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    Posted June 14, 2009 by
    MUMBAI, India

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    Paintings by Pooja




    Ms. Pooja Patwardhan is an unfortunate girl. She has been suffering from Spina-Bio-Fida right from her birth. All her veins are trapped in her spine.She needs support on both the sides while walking and she has undergone multiple number of surgeries. She has lost all the pleasures of childhood; except the love, affection and support of her parents.

    Inspite of her unnerving disabilities; Ms. Pooja Patwardhan has shown TRUE GRIT. It was her tremendous resolve and courage that gave her otherwise unsurmountable physical disabilities to complete her education upto S.S.C. successfully.She received a tremendous support from the staff and mangement of the school run by the Rotary Club; Dombivli. Hence she could pass the S.S.C. examinations in the year 2006.

    She gave up higher education as she could not withstand the routine of junior college. Her mind was pursuing learning of her own will and she decided to go in for paintings. She picked up the fancy for warli paintings; and she cultivated the appetite for it and got herself engaged in it. She divorces nearly six to eight hours in sitting position to do these paintings.


        This is a presentation of her art; known as Warli Paintings. Following write-up on the Warli tribe is drawn from web.


    In her book The Painted World of the Warlis Yashodhara Dalmia claimed that the Warli carry on a tradition stretching back to 2500 or 3000 BC. Their mural paintings are similar to those done between 500 and 10,000 BC in the Rock Shelters of Bhimbetka, in Madhya Pradesh.

    Their extremely rudimentary wall paintings use a very basic graphic vocabulary: a circle, a triangle and a square. The circle and triangle come from their observation of nature, the circle representing the sun and the moon, the triangle derived from mountains and pointed trees. Only the square seems to obey a different logic and seems to be a human invention, indicating a sacred enclosure or a piece of land. So the central motive in each ritual painting is the square, the cauk or caukat (pronounced "chauk" or "chaukat"); inside it we find Palaghata, the mother goddess, symbolizing fertility. Significantly, male gods are unusual among the Warli and are frequently related to spirits which have taken human shape. The central motif in these ritual paintings is surrounded by scenes portraying hunting, fishing and farming, festivals and dances, trees and animals. Human and animal bodies are represented by two triangles joined at the tip; the upper triangle depicts the trunk and the lower triangle the pelvis. Their precarious equilibrium symbolizes the balance of the universe, and of the couple, and has the practical and amusing advantage of animating the bodies.

    The pared down pictorial language is matched by a rudimentary technique. The ritual paintings are usually done inside the huts. The walls are made of a mixture of branches, earth and cow dung, making a red ochre background for the wall paintings. The Warli use only white for their paintings. Their white pigment is a mixture of rice paste and water with gum as a binding. They use a bamboo stick chewed at the end to make it as supple as a paintbrush. The wall paintings are done only for special occasions such as weddings or harvests. The lack of regular artistic activity explains the very crude style of their paintings, which were the preserve of the womenfolk until the late 1970s. But in the 1970s this ritual art took a radical turn, when Jivya Soma Mashe started to paint, not for any special ritual, but on an everyday basis.


         Ms. Pooja is resident of Dombivli(west); a suburb in Thane district; near mumbai. Her parents' cell---91-9833810959.

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