Coal on paper
Currently, the artist featured is 61-year-old Lado Bai, a member of the Bhil tribe, whose exhibition 'Paper Whispers' offers the urban population an opportunity to reconnect with nature and the nuanced social life of tribal communities.
Lado Bai's work is not only a window to tribal lives, folklores, and festivals, but also a reminder of how critical natural resources such as forests are to these artists.
The exhibition focusses on Lado Bai's work using coal. She explains how the dye is made — by grinding charcoal, or burning wood, and mixing it with Dhavda resin.
Her art captures birds, animals, tribal festivals, and the changes she sees around herself. With age, her art has evolved too. From paintings mainly consisting of animal motifs and trees, she now includes tractors and school buses too.
She paints on paper, cloth, and walls. One of the paintings in the gallery is on Khadi demonstrating how tradition converges with modernity.
Says Anubhav Nath, director of the art gallery and the exhibition's creative curator, 'During a conversation with Lado Bai years ago, she mentioned that as a child, she often worked with charcoal; but over the years she stopped because they had no takers.'
Anubhav says, the exhibition acknowledges the struggles and battles of Lado Bai and how she adapted and retained her curiosity about cultural beliefs and practices of her community as well.
In one of the paintings, she depicts the Bhagoria festival celebrating the love of young couples who run away from homes and hope to wed at the festival to legitimise their union. It is a glimpse into the social structures of tribal communities.
Another painting is the artwork depicting Gondna tattoos; Gondna painting is part of the Bhil legacy and a testimony to the passage of time.
She also talks about Pithora, is a form of celebration for the community, who sing devotional songs, pray through the night and paint motifs such as the peepal tree, horses, snakes, the sun, moon, and lizards on their walls. It is the Bhil community's way of expressing gratitude to their deity.
The gallery has curated some of Lado Bai's finest works. Lauding her artistic legacy, a message from Shaleen Wadhwana, independent art researcher and MAITRI Project Curator for Indian Ocean Craft Triennale, Australia, has been displayed at the venue. The message highlights how Lado Bai's journey shows the urban people how the tribal communities live.
At Ojas Art Gallery, 1AQ, Near Qutb Minar, Mehrauli; Till August 1; 11am to 7pm (Mondays closed)
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The Hindu
15-07-2025
- The Hindu
Coal on paper
The Ojas Art gallery in Mehrauli is anchored around a banyan tree associated with many renowned folklores and quite aptly mounts the artworks of contemporary indigenous artists. Currently, the artist featured is 61-year-old Lado Bai, a member of the Bhil tribe, whose exhibition 'Paper Whispers' offers the urban population an opportunity to reconnect with nature and the nuanced social life of tribal communities. Lado Bai's work is not only a window to tribal lives, folklores, and festivals, but also a reminder of how critical natural resources such as forests are to these artists. The exhibition focusses on Lado Bai's work using coal. She explains how the dye is made — by grinding charcoal, or burning wood, and mixing it with Dhavda resin. Her art captures birds, animals, tribal festivals, and the changes she sees around herself. With age, her art has evolved too. From paintings mainly consisting of animal motifs and trees, she now includes tractors and school buses too. She paints on paper, cloth, and walls. One of the paintings in the gallery is on Khadi demonstrating how tradition converges with modernity. Says Anubhav Nath, director of the art gallery and the exhibition's creative curator, 'During a conversation with Lado Bai years ago, she mentioned that as a child, she often worked with charcoal; but over the years she stopped because they had no takers.' Anubhav says, the exhibition acknowledges the struggles and battles of Lado Bai and how she adapted and retained her curiosity about cultural beliefs and practices of her community as well. In one of the paintings, she depicts the Bhagoria festival celebrating the love of young couples who run away from homes and hope to wed at the festival to legitimise their union. It is a glimpse into the social structures of tribal communities. Another painting is the artwork depicting Gondna tattoos; Gondna painting is part of the Bhil legacy and a testimony to the passage of time. She also talks about Pithora, is a form of celebration for the community, who sing devotional songs, pray through the night and paint motifs such as the peepal tree, horses, snakes, the sun, moon, and lizards on their walls. It is the Bhil community's way of expressing gratitude to their deity. The gallery has curated some of Lado Bai's finest works. Lauding her artistic legacy, a message from Shaleen Wadhwana, independent art researcher and MAITRI Project Curator for Indian Ocean Craft Triennale, Australia, has been displayed at the venue. The message highlights how Lado Bai's journey shows the urban people how the tribal communities live. At Ojas Art Gallery, 1AQ, Near Qutb Minar, Mehrauli; Till August 1; 11am to 7pm (Mondays closed)
