Bihar, despite being home to an eclectic cultural treasure trove, is often overlooked — a fact that might not come as a surprise to many of us. This state, the very land where Lord Buddha attained enlightenment, was once globally renowned for its prestigious Nalanda University. In fact, the name Bihar comes from the Sanskrit word vihar, meaning monasteries, highlighting the influence of Buddhists and other such communities in the state’s ancient past. Besides the widely known Madhubani, Bihar has nurtured some incredible forms of arts and crafts through the centuries! Explore the art and regional traditions that grace the soil of Bihar.
Tikuli art, featuring recurrent use of the Bindu shape, is one of the oldest colourful art forms of India. Traditionally, its vibrant designs and motifs are created using broken glass which is melted and moulded into designs. The roots of this ethnic art form can be traced back to the bindi designs worn by 17th-century women. In 1954, Upendra Maharathi played a pivotal role in reviving this 800-year-old artwork. While the art may appear simple with arrangements of dots and uncomplicated patterns, the preparation of Tikuli is not an easy task. Here, artisans select a hardboard, and apply at least 4–5 layers of enamel. After each layer, they meticulously rub the board with sandpaper to achieve a polished and even appearance. Once the final coat is applied, the artisans proceed to paint the Tikuli. They may also use gold foils for final touches. In today’s time, Tikuli serves as a source of empowerment for women artisans in Bihar. Upon closer consideration, it becomes evident that this art form is not only been empowering women in contemporary times, but has been women-centric since its inception.
It is believed that the Manjusha art form dates back to 2600 BC. Manjusha, in Sanskrit, means box. The Manjusha box is said to represent the container that covered the body of Bala Lakhendra in the story of Bihula Bishari. Majusha art typically portrays regional folk tales, including the story of Bahula saving her husband from a deity’s wrath and a snake bite. It also delves into the legend of the five Manasa sisters — how five strands of hair of Shiva transformed into five lotuses, and then into five women — the Manasa sisters. The other important element of Manjusha art is its wide and vivid borders. Each work must have one or more borders, ranging from belpatra (sacred leaves), Lehariya (waves), to Srp ki ladi (snake patterns). One typical feature of Manjusha art is its incorporation of pink, green and yellow. This art form, which originates in Anga or Bhagalpur, was carved by only two families at its inception.
It is impossible not to talk about Madhubani when we are talking about the aesthetics of Bihar. The word Madhubani literally translates to ‘honey forest’. Widely practised in the Mithila region of Bihar, the predominant themes of Madhubani encompass Hindu deities and episodes from the Ramayana and Bhagavad Gita, as well as rural life, love and fertility. There is a belief that Janaki, or Goddess Sita requested that her wedding be documented in the form of paintings, and thus, Madhubani art was born. Originally, these lively paintings were created on mud walls and soil ground by the village women on certain auspicious occasions. Consequently, Madhubani paintings consisted of two forms: Bhitti Chitra (paintings done on walls), and Aripana (paintings done on grounds). Overtime, Madhubani gained worldwide recognition for its distinctive style, and began to be integrated into other items.
Stunning in its intricacies and beauty, Patna Qalam stands as one of Bihar's forgotten art forms. This breathtaking school of painting flourished during the 18th to mid-20th century, drawing inspiration not only from the realism of European artistry but also incorporating the intricacies of Persian and Mughal styles. Patna Qalam served as a visual historical document for literary texts. Commoners and their lives, local festivals, and ceremonies were recurrent themes in this school of art. You can see a good blend of subtle colours against beige or whitish backgrounds. While Mughal paintings have rich and elaborate landscapes, the backgrounds of Patna Qalam are quite plain. These paintings were done directly on paper, using black ink and a fine brush, without any use of a sketch guide. This process is commonly referred to as Kajli Seahi. The advent of photography was the primary cause of setback for this school of painting.
The Gaya town of Bihar offers a diverse range of stone craft. Stone craft is a longstanding tradition in Bihar, with roots tracing back to ancient times, reaching its zenith during the Mauryan times. Not limited to Gaya, major centres like Patna and Nalanda also boast a wide array of stone carving. The ancient Ashoka Pillar at Sarnath is an excellent example of this rich tradition.
