, grained and filtered to get liquid. Instead they

are painted in white on and austere brown surface. Decorated with occasional dots in

red and yellow. Colour of red and yellow represents Kumkum and haldi.

They express them selves in vivid style throughout the painting which they

execute on the wall of their house.

Now a days, men have also taken to this painting. They do paintings on cloth

and paper in the form of huge murals that adorn the walls. These murals bring out the

cosmic and miraculous world of the Warlis.

Raw materials and tools(Rice paste, mix with Gum and Water Red clay (Geru), cow dung, mud)

They also use natural colours from nature.

Dark Blue - Mahakunch Flower

Orange - Majista

Yellow - Ranfanas / turmeric

Black - Charcoal

Red - Palash flower / Kumkum

For surface they use Handmade papers, cotton cloth (canvas)

Now they also use water and synthetic colures to create Warli painting with Brush or

Bamboo stick chewed at the end , to make it work like a paintbrush.

The process of painting

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Exhibitions organized by Government Departments and NGO's play a major role

in marketing of Warli painting product. Some NGO’s sponsor the Warli Artist for

Exhibiting their work in Galleries. Many artists get order for painting’s. Some people buy

artists work and couriers to foreign countries. Execution of Warli use as murals in various

places is creating a positive response in the market. There is also a lot of demand in

foreign countries for Warli painting’s.

Costing of Product

Usually 3’x3’ painting’s are sold for Rs. 3500/- prepared by eminent

artists. Very little cost of colour and cloth is involved. but, major portion is hard skilled

work.

Foreign visits

1) Shri. Jivya Soma Mashe

Visited Japan, Canda, Germany, U.S.A. and several other countries to

Demonstrate his work.

His first exhibition outside India was at the palais de Menton , france in 1976.

Pomidou centre, Paris in 1989.

In 2003 he did a joint exhibition at Musium Kunst Palast in Dusseldrf , Germany.

Padiglione d' Arfe contemporaneous, Milano, Italy in 2004.

Shippensburg university, united states in 2006.

Halle Saint Pierre, paris in 2007.

2) Rajesh Chaitya Vangad

Visited londan, Germany, Spain and Japan for Warli painting workshop.

3) Shri. Sadashiv Mashe

Visited Germany for his painting show and workshop.

4) Shri. Shantaram Ghorakhana

Going to Japan from 1997 - till 2013 for workshop.

5) Shri. Madhukar vadu

Going to japan for workshop.

Marketing

Product Range Wall hangings, Greeting Cards, Book marks, Files, Garments, Pots, Canvas Painting’s,

Jewellery, Key-chains, Saree and duppata's and many more products are produced.

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Padmashri Jivya Soma Mashe

1976 National Award .

2002 Ship Guru.

2009 Prince Claus Award.

2011 Padma Shri.

Themes

Warli art is beautiful folk art of Maharashtra , traditionally by the tribal woman.

The most important aspect of the painting is that it does not depict mythological

characters or images of deities, but social life.

Their respect for nature is from the most gigantic to the smallest creature and

plant. The figures and traditional motif are repetitive and highly symbolic. They

communicate through their paintings and their life style and passion for nature are

depicted with utmost details.

They are painted in white on an austere brown surface decorated with occasional

dots in red and yellow. This first impression of sobriety is countered by ebullience of the

themes depicted . These are remarkable in their intensely social nature of their social

nature, they look outwards, capturing the life around and by implication, the humanness of

living, men, animals and trees form a loose, rhythmic pattern across the entire sheet.

In Warli paintings themes are based on five main subjects. 1) God’s and Goddesses

2) Marriage

3) Harvesting

4) Day to Day life

5) Dance and Music

Award winner

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ChawkOne of the famous Warli painting is 'Marriage Chawk' .

The women called “Savasini” meaning married women whose husband are alive, paint

a “Chauk' or a “Square” on the walls. “Chawk” is of two types “Dev Chawk” and 'Langa

Chawk”.

The most striking aspect of the Warli painting is the Chawk a

dazzling square, consisting of circles, triangles, diagonals, polygons

and other geometrical shapes.