The Hindu
12-07-2025
- The Hindu
Madhubani, Gond and Bhil artisans rethink the traditional
In a playful mix of Gond art and folk surrealism, Sandeep Dhurve's pelican — its delicate feathers made from fish — opens its exaggerated throat pouch to swallow a large fish and an elephant. White Pelicon was one of the artworks on display at Mentoring Magic, a recent exhibition at Gallery 47-A in Mumbai's Khotachi Wadi. 'I have a deep interest in wildlife and plants, and I try to convey interesting facts and hidden stories about them] through my paintings,' says Dhurve, 23, who hails from Bhopal, Madhya Pradesh. Dhurve was one of nine indigenous participants in the showcase supported by Project Tarasha, a social initiative of watch brand Titan Company, which acts as an organic incubator for rural artisans. As a part of their Creative Enterprise Development Programme, they handpicked nine artists to go through digital and business skills training, as well as a six-month design mentorship led by artist and product designer Aditi Prakash, the founder of accessory brand Pure Ghee Designs. Her goal was to push the boundaries of the young artisans' creativity and storytelling in their practised art forms: Madhubani, Gond, and Bhil. 'We wanted them to be able to express their stories with greater clarity, confidence, and individuality, while remaining rooted in their deep visual tradition,' says Prakash. 'The power of the privileged world to make a change if they wanted to, whether through funding, mentoring, structuring, marketing, and that it is our responsibility to spread the magic that is around us.'Srila ChatterjeeFounder of Gallery 47-A and Baro Market, and a tireless advocate for democratising all forms of art A contemporary take The six-month process encouraged the artisans to articulate personal experiences, local myths, and everyday occurrences in their visual language. They were given space at the material lab to find their voice and develop their technical fluency. Exposed to a wide range of mediums beyond their usual acrylic paints, such as natural pigments, the artists explored unfamiliar techniques of layering surfaces and adding textures. 'This was the first time they had been invited to think beyond form and pattern, and into meaning and intent,' says Prakash. They were encouraged to take risks in their compositions — 'to help think about how the entire surface of the canvas could contribute to the mood or meaning of the work'. Bhopal-based Kamta Tahed, 37, was one of the participants. The daughter-in-law of famed Bhil artist Lado Bai, she developed her artistic voice after her marriage, under the watchful eye of the matriarch. Tahed's art is rooted in spirituality, naturism, and rural life, and at the show she included village vignettes and a pared-down depiction of Krishna. The mentorship included a field trip to Sanchi, the first visit to the Buddhist Complex for many of them, where they spent a day sketching and absorbing the historical significance of the place. For Tahed, who is working on expanding her Sanchi and Krishna series of works, the experience was eye-opening. 'I learnt how to turn my art into a story, how to create new backgrounds,' she says, adding that the idea of 'less' also took root — 'how important is it to limit colours', as visible in her dual-toned paintings. From artisans to artists Each artist maintained a daily diary to jot down new experiences or make quick five-minute drawings. This perspective-shifting habit helped them notice the world around them differently — to capture fleeting images, and develop a personal relationship with their subject. For Preeti Das, 37, a Madhubani artist, her decade-long experience has been primarily restricted to a community that sold artworks through subsidised governmental exhibitions. Until Project Tarasha. 'Traditional art forms have their own identity, but modernity is equally important,' says Das, whose post-mentorship artworks include a selection centred around the modern Indian woman: playing a guitar with a dog as a companion, riding a bike in cycling shorts, and friends enjoying coffee and conversations in a café. Prakash views these as early but significant steps toward a deeper kind of authorship, 'where they are not just representing inherited stories, but interpreting the world in their voice'. She adds: 'This is only the beginning of that journey, but already, the changes are visible in the way they compose, reflect, and create.' The artworks are currently listed on the Baro Art website. The writer is a sustainability consultant and founder of Beejliving, a lifestyle platform dedicated to slow living.
Hindustan Times
28-06-2025
- Hindustan Times
Tribal art, a modern muse for your home; 5 painting styles in the spotlight!
