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Warli Painting Design Sadee Booking
Warli Painting Design Sadee Booking
Adivasi Motive Key Chain Booking
Click hre for details
Archive for December 2010
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Warli art brochure - http://www.scribd.com/doc/33701126/AYUSH-Warli-Art-100628
AYUSH Warli Art 100628
AYUSH Warli Art 100628
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Dear visiter, Thanks for visiting our page.
This page is created & maintain by tribals, we are here to share correct information about warli art.
Our mission is to provide you access, information about warli art.
We are the group of tribals, form knowledge pool & help/guide rural students, artist for there career. for more infromation about group please visit www.adiyuva.in
We believe this platform will great to reach directly to tribal artist & share correct information about tribal art & tribal culture.
Warli artist Group
AYUSH - adivasi yuva shakti
This page is created & maintain by tribals, we are here to share correct information about warli art.
Our mission is to provide you access, information about warli art.
We are the group of tribals, form knowledge pool & help/guide rural students, artist for there career. for more infromation about group please visit www.adiyuva.in
We believe this platform will great to reach directly to tribal artist & share correct information about tribal art & tribal culture.
Warli artist Group
AYUSH - adivasi yuva shakti
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Thanks for your interest to reach us
Please reach us on following mail id's
also you can be in touch on facebook page for our latest activities.
Contact Details -
mail id - info@warli.in
Address -
AYUSH | Adivasi Yuva Shakti
Waghadi, Kothal Pada,
Post - Kasa, Taluka - Dahanu
Dist- Palghar, Maharashtra 401607
Please reach us on following mail id's
also you can be in touch on facebook page for our latest activities.
Contact Details -
mail id - info@warli.in
Address -
AYUSH | Adivasi Yuva Shakti
Waghadi, Kothal Pada,
Post - Kasa, Taluka - Dahanu
Dist- Palghar, Maharashtra 401607
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As global art. with lot of positives we also have chalenges infront of us. so we can preserve this art so it can be carried to next generation with its purity. along with the varity fusion to attract timely changes in it.
as widely famous art in globe. Few of below listed are chalenges for warli art.
Chalenges for warli art - - accepting modern painting instruements (like brush, colour material, etc)
- incorporating modern fusion
- bringing new themes, styles & combinations
- along with maintaing pure traditional encarporating modern trends
- elobrating uniqueness & correct theory of culture & themes
Chalenges for Tribal artist -
- Third intermediate persons eates the all the profites of sell, hardly it reaches to real artists
- Out siders & beginers represents & elobrate the traditional things in wrong way, which leads to misunderstanding
- On current day, no single source of information source has true & correct infromation about warli art, almost all are using this art & manipulating for individual benefites
- Real tribal artist are lagging behind in competetion in front of smoth & attractive communication of marketing peoples
- Many of peoples trying to use the warli art without any royalty or social responsibiltiy to tribal community
- Many carporates, organisations, also govt organisations makes use of Warli art for theire identity, promotion, sybols etc. but no one really cares for the preserve this art, or social contribustion towards tribal community
as widely famous art in globe. Few of below listed are chalenges for warli art.
Chalenges for warli art - - accepting modern painting instruements (like brush, colour material, etc)
- incorporating modern fusion
- bringing new themes, styles & combinations
- along with maintaing pure traditional encarporating modern trends
- elobrating uniqueness & correct theory of culture & themes
Chalenges for Tribal artist -
- Third intermediate persons eates the all the profites of sell, hardly it reaches to real artists
- Out siders & beginers represents & elobrate the traditional things in wrong way, which leads to misunderstanding
- On current day, no single source of information source has true & correct infromation about warli art, almost all are using this art & manipulating for individual benefites
- Real tribal artist are lagging behind in competetion in front of smoth & attractive communication of marketing peoples
- Many of peoples trying to use the warli art without any royalty or social responsibiltiy to tribal community
- Many carporates, organisations, also govt organisations makes use of Warli art for theire identity, promotion, sybols etc. but no one really cares for the preserve this art, or social contribustion towards tribal community
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Warli art, global art from India. Widely famous in globe. To make you aware about different thinking & reviews about this art, we are sharing few links.