The basic Chawk is a skeleton of parallel lines drawn to enclose

a square space. The edges of the square are looped together,

sometimes in three or four loops, in order to make the joints more

secure. In some areas they were fold that the lines represented are the four household

gods-Naranadeva, Hirva, Himai and Jhotinga. Possibly the gods are also situated ,

one at each corner, to guard the universe as well as the hut which is the universe in

microcosm. The square must be a powerful symbol of protection indeed.

The typical “Chawk' is an average of five rows of designs, the

pophala, the Sakhali, the dhak , the pasodi and the Basinga

pattern. These integrate both design and meaning to provide a

richly textured tapestry woven. the central square stood with it’s

five borders of design, the Jewellery of goddess. Inside a Devchawk

we find palghata the mother goddess, symbolizing fertility around

the goddess within the “Chawk” are the sun and moon, the cosmic forces as well as

auspicious object like the comb, the Basing and the ladder which form the wedding

trousseau of the goddess.

A center for a concentrated form of energy as well as a place from which order

can be provided to individual lives. The marriage goddess is palaghata and her

presence is essential for the wedding. The Decorative square around her is known as the

chawk with the smaller square being the Deva Chawk which is known as Pancha Sirya.

The foliage around the Goddess is meant to provide her with shade. He is her

guardian.

In Warli area the Chawk are drawn vertically on the wall in white rice-paste on

the occasion of marriage. In the paintings the square is not a inner ornamentation but

exists in relation to the deity inside as well as the surrounding

landscape painting to a wall-defined function. where the

preparations for the wedding are taking place.

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Tarpa Dance Tarpa is a instrument of music for complete enjoyment

of life prepared by the Warli themselves. Its size can vary from one to

six feet. It consists of three main parts, the topmost being a long,

dried gourd made hollow with a hole near the top and a hollow

bamboo stick inserted in it. It is hollow and made out of thin Palms

leaves stuck together. The two parts are joined by two short hollow

bamboo sticks with holes to produce variations in the tunes. This is

the middle portion of the tarpa.

The Warli's have been dancing to the tune of the tarpa

from the last month when the young plants have emerged in the field

and the activities of the two seem to be linked. (Bhadrapada

Dwadasi). They will continue to dance to the tarpa until the Puja of tiger god (During

Diwali). They cannot play to Dhol (drum) during Holi, after which only the Kahali (flute) is

played.

Every night after a days work, they gather at the village open space and dance

through the night. The men form an inner circle around the tarpa player and the women

with arms around each other’s waist, the outer circle. Some times men and women

alternate in the formation of a single circle.

The dancing circle of men and women never turn their backs to the tarpa but dance

facing it. They move

according to the tarpa

player turning and

moving as he turns.

When the tune of the

tarpa changes the

dances change. The

different dances they

performe are the clap

dance, the duck dance ,

peacock dance or

simply the wild dance.

T h e t a r p a

players heave up and

down with their massive

trumpets, performing

the act of procreation, in the center of the dancing circle. The movements of the dance

are quick, sharp and excited.

The dances have changed during the last two generations, they have been

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Marriage Ceremony

Day to day life

Day to day life

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Harvesting

Ravali Puja

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The colours also seem to convey meaning.

Black colour is used to protect their homes from evil spirits. Hence both on the threshold

and around the door of their houses black colour is used.

White marks relate to the souls of dead family members.

Red marks are understood as blood mark of those who are dead.

Black colour shown the godly strength of the Bhagat (the priest)

Kumkum (Vermillion) is a symbol of progress a red coloured mark is taken to be a symbol

of God Naran.

Thus the Warli art is full of colour symbolism.

Colour Simbolism

Main Features of Warli Art

1) Creation based in lines and geometrical figures. 2) Pictures on different skylines (Horizons) at a time. 3) A View of Plan and Elevation at a time. 4) X-ray drawing , sketching of invisible things. 5) Emissaries arrangement 6) Micro and perfect observation. 7) A try to increase the descriptive reality than the sketching

reality. 8) A try, to give design oriented look for things in nature. 9) Combination of reality in life and some imagination. 10) They do not follow the conventional rules of art. 11) Easy to draw. 12) Use of symbols for certain purpose – sun, moon, frog, cob-web, swastika etc. 13) Mostly these drawings are drawn in the inner part of their hut and also on the walls of their entrance. 14)The main purpose of this drawing is to take blessings for

their activities on the occasion of marriage and festivals like Diwali activities.