India, a land brimming with diverse cultures, boasts an artistic heritage that runs deep into its tribal roots. Far from being mere decorative elements, tribal art forms are vibrant narratives of ancient traditions, beliefs, and daily lives. Once confined to village walls and sacred spaces, these captivating drawings are now experiencing a powerful revival, finding their way into contemporary homes with a modern twist. A modern living space celebrating Indian tribal art, featuring Warli, Gond, Madhubani, Saura, and Bhil styles in a fresh, contemporary setting.( Embracing these art forms is not just about aesthetics but about bringing a piece of India's rich cultural soul into your living space. A Glimpse into five tribal art forms Each tribal art form carries its spirit and a story waiting to be told. Here are five that will tickle your fancy. Warli art (Maharashtra) Warli art comes from Maharashtra and is all about simple shapes that speak volumes. Circles, triangles, and squares turn into scenes of daily life. You will see people dancing after a harvest, families gathering, or rituals unfolding under the sun and moon. Traditionally, artists used rice paste on mud walls, creating striking white patterns that feel honest and full of life. Warli paintings at Sanskriti Kendra Museum, Anandagram, New Delhi(Sanskriti Kendra Museum, Anandagram, New Delhi) Gond Art (Madhya Pradesh) Gond art from Madhya Pradesh feels like a joyful tribute to nature. You will spot playful animals, birds, and imaginary creatures, all brought to life with bright colours and tiny dots and lines. Each piece tells a story, maybe a legend or a memory, and pulls you into a world that feels part dream and part forest. Madhubani Art (Bihar) Madhubani, often known as Mithila painting, originated in Bihar and has traditionally been created by women artists. These paintings burst with bold lines and rich natural colours. You will see gods, mythological tales, royal gatherings, and everyday scenes, all filling the canvas edge to edge with patterns, flowers, and animals. It feels like looking at a colourful celebration of life itself. Tribal art drawings( Saura Art (Odisha) Saura art belongs to the Saura tribe in Odisha and carries a deep spiritual touch. Many of these artworks centre around the Tree of Life, a symbol of how everything connects. Though it may remind you of Warli at first, Saura has longer figures and a fish-net style border that sets it apart. These paintings often honour deities and mark important moments in the community. Bhil Art (Madhya Pradesh, Rajasthan, Gujarat) The Bhils are one of India's largest tribal communities, and their art is instantly recognisable by its bright dots. Each painting is made up of countless coloured dots inspired by the natural world, like maize, leaves, and trees. Bhil art frequently captures ceremonies, ancestral tales, and the deep connection the community has with the natural world. There is a raw energy in these dots that feels refreshing and modern all at once. Revival with a modern twist: Bridging worlds Over the past few years, tribal art and craft in India have found a fresh voice. Artists and designers are working together to keep these traditions alive and help them evolve. Today, you'll see tribal art forms painted on canvas with acrylics, exploring new colour schemes and more abstract styles. It's amazing to see how these age-old practices can feel so current without losing their roots. Bringing tribal art home: A designer's touch Many homeowners today are looking beyond predictable decor and exploring tribal art and craft to create spaces that feel layered and meaningful. Inviting artists to customise pieces or choosing handmade work directly from the tribes of India can result in decor that feels authentic and rooted in tradition. A living room or guest space that celebrates Indian tribal art not only looks distinctive but also supports the artisans behind these incredible styles. Small decisions like these can help keep cultural traditions alive and bring more purpose into the way we decorate our homes. Ways you can incorporate tribal art into your homes: Cushion covers can showcase bold Warli stick figures or the gentle animals of Gond art. A lampshade painted with intricate Madhubani motifs casts a warm glow and creates an inviting atmosphere. Coasters decorated with Bhil dot motifs or Saura designs bring a bit of artistic flair to any coffee table. For a striking effect, a hand-painted tribal art mural on an accent wall can anchor a space with a story that feels personal and proud. Framed prints of tribal art forms offer an easy way to celebrate these styles. You can also explore textiles and upholstery, like throws and rugs, to make a space feel layered and collected. Sculptures, pottery, and other decorative objects inspired by Indian tribal art bring an authentic, handcrafted spirit into everyday living. By weaving these rich narratives into our homes, we don't just decorate. We celebrate heritage, support artisans, and create spaces that speak of who we are. Indian tribal art deserves to be cherished and shared so it can continue to flourish for generations to come. Similar articles for you 10 popular Indian art forms you can use in your home decor Why vintage decor is making a comeback: Textile museum designer Ravisha Merchant weighs in Best mattresses for a peaceful and comfortable sleep; Here are our top 8 picks for you Mattress matters: Find your dreamy match made in heaven; Nap like a champ! The author of this article holds a Master's Degree in Interior Design and has spent over a decade in research, teaching, and designing homes from scratch. Disclaimer: At Hindustan Times, we help you stay up-to-date with the latest trends and products. Hindustan Times has an affiliate partnership, so we may get a part of the revenue when you make a purchase. We shall not be liable for any claim under applicable laws, including but not limited to the Consumer Protection Act, 2019, concerning the products. The products listed in this article are in no particular order of priority.