These links are copied from news & public websites. Although all information will not be correct but sharing this information will helpfull to know different opinions & thinking peoples made about warli art.
so let us see what peoples say about warli art!
These links are copied from news & public websites. Although all information will not be correct but sharing this information will helpfull to know different opinions & thinking peoples made about warli art.
so let us see what peoples say about warli art!
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warli art at exibition, a great chance to reach warli art for many people. We will be exibiting our few of samples at below mention exibistions.
Exibition details -
Name - Craft museum
Contact person - Mr. Ganesh Vangad
Cell - 0 8796 604 647
web - http://www.ganesh.adiyuva.in/
mail - ganesh@adiyuva.in
Place - Pragati Maidan, Bhairon Road, New Delhi, India
Date - Till 28th Feb 2011
Host - http://nationalcraftsmuseum.nic.in/
Name - Saras Exhibition
Contact person - Sanjay Parhad - 9270 786 120 (http://www.sanjay.adiyuva.in/)
Place - Belapur, Dist - Thane, Maharashtra
Date - Dec 30 - 6th Jan 2010
Name - Art Exhibition
Contact person - Vaishali Ayya Mobile - 9819825498
Place -Shivaji Maidan, Jambhali Naka, Thane, Maharashtra
Date - Friday, December 24 - December 28Time - 9.30am - 10.30pm (postponded)
VISIT WEBSITE - www.thaneartexhibition.com
Warli art stall incharge - Mr. Dilip Vighne (9272544024) (http://www.dilip.adiyuva.in/)
Also you can reach us to if you want to exibite warli art at your event, mail us at info@warli.in
Exibition details -
Name - Craft museum
Contact person - Mr. Ganesh Vangad
Cell - 0 8796 604 647
web - http://www.ganesh.adiyuva.in/
mail - ganesh@adiyuva.in
Place - Pragati Maidan, Bhairon Road, New Delhi, India
Date - Till 28th Feb 2011
Host - http://nationalcraftsmuseum.nic.in/
Name - Saras Exhibition
Contact person - Sanjay Parhad - 9270 786 120 (http://www.sanjay.adiyuva.in/)
Place - Belapur, Dist - Thane, Maharashtra
Date - Dec 30 - 6th Jan 2010
Name - Art Exhibition
Contact person - Vaishali Ayya Mobile - 9819825498
Place -Shivaji Maidan, Jambhali Naka, Thane, Maharashtra
Date - Friday, December 24 - December 28Time - 9.30am - 10.30pm (postponded)
VISIT WEBSITE - www.thaneartexhibition.com
Warli art stall incharge - Mr. Dilip Vighne (9272544024) (http://www.dilip.adiyuva.in/)
Also you can reach us to if you want to exibite warli art at your event, mail us at info@warli.in
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"warli art workshop" by tribal artist, to learn basics, general techniques in warli paintings. Demo by artist. Sharing different conceept & ideas related to warli art.
upcoming workshop -
Date - XXXX
Place - XXXX
Time -XXXX
Fees - XXXX
Contact no - XXXX
You can reach us if you want to organise warli art workshop.
upcoming workshop -
Date - XXXX
Place - XXXX
Time -XXXX
Fees - XXXX
Contact no - XXXX
You can reach us if you want to organise warli art workshop.
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"Warli art seminar" great place to know more about warli art, tradition & culture. Different sides of warli art, role warli art in real life. You can attend bellow mention seminar.
Also you can reach us if you want to organise seminar at your place .
Warli art Seminar
Date - XXXX
Time - XXXX
Place - XXXX
Content & topics -XXXX
Fees - XXXX
Contact no. - XXXX# Not yet plan
Also you can reach us if you want to organise seminar at your place .
