Warli

Etymology: The word 'Warli' originates from the word 'Warla' which means a piece of land.

Origin: While the precise era of Warli art creation is not estimated, its roots can be found in the early 10th century. According to the existing literature, the tribes carried this art as a tradition that traces back to between 2,500 and 3000 BCE.

Location: The Warli tribe lives near the northern region of the Sahyadri range. Majorly they reside in the districts of Charoti to Palghar and other rural areas of Maharashtra.

Community: The paintings created by the Warli community depict their way of life. They have their own animistic beliefs, customs, and rituals and also follow certain Hindu ideals and values. All the activities in the community ranging from gatherings to mundane everyday chores are drawn and practiced for centuries as a heritage.

Relevance: At present, Warli is a well-known art form in India. But it is believed that Warli and Saura are associated in some ways. Due to the tribal and historically rooted nature of both the art forms and even the distinctiveness in traditions of Warli and Saura's art forms, a difference is prominent. However, both art forms have some common themes. In many ways, their paintings resemble those made between 5,000 and 10,000 BCE in the Madhya Pradesh rock shelters at Bhimbetka and Raisen.

Historical Background: Warli is a folk art form predominantly created by tribes belonging to the Warli tribe of Maharashtra. It is a painting tradition with geometrical forms and shapes that depict human figures and other elements of nature. Their observations of nature led them to represent it through their paintings.

Culture and Societies: Warli art initially began as a wall-painting ritual carried out by suvasinis (married women whose husbands are alive) for wedding ceremonies at the households of the bride and groom. The size of the painting is mostly determined by the size of the wall; it is done on the prepared wall and painted on the front wall of homes or in interiors. Also, other members, usually the young girls of the community, paint the Warli on adjacent or external walls of the home.

Religious Significance: Generally, Warli art is practiced during the wedding or on some religious occasions. The Warli community has a strong belief in God and Goddesses, especially Shiva and Parvati. Moreover, they believe that Mother Earth is their whole universe, which represents every aspect of life from creation to destruction.

Central Motifs and their Significance: In Warli paintings, each form of the circle represents the Circle of Life, representing an aspect of tribal culture. It highlights a joyous, ritualistic relationship among the community. One among such is the circular dance formation known as Tarpa. Other elements of nature are also represented in geometrical shapes.

Mediums Used: Earlier, bamboo or wood sticks were used to create fine lines in the painting. The white paste, which is used as the colour, is made from rice flour mixed with water and glue for consistency. The base or background of the wall on which the painting is created is coated with cow dung and a coating of geru (brick red). Other natural materials which are used as hues, i.e., henna, indigo, ochre, black, and earthy mud, are used for coating the wall/cloth/canvas.

Style: This painting tradition emphasises the linearity of the line. The faces of the human figure are circular, and the arms and legs are linearly drawn. Women are identified by their hair bun. An approach with such minimalistic details gives the paintings a touch of animation whilst simultaneously conveying the authenticity of their depiction.

Process: The traditional methods are still followed. They paint the wall with a coat of cow dung, which is a kind of base for the painting. Once the wall base is dried, the artist starts to paint with bamboo sticks, brushes, and white paste made of rice. For painting on canvas or cloth, they first create a base, which is created by using the same material, cow dung, coal, indigo, mud, and geru but mixed with glue. Once the coating is done and dried properly, it is convenient to paint on canvas or cloth by using poster colour mixed with glue for durability. They iron the canvas or cloth upside down to make it wrinkle-free.

Padma Shri artist Jivya Soma Mashe initiated this art form on the canvases. Later, paintings began to be made on paper, which provided a good lifespan and durability. Warli art has been highly commercialised as a result of its minimalistic design becoming a trend. However, similar artistic designs are now being recreated on fabrics, home decor, and other art forms using a range of shades.

Nowadays, men are more likely to paint than women in the Warli tradition. Very few female Warli artists practice today. Alongside the aid of creative Indian designers and artists working with Warli artists, Warli art has advanced to higher places and gained recognition on both the national and international stages. As part of Prime Minister Narendra Modi's, Make in India program, former Indian designer Archana Kochhar exhibited Warli Art during New York Fashion Week (NYFW).

1. Nair, S. (2018) India Indigenous Artists. Mumbai: Sunita Nair.

2. Satyawadi, S. (2010) Unique Art of Warli Paintings. New Delhi: D.K. Printworld.

3. Dalmia, Y. (1988) The Painted World of the Warlis Art and Ritual of the Warli Tribes of Maharashtra. New Delhi: Lalit Kala Akademi.