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)
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
3
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
4
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
16
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
22
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.
23
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.
24
List of Artist
PadmaShri. Jivya Soma MhaseAt. Post: Ganjad, Ta.: Dahanu,Dist: Thane. Cell: 8237448848
25
Shri. Sadashiv Jivya MhaseAt. Post: Ganjad, Ta.: Dahanu,Dist: Thane. Cell: 8237448848
26
Shri. Balu Jivya MhaseAt.: Somanath Kalmipada.Post: Ganjad. Ta.: Dahanu,Dist: Thane.
27
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
28
Sau. Rakhi Salunke2, Vidhya Colony, CampAmravati. 444602Cell: 9822718725
29
Shri. Damodhar GhorakhanaAt. Koharali PadaPost: Ganjad, Ta.: DahanuDist: Thane. Cell: 9270091590
Shri. Rajesh WangadAt. Dev Gaon, WangadpadaPost: Ganjad, Ta.: DahanuDist: Thane. Cell: 9421627728
30
Shri. Anil WangadAt. Dev Gaon, WangadpadaPost: Ganjad, Ta.: DahanuDist: Thane.
Manki WayadaAt. Navnathpada,Post: Ganjad, Ta.: DahanuDist: Thane.Cell: 9209914775
31
Shri. Santosh DodiaAt. Lavripada, JambugaoPost: Golavad, Ta.: DahanuDist: Thane. Cell: 9421626150
Shri. Shantarm GhorkhanaAt. Somnath KalmipadaPost: Ganjad, Ta.: DahanuDist: Thane.Cell: 8087972762
32
Shri. Kisna PasariAt. Somnath KalmipadaPost: Ganjad, Ta.: DahanuDist: Thane.Cell: 8805988006
Shri. Devu DhodhadeAt. Somnath KalmipadaPost: Ganjad, Ta.: DahanuDist: Thane.Cell: 9271739590
33
Shri. Madhukar VaduAt. KondhanPost: Manor, Ta.:PalgharDist: Thane.Cell: 7798844205
Shri. Saurabh MedhaAt. Post: BordiTa.:Dahanu. Dist: Thane.Cell: 8983344829
34
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
35
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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