Warli art Seminar
Date - XXXX
Time - XXXX
Place - XXXX
Content & topics -XXXX
Fees - XXXX
Contact no. - XXXX# Not yet plan
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Warli paintings were never originally intended to be used for commercial gains. However, after they were explore twenty five years ago, they became instantly popular, probably because they evoked the trumpets, drumbeats and songs of the tribe through their simple motifs. Today, Warli paintings on Handmade Paper and cloth have become very popular and are sold all over India & abroad.
Different variety of paintings can be made according to requirements & customizing themes, colours, size can be done by tribal artist.
We would be recommending to reach directly to tribal artist or AYUSH group for buying or getting warli art done according to your requirements
We are here to ensure the maintain & preserve the purity of warli art along with the sustainability in of this art in modern competitions.
We will be happy to receive the requirements for making warli art. You can reach us anytime will take care of your requirements.
We are sure that joy of buying warli art from real artist will make you to proud of respecting tribal skill & talent also contributing to support their future.
We are the tribal youth, & group of real artists. The group comprises of national & international level famous, illiterate rurals, unemployed youth also school students, etc across the age group tribal artist.
Few out Our specialties –
1. Warli painting
2. Wall painting
3. Warli art on objects / clothes etc
4. Warli art seminar / workshop / education / demo / training
5. Warli art & culture experience tours
6. Warli art exhibitions
for any requirements, please reach us at warli@adiyuva.in
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Warli artists hardly use a straight line. Instead of line, series of dots and dashes are made. However nowadays modern artists have begun to draw straight lines in their paintings. Many people have also started to use modern elements such as the bicycle, car, building, computer, space craft, train etc apart from traditional motifs. tribals are now shifting to paper and cloth paintings. Warli paintings on paper have become very popular and are now sold all over India & abroad. Today, small paintings are done on cloth and paper but they look best on the walls or in the form of huge murals that bring out the vast and magical world of the tribals. For the tribals, tradition is still adhered to but at the same time new ideas have been allowed to seep in which helps them face new challenges from the market.
Warli art is done in white on brown or red mud base in simple geometrical shapes. It has gradually diversified into different backgrounds with modern mediums to preserve the paintings. From walls and floor, the Adivasi has graduated to paper and canvas to cater to the market for decorative art, which is highly commercialised.
Apart from wedding ceremonies warli paintings depict the stories kansara chi puja, ayichi puja, which pictorialize and narrate special and specific occasions. Apart from these, there are pictures which show poverty, suffering of the human being and animals, which the people experienced during the times of flood and other crisis situations. Today, warli artists are broadening their palette for paintings created outside the traditional context, especially for exhibitions. New demand and new markets are dictating new designs with suggestions being made by designers or from those working with warli artists who exist outside the traditional space from within which warli art emerged and was sustained by.
Apart from wedding ceremonies warli paintings depict the stories kansara chi puja, ayichi puja, which pictorialize and narrate special and specific occasions. Apart from these, there are pictures which show poverty, suffering of the human being and animals, which the people experienced during the times of flood and other crisis situations. Today, warli artists are broadening their palette for paintings created outside the traditional context, especially for exhibitions. New demand and new markets are dictating new designs with suggestions being made by designers or from those working with warli artists who exist outside the traditional space from within which warli art emerged and was sustained by.
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In Maharashtra, many of its tourism website, buses and offices are adorned with Warli paintings giving it a status of an official symbol. A lot of merchandise - T-shirts, coasters, linen come with Warli designs and motifs and do brisk sales through exhibitions and tourist outlets. Many schools in Maharashtra take workshops in Warli painting for children. You will find Warli paintings on walls of some five-star hotels in Mumbai, too. Now what are we talking about? Is it some latest fad? Not really, we are referring to mural style rudimentary paintings that date back to the early 10th century. They are so easy to paint that even a child can master them. They don’t need any great artistic skill either. Some practice of the common symbols is all you need to set the trend rolling on the walls of your home.
