MUDWALL PAINTING The mudwalls of rural houses in the Punjab are painted on festive occasions like the "Navaratra poorna" before and on Dussehra day, Karva-Chauth (the day on which fast is observed by Punjabi and U.P. women for the well-being of their husbands), Hoi or Ahoi, and Diwali. All these festivals are celebrated in September, October and Nove-mber--the months known as the festive season. If one finds oneself in a Punjab village during this season, one is spell-bound by attractive and intricately composed patterns and designs painted on the mudwalls which are intended to invoke the blessings of and welcome Lakshmi, the goddess of wealth and plenty. These drawings and paintings are done by the peasant women. |
| The tradition of painting on the mudwalls dates back to very ancient times when the earliest man sought protection in the magical drawing which was thought to prevent the aura of evil spirits from coming into the house: Certain symbols were also used to express the wish of the creators for boons of plenty, progeny and well-being. The art of mudwall painting is known as Chowk-Poorana in the Punjab, which,if taken literally, is the same as what is called Bhumi-Shobha, Griha-Ruja, Chowk etc. in Uttar Pradesh, Alepan or Arepan in Bihar, Alpona in Bengal, Mandana in Rajasthan, Sattri in Gujarat, Rangoli in Maha-rashtra and South India. It is necessary to make it clear that despite its name Chowk-Poorana, the Punjabi rustic women do not draw decorative designs at the threshold of their homes, but on the mud-walls. |
| Their intention is not merely to brighten up and beautify their lowly dwellings, but these festive occasions also provide them an opportu-nity to give free vent to their innate urge for self-expression. They are quite free and instinctive in their action. Apparently, the mudwall paintings testify to the creative genius of peasant women. They make challenging drawings, which are marked for their simplicity, abstrac-tion and distortion. They paint on the walls naturally, instinctively and out of habit. Some of these paintings deserve to rank among genuine creative art. |
| The art of mudwall painting does not require special training. Young girls just pick it up from their mothers or elderly women. In fact, as a leisure hour occupation, it is essentially a rural and feminine art. This typical art depends entirely on individual capacity and skill. As in thousands of villages in other parts of the country, the Punjabi peasant women have also sustained this art by their loving hands. They fed their passions to decorate their huts and they did it merely for the joy of creation. Painting the mudwalls was the only means for them to add colour and richness to their poor, humble and lowly surroundings. |
| The multiplication of lines directed by individual talent under the influence of nearby cultural pattern led to the evolution of the simplest circles, squares and triangles, into abstract designs and human confi-gurations. |
| The drawn motifs, symbolising joy and pride, include a tree motif (generally a red berry tree which can be seen everywhere in Punjab and is a fertility symbol). Among other motifs used commonly in eastern Punjab are palm tree (khajur), orange tree (sangtara), big cree-per called Mahanjal, brinjal plant (Patha), mango tree (anib), humaneffigies, peacock (Mor), palanquin (palki), etc. This was the atmos-phere the rural women lived in and imbibed in order to express them-selves in this medium. The formal simplicity and beauty of these patterns revealing the inherent sense of design on the part of these peasants would make any artist envious. The multiplication of lines directed by individual talent under the influence of nearby cultural pattern led to the evolution of simplest circle, squares and triangles into abstract designs and human configurations. Semi circles, hori-zontal, oblique and vertical lines, and dots lend a character and suggestiveness that gives them a sumptuous effect. The movement of the lines weaving in and out in composition casts a spell of their own and gives it a magical touch. And yet their simplification Gs not consciously sophisticated but flows out of their nascent feeling of faith and devotion. The aesthetic vitality of this simplification finds a res-ponse in the modern art world. |
| The symbolic designs and motifs drawn on the mudwalls are born of unconscious and ancient knowledge, potent with power and energy, and used by the woman as an auspicious mark for worship, decoration, beautification and protection of hearth and home. |
| The rural women also draw floral and geometrical designs on the mudwalls and in the courtyards. Usually powdered colours or earth colours such as white, ultramarine Neel and Indian red Gerua are used because they are easily available. With a piece of rag, the women create beautiful, bold and pleasing patterns which are unique in their total conceptiorr. |
Sources: Cultural Heritage of Punjab, K C Aryan |
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