The Kala-kuta Yantra

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The 'nada', or sound, condensed in the syllable 'hreem' rises from within but once it has risen, it transcends and whirls beyond. Repeatedly pronounced 'hreem', i.e., the 'nada' condensed therein, forms a circular ring and energy circuits, and further rings and further energy circuits. Now ridden on 'nada', the inner and outer interconnect and draw more and more energy mutually from each other. This mutual dependence of inner and outer, which the 'nada' conditions, is the basis of Kala-kuta Yantra. Its outer plan, or 'bhoopura' is almost the same as that of Shri Yantra, a square with guided openings on all four sides. The corners of the square, or 'bhoopura', are aligned with tridents, the 'trishula' or three pangs, which indicates that not only the 'sadhaka' but also the cosmos are transgressed by decay, disease and death.

The inner plan of the 'bhoopura' is different. It represents neither the cosmic vision nor the stages of elevation or of accomplishment. It is only the 'nada', or the sound condensed in the syllable 'hreem', that the 'bhoopura' is fully covered with. It manifests in the formation of rings, three outer ones consisting of the syllable 'hreem' and the fourth one consisting of other syllables and the 'mantra' -"Hreem Bhuvaneshvareih namah". It suggests that the 'nada' identified as 'hreem' expands and grows and there rise its other forms. 'Hreem', pronounced each time, forms a circuit. The sound travels from the lower edge of the palate to its top and then shoots upwards and transmigrates. It then encircles the entire being, the cosmos. Hence, in conceiving the Kala-kuta Yantra, the 'bhoopura, which is the cosmos, is condensed and re-produced within the rings consisting of sound or energy circuits. The centre, or the sanctum sanctorum is conceived again with the 'nada' as the presiding deity. Besides the 'tantrika' and ritual convictions, the underlying principle of Kala-kuta Yantra is as much scientific and quite simple to perceive. The syllable 'hreem' and the consequent ones, when pronounced repeatedly, lead the being beyond oneself and by their uprising sound, form energy circuits and re-vitalise thereby the entire being enabling it to fight the ailments and cherish a desire to live.

One can have other 'yantras' permanently inscribed for they are the votive objects. Kala-kuta is different. It is in real sense only the technique. One has to do it every time. If his ailment is serious rendering him unable to perform it, someone else may do it for him. The Madhubani artists Vidyadevi and Dhirendra have laid down the entire procedure and the sanctities to be observed. But Kala-kuta yantra is essentially the 'nada' based technique, hence commemoration of the Mantra, which forms the body of the 'Yantra', is all the more significant. The artists have hence specially included the 'Mantra', the main and the subsidiary ones, along with the diagram of the Kala-kuta Yantra.

This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.

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Colors of Tradition: Exploring the Artistry Behind Madhubani Paintings

Madhubani painting is also known as Mithila art as it is practiced in the Mithila region of India and Nepal. It has specifically originated from the Madhubani district of the state of Bihar. Traditionally, the women of this region created these paintings and in recent years, it has become a widely practiced art and has now become renowned throughout the world. This art expresses the creativity and culture of the people of Mithila and is passed from one generation to another. In this way, the heritage of Madhubani art has been preserved for many decades. The subjects of these paintings are usually religion, love, and fertility. Sometimes, social events like festivals, weddings, and royal court are also depicted in the paintings. The most commonly painted designs and themes are the forms of Hindu Gods and Goddesses such as Ganesha, Shiva, Saraswati, Lakshmi, Krishna, and Ram. The characteristic features of Madhubani paintings are their vibrant colors and eye-catching geometrical patterns. The empty spaces are filled with traditional motifs such as floral and foliate patterns, animals, birds, geometrical structures, and other designs. The local artists create these paintings using a variety of items such as matchsticks, twigs, brushes, pens, or even their own fingers. The paints are usually made with natural dyes and pigments.
As simple as it may seem, the making process of the world-famous Madhubani paintings is certainly not easy and requires lots of hard labor.

Traditional Madhubani paintings are done either on cloth, handmade paper, or canvas. Select the medium of painting as per your choice. If you have chosen cloth, attach it to cardboard to make a solid base. The making of the painting begins with making a double-lined border. This is a very important step because the border is filled with various geographical shapes and patterns or other motifs. The average width of the border is 1.5 - 2 cm. Now that the border is created, you will be left with a blank middle space. This is the main workspace. Start drawing your choice of figure, designs, and shapes. These must be relevant to the Madhubani painting themes.

When the key design has been made, the empty spaces in between are filled with some designs.
Now is the time to color the painting using vivid shades and hues. Colors in Madhubani are sourced from nature; Indigo is used to produce blue, flower juice produces red, turmeric gives yellow, leaves produce green, cow dung mixed soot gives black, and rice powder gives white.

To paint these colors, the artist uses a bamboo stick and wraps cotton around it. This acts as a traditional brush.
The entire painting is now painted using this special brush with natural vibrant colors. · However, in modern times, the common brush is used and instead of natural colors, artists prefer to use acrylic paints.

Since the entire painting is made with natural materials and colors, it appears simple yet enriching. Originally, this art was created on mud walls or soil grounds but when it evolved over many years, the people of Madhubani started to make it on fabric and paper. Today, this art has become globalized and is receiving worldwide attention and appreciation.