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The central motif in these ritual paintings is surrounded by scenes portraying hunting, fishing and farming, festivals and dances, trees and animals. 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.
The pared down pictorial language is matched by a rudimentary technique. The ritual paintings are usually done inside the huts. The walls are made of a mixture of branches, earth and cow dung, making a red ochre background for the wall paintings. They use only white for their paintings.
Their white pigment is a mixture of rice paste and water with gum as a binding. They use a bamboo stick chewed at the end to make it as supple as a paintbrush.
precarious equilibrium symbolizes the balance of the universe, and of the couple, and has the practical and amusing advantage of animating the bodies.
The pared down pictorial language is matched by a rudimentary technique. The ritual paintings are usually done inside the huts. The walls are made of a mixture of branches, earth and cow dung, making a red ochre background for the wall paintings. They use only white for their paintings.
Their white pigment is a mixture of rice paste and water with gum as a binding. They use a bamboo stick chewed at the end to make it as supple as a paintbrush.
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This art is a 2 dimensional, with no perspective or proportion. Warli painting is simple and linear with the maximum use of triangular shapes. As the universal energy YIN/YANG; concept having the upward facing triangle representing the Male and the downward facing triangle representing the Woman. It also represent fertility as the tribal belief revolve around the cycle of Birth and Death. No wedding takes place without the drawing of "mother Goddess" in the front portion of the Bride's house. Usually the paintings are done by married women. Another important ceremony in the "Tarpa Dance". The village head is known as "Bhagat".
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Warli paintings the style of painting evolved from its mural form. Even today, it is a tradition with the tribals to decorate the mud walls of the huts with paintings made in rice paste. The painting on paper is a fall-out of commercialisation. The tribals indulge in this activity during festivals, on community occasions such as harvesting or rituals such as weddings. They draw inspiration from everyday lives for their themes. Thus, a typical Warli painting will have a village landscape with farms, trees and domestic animals. Farmers cultivating land and marriage ceremonies are other oft-repeated themes. Nowadays, these paintings are made on hand-made paper, usually green or brown, the colour of mud-walls with or without the cow-dung, with white paint. The paintings are simple line drawings, mere outlines with little or no detailing. The human figures in a Warli painting are simple, yet stylish - easy even for a child to master.
Everyday themes While, traditionally the paintings were exclusively farm scenes with huts, off-late modern elements have started creeping in. Cityscapes with its vehicles, schools and other contemporary themes are making way to keep pace with the world outside their community - a bit of a sell-out to draw attention, possibly. But largely, these paintings with traditional themes are still a big draw, both domestically and internationally.
Everyday themes While, traditionally the paintings were exclusively farm scenes with huts, off-late modern elements have started creeping in. Cityscapes with its vehicles, schools and other contemporary themes are making way to keep pace with the world outside their community - a bit of a sell-out to draw attention, possibly. But largely, these paintings with traditional themes are still a big draw, both domestically and internationally.
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Their extremely rudimentary wall paintings use a very basic graphic vocabulary: a circle, a triangle and a square. The circle drawn from nature represents the sun and the moon while the triangle is derived from mountains and pointed trees. The square indicates a sacred enclosure, the square, the “chauk” ; for the Palaghata, the mother goddess, symbolising fertility. Scenes portraying hunting, fishing and farming, festivals and dances, trees and animals surround the central motif in these ritual paintings. Human and animal bodies are represented by two triangles joined at the tip, the upper triangle depicting the trunk and the lower triangle the pelvis. Their precarious equilibrium symbolises the balance of the universe, and of the couple, and has the practical and amusing advantage of animating the bodies.