15) This art is known as hieroglyphics, subjects in a single drawing.

16) The themes in Warli paintings are highly repetitive and symbolic.

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Special principles followed in the Warli painting Motifs are detailed below .

‘Regh’ - Regh means straight lines in Warli painting

Horizontal and vertical lines play a major role.

‘Pasodi’ - Symbol of the drawing of red and yellow

wedding cloth worn by the bride and groom. The

important thing in the pattern is the crossed line which

abbreviates the triangle that carries human sexuality to a

pitch of intensity.

‘Sakhali’ - This pattern for the jewellery of the warli is

concerned with the ebb and flow of the lines. Two lines

should intersect each other and this can be taken to signify

the union of the male and the female.

‘Dhak’ - Dhak pattern formed of two sharp triangles

perhaps bringing with it a scintillating awareness of

sexual ity. a musical instrument which is played for

invocation during the wedding ceremony. A slightly

elongated version of this is also played during death.

‘Bashinga’ - Symbol of wedding crown which

will be in triangle shape.

‘Pophala’ - The pophala represents the circle. An

auspicious symbol of the mother goddess.

‘Pot with Branch of mango leaves and coconut’ -

Pot is treated as a sacred and marriage function

commences with storing of holy water that is used for

bathing of Bride and bridegroom. It is also treated as

earth and sky put together. Also a symbol of fullness of

life.

Basic Principles

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‘Bashinga’ - Wedding crown that signifies the height of

fe r t i l i t y . I t i s a con s c i ou s act i v i ty o rgan i zed

by man.

‘Lisan’ - (ladder) ladder is the symbol of achieving

higher position by way of hardwork by both husband and

wife, like two poles of the ladder which are equal in life.

’Fani’ - (Comb) – It is used for beautification and occupies

a place in Warli painting.

‘Ghagali’ – Is a instrument of music played during

Kansaripuja.

‘ Tarpa’ - A musical instrument.

‘Surya and Chandra Deva’ (Sun and Moon). Food of Warli.

‘Man, Woman, the Priest

’Wajantri’ – Without musicians, rituals and

festivals would not take place.

‘Navara / Navari’ – bride and bridegroom draw in Warli

painting.

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‘Nagar’ (a plough) – Plough is an important agricultural

nstrument which is adopted in the Warli.

‘Bail Ghadi’ – (Bullock cart) – Prominently required in

the agricultural work is also used in the design.

‘Sutheda’ - (Spider) Symbol of exploitation.

‘Topali’ – (Basket) Used in the agricultural work and also

used for marketing.

‘Soop’ – ( Winnowing fan) Used in agricultural work.

‘Bail’- (OX) OX is part of

the life of a farmer.

‘Bakari’ – (Goat)

‘Undir’- ( Mouse) ‘Kombadi’- (Hen) ‘Pakharu’- (Bird)

‘Bav’- (Well)‘Ohal’- (River)‘Mugli’- (Ant)‘Mashi’- (Fly)

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‘Vagha deva’ – The Tiger God, protect themselves.

‘Pancha Siriya’ - The God inside the Davchawk. He is a

guardian of mother goddess.

‘Dogar’ – Mountain with Grass

‘Ghar’ - (House) type of house.

‘Kangi” - A large Round Rice-Bin made of cane.

‘Zhad’ – Tree (various type of trees shown in Warli painting)

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Warli painting and other Warli art & crafts are practiced by the communities

for their needs only.

The ancient pectorals art of the Warli tribe was during the 70’s. They underwent

a radical change. A man named Jivya Soma Mashe started to paint not only during

the ritual, but daily life. The late Bhaskar Kulkarni discovered this folk art form and

cultivated Jivya Mashe as a Master craftsman, who popularized the Warli art form. He

is honored for his creative reinvention of an art vocabulary that was disappearing. For

his vivid representation of the Warli vision of nature and culture in equilibrium, for

highlighting the contemporary relevance of local forms of knowledge and for his

significant contribution to the culture and development of the tribal people and

painting.

