Among the earliest forms of human expression, painting has played a significant role. Prehistoric rock shelter paintings stand as strong evidence that early humans recorded their experiences, hunting life, and symbols in visual form. Although human expression was not limited to images alone—spoken language, gestures, and oral traditions evolved alongside—painting contributed immensely to the formation of socio-cultural memory.
This tradition, which began with cave paintings, continued to evolve across civilizations and remains alive in folk life today. Folk painting traditions from various regions of India continue to assert their presence even within contemporary art discourse. Despite the expansion of modern and contemporary art practices, the symbolism and collective vitality of folk art continue to captivate audiences.
Celebrating this rich cultural heritage and storytelling through textile and visual art, the exhibition “Bajjika Art: A Dialogue between Kanchan Prakash and Sanju Devi” was inaugurated on 11 February 2026 at Champatree Art Gallery, as a collaborative initiative of the Indian Council for Cultural Relations (ICCR), the Museum of Sacred Art (MOSA), and Champatree Art Gallery. Bringing together painter Kanchan Prakash and Sujani embroidery artist Sanju Kumari, the exhibition presents a compelling dialogue between pigment and thread, rooted in Bihar’s Bajjika tradition. Through embroidered narratives and parallel painted expressions, the show highlights women’s creative voices and the evolving legacy of India’s artistic heritage.
Notably, the exhibition foregrounds Baseri folk art of the Bajjika region, which, for various reasons, has not received the recognition accorded to Bihar’s Mithila or Manjusha traditions. The noted Bajjika scholar Uday Narayan Singh describes Baseri art—also known as Dev-Singar or Sir-Singar art—as once a defining cultural marker of the region, now somewhat fading under the glare of modernity. Yet a few dedicated practitioners continue to keep it alive. Among the leading women artists sustaining this tradition are Chulhiya Devi, Vasmati Devi, Indira Devi, and Kriti Devi.
Traditionally, Baseri art is painted on the outer walls of the house, primarily during a child’s wedding. In the Bajjika region, there is a belief that worshipping bamboo at the time of marriage ensures the growth and continuity of the family lineage. Accordingly, a day before the wedding, the outer walls of the sacred household space (Gosai Ghar) are decorated with motifs of bamboo, birds, animals, flowers, and foliage.
For several decades, the noted painter Kanchan Prakash—recipient of a State Award and a Senior Fellowship from the Ministry of Culture, Government of India—has been transforming this wall-based tradition onto paper and canvas. Her objective is not only to prevent its disappearance but also to introduce it to national and international audiences. She has exhibited works based on Baseri, Shringari, daily rural life, deities, and nature in galleries across India and abroad. Each year, she organizes Bajjika painting workshops in the region, training artists such as Kiran Sharma, Sakshi Sharma, Indrajit Gupta, Sandeep Kumar, Divya Prakash, Ayan Prakash, Kriti Kumari, Shraddhapriya, Vibha Devi, Sanju Devi, and Pinki Devi.
In this tradition, bamboo motifs are elaborately ornamented on the outer walls of the prayer room, and the community identifies this practice as Baseri painting. The ritual is performed by the women of the household on the day of Matkor during wedding ceremonies, sometimes with assistance from women of the Nai (barber) community. The Bajjika region here refers to Muzaffarpur, Sitamarhi, Sheohar, and Vaishali districts of Bihar—historically associated with the Vajji confederacy and the ancient city of Vaishali.
Having received formal art education from the Faculty of Visual Arts at Banaras Hindu University, Kanchan Prakash is well versed in modern and contemporary artistic idioms. Her sustained efforts to preserve, protect, and promote this regional folk tradition are both significant and commendable, and one hopes that her mission continues successfully in the years to come.
-Suman Kumar Singh