Trees, birds, men and women collaborate to create a composite whole in Tribal Paintings. Warli Painting and the paintings of the tribe of Maharashtra are the most joyous celebration of that very philosophy. Even spiral formations of men and women and concentric circular designs in Warli Paintings are symbolic of the circle of life. In fact most of these seemingly simple paintings abound in symbolism. The harmony and balance depicted in these paintings is supposed to signify the harmony and balance of the universe. Unlike other tribal art forms the Warli Paintings do not employ religious iconography, making it a more secular art form.
Marriage is the most recurring theme of Warli paintings. Many Warli paintings depict Warli Paintings - Marriage ThemePalghat, the marriage god, accompanied by a horse and of course the bride and the groom. They consider these paintings sacred. Men and women dancing in circles (Tarapa Dance), during various celebrations, is another theme typical to the Warli Paintings. A musician playing a native instrument is usually found in the middle of such spirals (Tarapa). Flora and fauna are also depicted in these paintings. The cracked walls of the village have been adorned with these paintings for centuries and even today they form the primary decoration of most such houses.
Marriage is the most recurring theme of Warli paintings. Many Warli paintings depict Warli Paintings - Marriage ThemePalghat, the marriage god, accompanied by a horse and of course the bride and the groom. They consider these paintings sacred. Men and women dancing in circles (Tarapa Dance), during various celebrations, is another theme typical to the Warli Paintings. A musician playing a native instrument is usually found in the middle of such spirals (Tarapa). Flora and fauna are also depicted in these paintings. The cracked walls of the village have been adorned with these paintings for centuries and even today they form the primary decoration of most such houses.
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The painting is done on an austere mud base using one color, white, with occasional dots in red and yellow. This colour is obtained from grounding rice into white powder. This sobriety is offset by the ebullience of their content. Warli paintings representing Palghat, the marriage god, often include a horse used by the bride and groom. This type of painting is considered sacred. These paintings also serve social and religious aspirations of the local people. It is believed that these paintings invoke powers of the Gods. Geometric designs dominate most paintings; dots and crooked lines are the units of these compositions. The appeal of these unicolor compositions lies in their lack of pretentiousness in conveying the profound.
The pared down pictorial language is matched by the rudimentary technique. The walls made of a mixture of branches, earth and cow dung lend a red ochre background for the wall paintings. The white pigment a mixture of rice paste and water with gum for binding is painted on with a bamboo stick chewed at the end
Warli Paintings are characterized by the simple style employed to say the profoundest things. Warli PaintingThe use of color is restricted to a stark white against earthen backgrounds. Geometric designs dominate most paintings; dots and crooked lines are the units of these compositions. The monochromatic tribal paintings express various folk imaginations, beliefs and customs. The whims and moods of tribal life make for interesting themes, which is why Warli Paintings are much more than designs on walls, they are authentic depictions of a way of life. However, the philosophy of a way of life, especially those of tribal societies, is best depicted through colorful images.
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The sacred nature of the trees is suggested by their soaring heights in relation to the men and beasts. Dances of spring, of budding trees, of the meeting of lovers, and the poise and abandon form an important repertoire in tribal vocabulary. Nothing is static; the trees, the human figures, the birds challenge and respond to each other, create tensions and resolve them. The art of the Tribal people symbolises man's harmony with each other and with nature. These paintings also supposedly invoke powers of the Gods.
The original symbolism of the paintings was (and still is) found in marriage ceremonies, which could not take place until a painting was complete. tribal call them as “Lagnacha chauk” meaning marriage paintings.
The original symbolism of the paintings was (and still is) found in marriage ceremonies, which could not take place until a painting was complete. tribal call them as “Lagnacha chauk” meaning marriage paintings.
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The Tribal values the sense of uniformity and the close social interactions with nature and the spirits is what makes the Tribal who they are. For the tribals, life is an eternal circle. Death is not the end as much as it is a new beginning. Hence circles best represent the art of Tribal, which has neither an end nor a beginning.