According to Jivya, he is considered to be the master and pioneer of

commercial Warli painting as he has been instrumental in spreading the same

throughout the world. He has also taught the skill to number of other Warli boys and

girls. Under Master Craftsmanship he took training program for some local Artist and

they became skilled artists. Many of them helped Jivya to attain National and

International popularity.

His art work is sent for display in various countries and is also going to some

countries for exhibition and demonstration. Today his son Balu and Sadashiv are

frequently called to Japan for Exhibition.

Madhukar Wadu is the only Warli painter in Maharashtra who has mastered the

art of speaking good German and English language. He feels that language is the

most basic tool for marketing and developing contracts today. Madhukar sends his

painting’s Germany, France, Australia and USA.

Female members of the Warli Tribe Manki Wayada & Suman Kharapade are

appointed in IDEAS (institute of Development Educational activities and studies) to

train 20 women artist for a period of one year. The main aim was to retain this art

among the Warli women.

One another female artist Rakhi Salunke was the first to use this Warli painting

on earthen pot, saree and a T- Shirt. She is trying to make best corporate gifts. Many

training programs are under taking by some NGO's . Under the master craftsmanship

of 6 month apprenticeship training programe of DC(CH) was implemented and 15

local lady artisans were trained and became skilled artists. The pictures on the stories

of Mahabharata were drawn first time in Mahabharat festival in Kurushetra. These

painting,s are displayed in the Museum there. Warli painting are also displayed the

walls of Tribal Gallery in Central Museum, Nagpur. She participated in many craft

mela’s organized by DC(CH) office and private NGO's.

Efforts for Development of Warli painting

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Thus tribal artists who make mask, metal craft, wooden art, ornaments,

musical Instruments etc are help by IDEAS .

Tribal Research and training Institute, Pune has Motivated some artist to exhibit their

art in a Government Organized Exhibition.

All most all Warli painting Artists participated in the exhibitions organized by

Development commissioner of Handicrafts and NGO's.

Problems

One of the important drawback of commercial painting is that it has

disintegrated the originality of traditional Warli painting. Traders and middle man

from non-tribal communities have began using Warli motifs for commercialisation.

Some of them have even learnt the art to earn money.

Inability to speak, write and read English, Hindi and other languages has

hindered Progress of Warli artists as a commercial painter. It is because of this

weakness middlemen have taken advantage of them.

▪As a women, a lot of her time is devoted to household and agricultural work and

hence is unable to draw more paintings.

Slowly natural colours are replaced with synthetic colours which are not eco-

friendly in nature.

Suggestion

Warli celebrates many festivals traditionally. They create other arts other than

Warli paintings corresponding to the incidents in these festival. Other arts include

sculpture, faces, traditional songs and stories. They also make simple things of day

to day use. There is an urgent need to understand this art with a view to provide a

strong platform in the modern art.

State as well as Central Government department may implement training

schemes with a view to provide skilled hands to the art. Local candidates may be

identified and deputed for training with stipend and raw material expenses. This

may bring the art out of its limitations. This is possible only with the support of

Government departments.

Art colleges in the state may also be involved with a view to give new thought

to this art form. Artists may be encouraged to make use of natural colours that

are locally available and cost effective.

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Maharashtra State Handicrafts Development Corporation (MSHDC) may

provide regular market for the art works created by rural artists which shall go a

long way in strengthening the art. In Warli place of Dahanu Taluka is a

concentrated place of this unique art and there is a display of all available

excellent art works, conducting live demonstration, sales outlet, local cultural

activities by involving all practicing artists is a permanent solution for

development of all types of Warli art. There is a good flow of tourists to jog falls

and floating tourists to near by pilgrimages.

There is a need to study in depth the Warli along with other folk arts to arrive to

its origin and history of this art in comparison with other folk arts of the country.

