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 Mandana
art has always been symbolic of festive occasions in
Rajasthan. Sacred moments are sanctified by these line
drawings. Extensively used at weddings and during Diwali,
Holi and other religious occasions. Mandana drawings
were done on mudlayered walls of homes, on public walls
and chowks (squares). But these types of homes no longer
exist to recreate a perfect mandana art motif, and so
this
Mandana is a different form of the Sanskrit word mandan
which means to discover, and mandana means to draw with
lines and create a work of art. There was a time when
mandana was used to a very large extent in these states,
and the people would create large and colourful mandanas.
During Diwali, villages with mud homes would be layered
with geru-gobar (brick and dung solution) to give an
even and dry surface.
After drying, a small strip of cloth (white) would be
dipped in the mixture and a mandana drawn on every
corner of the house – doors, windows, courtyards and
walls. First an outline and then various shapes like
triangles, squares, perpendicular lines, rectangles,
octagons were drawn, which were anywhere between two to
ten feet large. While drawing mandanas, one needs to
have complete concentration because mistakes cannot be
improved on or corrected. Only a thin stick with the tip
covered in cotton is used. This unique art is sometimes
drawn from inside out or outside in. Small dots and
lines are used to make a complete form. Just using
various geometrical patterns can also create different
styles, with each having its own personality.
 After
the mandana dries, according to the occasions, kalash
(metal pot), chaval (rice), phulpati (flowers and
leaves), supari (areca nut), nagweli (areca) leaves and
diya (mud lamps) are used to decorate it. Earlier, the
use of sindoor (vermilion), haldi (turmeric), neel
(indigo) and phulpati (flowers) were ground to create
colours. It is regarded as inauspicious to keep the
garden and open spaces in homes empty during festive
occasions.
Mandana was also drawn to safeguard that sacred space
from the asuras (demons), so that Gods and Goddesses
would grace the occasion without fear. In case they
could not find their way to the venue, directions were
also drawn!
 Lakhichand
Jain is master of applied art and is also an artist and
product designer. In 2002-2003, he recreated mandanas
from fading impressions. For more information, tel: 022
25339865 or log onto: www.intergold.co.in/mandana. One
may contact Lakhichand Jain at: lakhi_youthindia@rediffmail.com.
It is closely related to the fields of Vaastu, beauty
and adyatam (study) yantras (tantric diagrams). It now
needs individuals who can link mandana motifs with these
ancient concepts. This will help in unravelling and
understanding this folk art. As in any disappearing or
frequently unused form of art, the need of the moment is
for mandana to get mainstream recognition and global
accreditation. Only then can such dying arts get that
vital breath of life they need to survive. So,
Lakhichand Jain has made it his mission to propagate
mandana via the commercial route. He has given a modern
look to mandana art. Every year, he designs coins with
mandana art motifs engraved on them. These have, for
Today mandanas are showcased on jewellery, high fashion
labels, paper products, textiles, corporate products, TV
and films. Glass, copper, brass, tin and gold have also
been used as a medium to create mandanas.
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