The purpose of these drawings remain ritual as it did from ancient times, that of projecting and invoking power, virility, protection from unknown diseases, and the dark supernatural forces which have to be kept appeased and satisfied at all times. The paintings pulsate with energy and are a vehicle for the tribal's innermost urges.
The purpose of these drawings remain ritual as it did from ancient times, that of projecting and invoking power, virility, protection from unknown diseases, and the dark supernatural forces which have to be kept appeased and satisfied at all times. The paintings pulsate with energy and are a vehicle for the tribal's innermost urges.
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Although the Tribals live very close to Mumbai, India’s largest metropolis, they shun all influences of modern urbanization. Even though many paint for commercial gain today, they have continued to adhere to old themes and motifs that can only be appreciated by those who know and understand Tribal culture.
Tribals worship nature in many forms – sun and moon, god of thunder, lightning, wind, rain etc. Different gods are worshipped in different seasons. In the coming of the first rice crop, they worship the god of rain in a festival called Naranadeva. In other festivals that follow, the tribals worship the goddesses of fertility, household peace, harvest and many more. For the tribals, life is an eternal circle. At all occasions – birth, marriage, and death they draw circles, symbol of Mother Goddess. Death is not the end for them; rather it is a new beginning. Which is why circles best represent the art of tribals, which has neither an end nor a beginning.
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Warli Paintings are very different from other folk and tribal paintings in India. Their themes are not mythological, nor their colours as bright as the ones seen in Madhubani Paintings. Neither do they contain the robust sensuality of the paintings found in Eastern India. Instead they are painted on mud, charcoal, cow dung based surface using Natural Dyes in white with series of dots in red and yellow.
Their linear nature and monochromatic hues make them similar to pre-historic cave paintings and Aboriginal Art in execution. Warli Paintings usually depict scenes of human figures engaged in activities like hunting, dancing, sowing and harvesting. These paintings also serve social and religious aspirations of the local people, since it is believed that these paintings invoke powers of the Gods.
Their linear nature and monochromatic hues make them similar to pre-historic cave paintings and Aboriginal Art in execution. Warli Paintings usually depict scenes of human figures engaged in activities like hunting, dancing, sowing and harvesting. These paintings also serve social and religious aspirations of the local people, since it is believed that these paintings invoke powers of the Gods.
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Every symbols of Warli art has their own meaning and language. Men and women in spiral form and concentric circular designs in Warli Paintings symbolize the circle of life. The harmony and balance depicted in these paintings is supposed to signify the harmony and balance of the universe.
The sacred nature of the trees is suggested by their soaring heights in relation to the men and beasts. Dances of spring, of budding trees, of the meeting of lovers, and the poise and abandon form an important repertoire in tribal vocabulary. Nothing is static; the trees, the human figures, the birds challenge and respond to each other, create tensions and resolve them. The art of the tribal people symbolises man's harmony with each other and with nature. These paintings also supposedly invoke powers of the Gods.
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The Warli art form is similar to the pre-historic cave paintings in its execution. These extremely rudimentary paintings use a very basic graphic vocabulary: a circle, a triangle and a square. The circle and triangle come from their observation of nature, the circle representing the sun and the moon, the triangle derived from mountains and pointed trees. Only the square seems to obey a different logic and seems to be a human invention, indicating a sacred enclosure or a piece of land. 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. While men and women are depicted in almost identical fashion, the only differentiator is the little knot of hair in the form of a bun, that indicates women.
Stylistically, Warli Paintings can be recognized by the fact that they are painted on an austere mud base using one color, white, with occasional dots in red and yellow. The white pigment is a mixture of rice paste and water with gum as a binding agent. This sobriety is offset by the ebullience of their content. Traditionally, when painting the mud walls, they use a bamboo stick chewed at the end, to make it work like a paintbrush. Even now, when they paint on cloth, they use a narrow stick dipped in white rice flour paste.