Sikki, or the seasonal golden grass of Bihar, grows in the wet and marshy areas of the Madhubani district. A native tribe of Bihar, Amas, has mastered the art of harvesting and processing the grass. The grass is then sold by traders at the weekly haat or market. Each Sikki product starts with the base frame of Munj. Takua is dextrously woven around the Munj. Traditionally, these lovely handcrafted products are made by brides-to-be who take them to their husband’s house as part of dowry. Due to their sturdiness and durability, items such as boxes, bangles and baskets are crafted from this grass.
From the Harrappan era to the Mauryans to present day, bangles have remained a significant part of Indian culture. The lac bengals are popular among the married women of Bihar. These bangles are also made in West Bengal, Odisha, Maharashtra, and Madhya Pradesh by the Laheri or Lakhera community. Large quantities of raw lac and shell lacs are harvested from forest in Bihar. First, the dry ingredients that include lac, safed mitti (clay), abrak (talc powder) and others are made into a dough-like lump. Coloured molten lac is combined with the dough to create a marbleised base-pattern. The lump is rolled, cut and shaped into bangles. Lastly, embellishments such as gold foil and glass beads are added for a final touch. Fish, chakra and dancing peacocks are some of the motifs that adorn these one-of-a-kind bangles.
The Bhusura village of Bihar is known for its Sujani or Sujini embroidery. Sujani is formed from the words “su” which means facilitating, and “jani” meaning birth. The art of Sujani has been mainly practised by the women of Madhubani and Muzaffarpur districts. New mothers stitch patches of colourful old clothes for their babies together. Then, motifs are sewn on this quilt, and finally, Sujani embroidery is done using threads. Some Sujani motifs include sacred animals, floral designs, and fertility symbols. Since its inception, Sujani embroidery has never been a commercial activity. Instead, it is a craft that village women practise in their spare time, although not as frequently as in the past.
Did you know that Sujani is said to have originated around the 1920s among Rajput women?
The Kantha embroidery’s playful touch with its simple running stitch technique is perfect for whipping up lovely bedspreads and warm quilts in no time! Back in the day, women of Bihar would craft Kanthas using old cotton sarees, lungis, and dhotis that had become soft from years of wear. They even pulled stitching thread right from the fabric itself. Over time, more elaborate patterns emerged that were termed “nakshi kantha”. While running stitch Kantha is quite common, there are other techniques that have evolved over time. Sujani Kantha and Anarasi Kantha are two local variations. In the heart of most traditional kanthas, one can find the sun, lotus, characters from folklore, and elements inspired by nature. Originating in the rural regions of Bengal, this art experienced a revival in the early 19th century due to Pratima Devi's efforts — the daughter-in-law of the renowned Nobel laureate, Shri Rabindranath Tagore. After the partition of India in 1947, it faced another decline, but today, institutions are working hard to restore it to its former glory.
One of the oldest weaving techniques of the ancient city of Nalanda is Bawan Buti. “Bawan Buti", as implied by its name, refers to 52 distinct motifs or butis woven into sarees during ancient times. These motif-laden sarees were then presented to daughters at the time of their wedding. Another interesting anecdote pertaining to those 52 motifs is derived from the Vaman Avatar of Vishnu. Lord Vaman, believed to be the size of 52 fingers, acquired the entire universe in three steps. These 52 motifs in a typical 6-yard Bawan Buti saree stand as a stunning reminder of the beauty inherent in this belief within the weaver community! The loom comprises Tana (vertical) threads, which extend along the length of the product, while the weaver works on the Bana (horizontal) threads. The old tradition of Bawan Buti requires a robust revival as it teeters on the brink of being lost. In today’s times, women serve as the backbone of the weaving craft because they are the major contributors of the families involved in this.
The dazzling world of zari zardozi was first introduced in the Indian subcontinent in the 12th century CE. This is not just the finest but an ornate style of embroidery where sequins, pearls and gemstones are woven with gold and silver metallic threads. Needless to say, during its inception, zari works were highly patronised by affluent and courtly classes. Time, labour, and attention to detail are indispensable in the traditional zari ka kaam or zari work. The karigars or artisans of Patna are well known for their alluring zari embroidery. Peacocks, paisley designs and flowers are some of the prominent and most commonly seen zari motifs, along with other intricate and complex designs. Throughout the needlework process, zari karigars sit on the floor around the adda, a frame holding the fabric, dedicating craftsmanship and time to their magnificent creation.