Technical Development workshops may be organized along with seminars by

bringing all practicing artists, experts, NGO's, along with various department

underone roof.

Few artists are good in skilled work, few in novel ideas, few in marketing, few in

creat on of new mofits, there is necessity to bring them together under one forum.

To develop this unique art, welfare schemes to state and Central Governments

may be passed on to the rural artists. Every artist may be encouraged to

participate in all exhibitions of Government departments.

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List of Artist

PadmaShri. Jivya Soma MhaseAt. Post: Ganjad, Ta.: Dahanu,Dist: Thane. Cell: 8237448848

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Shri. Sadashiv Jivya MhaseAt. Post: Ganjad, Ta.: Dahanu,Dist: Thane. Cell: 8237448848

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Shri. Balu Jivya MhaseAt.: Somanath Kalmipada.Post: Ganjad. Ta.: Dahanu,Dist: Thane.

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Shri. Kishor MhaseAt.: Somanath Kalmipada.Post: Ganjad. Ta.: Dahanu, Dist: Thane.Cell: 9028631853

Shri. Vijay MhaseAt.: Somanath Kalmipada.Post: Ganjad. Ta.: Dahanu, Dist: Thane.Cell: 8796603435

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Sau. Rakhi Salunke2, Vidhya Colony, CampAmravati. 444602Cell: 9822718725

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Shri. Damodhar GhorakhanaAt. Koharali PadaPost: Ganjad, Ta.: DahanuDist: Thane. Cell: 9270091590

Shri. Rajesh WangadAt. Dev Gaon, WangadpadaPost: Ganjad, Ta.: DahanuDist: Thane. Cell: 9421627728

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Shri. Anil WangadAt. Dev Gaon, WangadpadaPost: Ganjad, Ta.: DahanuDist: Thane.

Manki WayadaAt. Navnathpada,Post: Ganjad, Ta.: DahanuDist: Thane.Cell: 9209914775

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Shri. Santosh DodiaAt. Lavripada, JambugaoPost: Golavad, Ta.: DahanuDist: Thane. Cell: 9421626150

Shri. Shantarm GhorkhanaAt. Somnath KalmipadaPost: Ganjad, Ta.: DahanuDist: Thane.Cell: 8087972762

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Shri. Kisna PasariAt. Somnath KalmipadaPost: Ganjad, Ta.: DahanuDist: Thane.Cell: 8805988006

Shri. Devu DhodhadeAt. Somnath KalmipadaPost: Ganjad, Ta.: DahanuDist: Thane.Cell: 9271739590

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Shri. Madhukar VaduAt. KondhanPost: Manor, Ta.:PalgharDist: Thane.Cell: 7798844205

Shri. Saurabh MedhaAt. Post: BordiTa.:Dahanu. Dist: Thane.Cell: 8983344829

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DIST. THANE

MOKHADA

JAWHAR

BALAPUR

VEHEUPADA

TALAWALIKUNJ

KASA BUDRUKKASA

MAHALAXMISONALE

BAPUGOAN

OSARBIRADHANIWARI

AWANDHANI

GANJAD

RAITALI

ASWA

JAMSHET

AMBESARI

SARAVALISAWAT

GANGANGOAN

AMBESARI

DHUNDALWADI

HALAD PADA

DHAMANGOAN

KARAJ GOAN

KHUN WADA

ASWALI

TALASARI

DAHANU

WADA

PALGHAR

SHAHAPUR

VASAI

Map

The Majority of Warli Community Area

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Reference“The painted world of the Warli's” Yashodhara Dalimia, 1988

“Advasi Chitrakala” Govind Gare, Book in Marathi, 2006

Mrs. Rakhi Nitin Salunke

B.F.A.

Warli Painting Artists

2, Vidhya Colony, Behind Court ,

Camp, Amravati. 444602

Maharashtra.

Cell: +91 9822718725

email: [email protected]

Shri. Nitin B. Salunke

B.F.A.

Photography & Designing

2, Vidhya Colony, Behind Court,

Camp, Amravati. 444602

Maharashtra.

Cell: +91 9822236051

email: [email protected]

Documentation Support and field work by

nitinSALUNKE photography

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