Unlike the realism of Kishangarh Paintings, the themes in Warli paintings are highly repetitive and symbolic. Many of the Warli paintings that represent Palghat, the god of marriage and fertility, often include a horse used by the bride and groom.
Stylistically, Warli Paintings can be recognized by the fact that they are painted on an austere mud base using one color, white, with occasional dots in red and yellow. The white pigment is a mixture of rice paste and water with gum as a binding agent. This sobriety is offset by the ebullience of their content. Traditionally, when painting the mud walls, they use a bamboo stick chewed at the end, to make it work like a paintbrush. Even now, when they paint on cloth, they use a narrow stick dipped in white rice flour paste.
Unlike the realism of Kishangarh Paintings, the themes in Warli paintings are highly repetitive and symbolic. Many of the Warli paintings that represent Palghat, the god of marriage and fertility, often include a horse used by the bride and groom.
Each painting is usually an entire scene that contains various elements of nature including people, animals, trees, hills etc. The thread that binds all these loose elements can be events like a marriage, a dance, sowing, harvesting or hunting. Different varieties of trees are drawn in detail forming intricate decorative patterns. Birds, squirrels, monkeys, snakes and other animals are also depicted, frequently in action. Other elements in nature like streams and rocks are also featured. The 'Tree of Life' and the 'Tarpa' dance are significant images often seen in Warli art. The Tarpa is a trumpet like instrument and many Warli paintings will have a tarpa player surrounded by drummers and dancing men and women.
The artists have recently started to draw straight lines in their paintings. These days, even men have taken to painting and they are often done on Handmade Paper incorporating traditional decorative Warli motifs with modern elements such as the bicycle etc.
The artists have recently started to draw straight lines in their paintings. These days, even men have taken to painting and they are often done on Handmade Paper incorporating traditional decorative Warli motifs with modern elements such as the bicycle etc.
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Usually the Warli paintings are done during the marriage ceremony and they call them as “Lagnacha chauk” meaning marriage paintings. The painting is sacred and without it the marriage cannot take place. Their respect for nature is from the most gigantic to the smallest creature and plant. The figures and traditional motives are repetitive and highly symbolic. They communicate through their paintings and their life style and passion for nature are depicted with utmost details. Triangular humans and animals with stick-like hands and legs, geometrical designs with rows of dots and dashes are drawn on the mud walls of the huts of tribals. In Warli paintings it is rare to see a straight line. A series of dots and dashes make one line. The artists have recently started to draw straight lines in their paintings. From the depths of the painting spring a variety of activities with humans, animals, and trees. The subjects found in these paintings are wedding scenes, various animals, birds, trees, men, women, children, descriptive harvest scene, group of men dancing around a person playing the music, dancing peacocks, and many more. One of the famous Warli paintings is the marriage “Chauk” - a painting made at the time of marriage. The women called savasini meaning married women whose husbands are alive, paint a “chauk” or a square on the walls. Warli paintings are strangely ascetic, unlike other folk paintings of India which consist of myriad primary colors in such abundance. Instead 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 the ebullience of the themes depicted. These are remarkable in their intensely 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. This results in a light swinging and swirling movement, describing the day to day activities. In doing so, they seem to be seeking communication among themselves and with the outside world. It is believed that these paintings invoke powers of the Gods. Simply painted on mud, charcoal and cow dung based surface with rice paste for the colour white, the art form deals with themes that narrate their social lifestyle and activities. The loose rhythmic movement that each painting suggests adds life to the paintings. Warli paintings are strangely ascetic, unlike other folk paintings of India which consist of myriad primary colors in such abundance. Instead 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 the ebullience of the themes depicted. These are remarkable in their intensely 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. This results in a light swinging and swirling movement, describing the day to day activities. In doing so, they seem to be seeking communication among themselves and with the outside world. It is believed that these paintings invoke powers of the Gods .