Khatwa applique is more than a mosaic of colours; it carries a legacy of generations. Artisans in Bihar intricately stitch fabric onto a base using a traditional technique, like running stitch, chain stitch or satin stitch. The play-by-ear technique involves simple, spontaneous arrangement of materials. However, a more intricate design involves careful planning, including the selection of specific designs, threads, materials, and sizes beforehand. For generations, this art of weaving has been a vital source of livelihood for countless rural women in Bihar.
While woodblock printing originated in China around 4,000 years ago, it was in India that the art form found home and flourished. States such as West Bengal, Orissa and others in Eastern India played a significant role in nurturing this amazing technique. Although block printing is a specialty of Rajasthan, Gujarat and even Punjab, Bihar also has its own tradition. Block prints are created when designed wooden blocks are pressed onto fabrics. Don't mistake printing for just about stamping blocks on fabric — it goes beyond that. It involves several steps in between, such as deftly carving wooden blocks, preparing fabric, mixing dyes, and handling other intricate details and designs. These meticulously hand-carved blocks play a central role in block printing techniques. Wooden block printing is particularly popular in Patna and Darbhanga.
The art of paper mache has its roots in Kashmir, where it was first said to have been introduced by Sultan Zain-ul-Abdin in the 15th century CE. Traditionally, Bihari paper mache craft was used to prepare masks for the famous Chhau dance in Bihar, as well as in the making of dolls. However, the art evolved as times changed. Today, paper mache is also crafted for various utility objects. Madhubani paper mache is made using multani mitti (fuller’s earth), newspapers or old papers, methi (fenugreek seeds) powder, and adhesive which includes water and wheat flour. A dough is moulded into shapes, and once dried, the creation is brought to life using colours. These paper mache items are so adorable that you can feel the innocence of the makers tucked right into them!
The word “Yampuri '' consists of two words: “Yama”, which means the Hindu God of death, and “Puri”, which means abode. Thus, the word translates to “the abode of the God of death”. While Yama and Chitragupta, the record keeper of mortals’ deeds takes centre stage, Vidushaka (the clown) and sage Narada accompany them. In contrast to the traditional rod puppets commonly found in West Bengal and Orissa, these puppets are crafted from wood as one cohesive piece. During the show, puppeteers sit in trench-like spaces backside, manoeuvring the movements of the puppets through strings. The puppetry playfully aims to depict the ways of Gods to humanity, and instil a sense of morality among spectators. Unfortunately, Yampuri puppetry faces the risk of cultural decline due to its geographic confinement and lack of promotion.
The brass work of Bihar is a continuation of the brass craft from the ancient period. This art form was at its peak during the Mauryan period, and again during the Gupta and Pala periods. From iron pitchers to divine figurines, brass craft has been readily used for versatile purposes. Yet, behind this magnificent artistry lies a contemporary challenge — small manufacturing units lack proper government support. The seamless flow of raw materials is not guaranteed, leaving artisans in a quest for accessibility.
Another notable ancient craft popular in Bihar is wood carving. Gaya stands as a primary hub where this art and craft enjoys a substantial demand. Many parts of Bihar and Uttar Pradesh are also major centres for these polished and incredible wooden sculptures. Ideally, Gambhar wood is the main raw material employed in the process of wood carving.
Bamboo craft is another integral aspect of Bihar’s artisanal tradition. The abundant accessibility of bamboo canes in the Taria and Bhabhar regions of Bihar is the central reason for ample and versatile use. Utility items such as baskets, mats, and chairs are made with such dexterity by the tribal folks of Bihar, the Bhotiyas, that their deftness is visible. These artisans skilfully blend Japanese technique with Indian tradition, giving rise to a craft that is both familiar and distinct at the same time. Just think, this level of creativity has been a part of Bihar since the Mauryan and Gupta empires! Needless to say, in the face of climate change and pollution, it is increasingly imperative for each one of us to use sustainable alternatives like bamboo and cane products instead of plastics. By doing so, we will not only be contributing to the environment, but also to the livelihood of the makers involved in such trades.
Bihar’s cultural wealth is evident in its vibrant arts. These traditions need more recognition and support from the governments and NGOs. Yet, it remains our collective responsibility to personally engage, understand, and pass down this rich, cultural knowledge to the coming generations.
About MeMeraki:
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