Warley painting


Warli painting is a style of tribal art mostly created by the tribal people from the North Sahyadri Range in India. This range encompasses cities such as Dahanu, Talasari, Jawhar, Palghar, Mokhada, and Vikramgadh of Palghar district. This tribal art was originated in Maharashtra, where it is still practiced today.

Warli painting is a painting of an indigenous people. It is an art form developed by the Warli people who live in the western Ghats of India in the Western Ghats of Maharashtra marker , Gujarat marker . The distinction between this painting and the other circular art of India is that this is not the deity of the Varnish painting; It is a unique feature of Hindu religious rituals or worship. It is spreading not only in India but worldwide.

Warli’s artistic painting in the book The World of Art by Walther’s book, Yasodara Thalmya Contains the continuity of the art tradition that preceded the thousand, five hundred and three thousand years. Varley’s paintings are painted by the artworks to celebrate their day-to-day events and rituals during the man’s cave dwelling. This painting is also associated with the cave paintings that belong to the Bembecta region of Madhya Pradesh between 500 and 3000 BC. In both of these areas, the art of pain is said to belong to the same period.

These warli paintings are drawn with simple basic designs. They draw landscapes that they see in the form of circle, triangle, square shapes. For illustration, the circle shapes the sun and the moon, drawing triangles such as mountains, sharp trees, and square shapes to the piece of land. They have painted many levels of their daily activities. There is a habit of drawing paintings on their marriage. But they are not just rituals but are common. But the bride can see a painting on a horse ride. Hunting, fishing, agriculture, festivals, dances, trees, animals, women’s everyday work. Human bodies, and animal body shapes with two triangles attached to the edge. The upper triangle draws the body over the waist and draws the lower triangle on the bottom of the triangle and draws a circle to the head and another smaller circle. There are many such paintings as dancing in a variety of Warley sketches.

The Warli tribes use soil to build their home wall. In the entrances of their house kavi color. The paintings are drawn on the back of this saffron. The white color is used to make clear in the background. Rice flour is used in white water for white color. Paint the bamboo sticks to paint the paintings and use the brush. These paintings often decorate the house for the wedding, the harvest festival. It is noteworthy that the women who drew them up to the 1970s were women. Warli’s paintings have gained popularity since 1970. Warley was featured in the promotional campaign of ‘Coca-Cola’ campaign ‘Deepavali Veettu Come’ in 2010.. Varley’s artwork has been used as a wall painting for today. Sari, Chudidar etc. are based on Warli’s sketches. Furthermore, screens and bed sheets are also based on the Warley sketch.

Varley’s sketches are well-received in the market for clothes and sweets that are based on the sketches. These are now available as artworks. These warley paintings play an important role in the interior design of the house. Kotaiyana Warli tribal art of the art of today is drawn across India.

The Warli tribe is one of the largest in India, located outside of Mumbai. Despite being close to one of the largest cities in India, the Warli reject much of contemporary culture. The style of Warli painting was not recognised until the 1970s, even though the tribal style of art is thought to date back as early as 10th century A.D. The Warli culture is centered around the concept of Mother Nature and elements of nature are often focal points depicted in Warli painting. Farming is their main way of life and a large source of food for the tribe. They greatly respect nature and wildlife for the resources that they provide for life. Warli artists use their clay huts as the backdrop for their paintings, similar to how ancient people used cave walls as their canvases.

The art of Warli painting
These rudimentary wall paintings use a set of basic geometric shapes: a circle, a triangle, and a square. These shapes are symbolic of different elements of nature. The circle and the triangle come from their observation of nature. The circle represents the sun and the moon, while the triangle is derived from mountains and pointed trees. In contrast, the square appears to be a human invention, indicating a sacred enclosure or a piece of land. The central motif in each ritual painting is the square, known as the “chalk” or “Shaukat”, mostly of two types known as Devchauk and Lagnachauk. Inside a Devchauk is usually a depiction of Palaghata, the mother goddess, symbolizing fertility.

Male gods are unusual among the Warli and are frequently related to spirits which have taken human shape. The central motif in the ritual painting is surrounded by scenes portraying hunting, fishing, and farming, and trees and animals. Festivals and dances are common scenes depicted in the ritual paintings. People and animals are represented by two inverse triangles joined at their tips: the upper triangle depicts the torso and the lower triangle the pelvis. Their precarious equilibrium symbolizes the balance of the universe. The representation also has the practical and amusing advantage of animating the bodies. Another main theme of Warli art is the denotation of a triangle that is larger at the top, representing a man; and a triangle which is wider at the bottom, representing a woman.[better source needed] Apart from ritualistic paintings, other Warli paintings covered day-to-day activities of the village people.

One of the central aspects depicted in many Warli paintings is the tarpa dance. The tarpa, a trumpet-like instrument, is played in turns by different village men. Men and women entwine their hands and move in a circle around the tarpa player. The dancers then follow him, turning and moving as he turns, never turning their backs to the tarpa. The musician plays two different notes, which direct the head dancer to either move clockwise or counterclockwise. The tarpa player assumes a role similar to that of a snake charmer, and the dancers become the figurative snake. The dancers take a long turn in the audience and try to encircle them for entertainment. The circle formation of the dancers is also said to resemble the circle of life.

Warli painting materials
The simple pictorial language of Warli painting is matched by a rudimentary technique. The ritual paintings are usually created on the inside walls of village huts. The walls are made of a mixture of branches, earth and red brick that make a red ochre background for the paintings. The Warli only paint with a white pigment made from a mixture of rice paste and water, with gum as a binder. A bamboo stick is chewed at the end to give it the texture of a paintbrush. Walls are painted only to mark special occasions such as weddings or harvests.

In contemporary culture
The lack of regular artistic activity explains the traditional tribal sense of style for their paintings. In the 1970s, this ritual art took a radical turn when Jivya Soma Mashe and his son Balu Mashe started to paint. They painted not for ritual purposes, but because of their artistic pursuits. Jivya is known as the modern father of Warli painting. Since the 1970s, Warli painting has moved onto paper and canvas.

Coca-Cola India launched a campaign featuring Warli painting in order to highlight the ancient culture and represent a sense of togetherness. The campaign was called “Come Home on Deepawali” and specifically targeted the modern youth. The campaign included advertising on traditional mass media, combined with radio, the Internet, and out-of-home media.

Traditional knowledge and intellectual property
Warli Painting is traditional knowledge and cultural intellectual property preserved across generations. Understanding the urgent need for intellectual property rights, the tribal non-profit organization Adivasi Yuva Seva Sangh helped to register Warli painting with a geographical indication under the intellectual property rights act. Various efforts are in progress for strengthening sustainable economy of the Warli with social entrepreneurship.

Source from Wikipedia