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The women called “savasin” meaning married women whose husbands are alive, paint a “chauk”. The paintings, which were the preserve of the womenfolk until the late 1970s took a radical turn when a man, Jivya Soma Mashe started to paint, not for any special ritual, but on regular basis.
Tribesmen shun all influences of modern urbanization. Warli Art was first explore in the early seventies. when the practice of embellishing the walls of the house was the only means of transmitting folklore to a general populace not versed in the written word. In many important respects, this highly ritualistic art form differed greatly from the folk and tribal art known to urban India until then. It did not narrate mythological stories in vibrant tones nor did it contain the robust sensuality of the paintings found in Eastern India. Usually the Warli paintings are done during the marriage ceremony and they call them as “Lagnacha chauk” meaning marriage paintings.
An Indian folk art painting, has traveled across borders and are now the cherished possessions of many a collector and art lover. This painting are traditionally done by the tribals from Thane district. The Tribals are primarily an agriculture-dependant tribe and their houses are made of thatched mud-huts, which are constructed in such a way so that they all surround a central cell. During the harvest season, happy occasions like weddings and births, their houses are adorned with a vocabulary of patterns. This custom gave rise to what we now know as the Warli Painting.
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During festivals or occasions such as harvesting or rituals such as weddings, the Warlis paint their walls. “Nowadays, these paintings are made on paper, usually green or brown, the colour of mud-walls with or without the cow-dung, usually with white paint. The dark background goes to enhance the effect of the white or cream that is painted on it. It can be black, brown, silver on navy blue, golden on dark hues of red or any other combination of light and dark that your imagination can stretch up to.” “The paintings are simple line drawings, mere outlines with little or no detailing. The human figures in a Warli painting are simple, yet stylish — easy even for a child to master,” many people believe that warli panting is an art which will never go out of fashion and it holds special fascination for children since it is very simple to paint and geometric.
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While there are no records of the exact origins of this art, its roots may be traced to as early as the 10th century AD. Research suggests that the tribals are the propagators of a tradition which originated sometime in the Neolithic period between 2,500 BC and 3,000 BC.
This art carry on a tradition stretching back to 2 500 or 3 000 BC. Their mural paintings are similar to those done between 500 and 10 000 BC in the Rock Shelters of Bhimbetka , in Madhya Pradesh. Their extremely rudimentary wall paintings use a very basic graphic vocabulary: a circle, a triangle and a square. The circle and triangle come from their observation of nature, the circle representing the sun and the moon, the triangle derived from mountains and pointed trees. Only the square seems to obey a different logic and seems to be a human invention, indicating a sacred enclosure or a piece of land. So the central motive in each ritual painting is the square, the chauk; inside it we find Palaghata, the mother goddess, symbolizing fertility.
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India has a rich tradition of folk arts the custodians of which are the many tribes that live in the interiors of various states.
Warli art is a beautiful folk art of Maharashtra, traditionally created by the tribal womens. Tribals are the Warli and Malkhar koli tribes found on the northern outskirts of Mumbai, in Western India. 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 paintings which they execute on the walls of their house. This was the only means of transmitting folklore to a populace not acquainted with the written word. Warli paintings were mainly done by the women folk. The most important aspect of the painting is that it does not depicts mythological characters or images of deities, but depict social life. Pictures of human beings and animals, along with scenes from daily life are created in a loose rhythmic pattern. Warli paintings are painted white on mud walls. The paintings are beautifully executed and resembles pre-historic cave paintings in execution and usually depict scenes of human figures engaged in activities like hunting, dancing, sowing and harvesting.
The tribals are forest-dwellers but have made a gradual transition towards being a pastoral community. They reside in the West coast of Northern Maharastra. A large concentration is found in the Thane district, off Mumbai. A little backward economically, they still maintain their indigenous customs and traditions. The growing popularity and commercialisation of the Warli painting has seen the uplift of many tribals and they are increasingly becoming integrated with the mainstream. Their marriage traditions are unique to their culture.
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