A sparkling tale of triumph emerges from Sheikhpura’s Gunhesa village, where Jivika member Krishna Devi has elevated Tanjore painting to new heights in Bihar. Battling odds of poverty, sparse education, and prejudice, her artistry and tenacity have forged financial autonomy and inspired peers.
Jivika’s framework unlocked her potential, infusing Bihar with Tanjore’s grandeur—a craft she perfected in Chennai. Detailing the technique, she explains: plywood base cloaked in cloth, embossed deities via lime, glue, and fillers; layered paints; culminating in lavish 22-carat gold foil. Artworks mature over 15 days, grander ones longer.
Her divine portraits command markets in Delhi and states afar, generating four lakh rupees locally. Exhibition letters ensure seamless participation with all amenities.
Praveen Kumar recounts their path: 2016 Jivika linkage amid his Chennai labor; 2020 COVID crisis repatriation; Jivika’s pivotal role in talent scouting, fair entries, funding. Community scorn morphed into esteem, sealed by Noida Haat recognition.
The 22-carat gold hallmark renders Tanjore timeless and valuable, its creation a patience trial. Bihar’s supply gaps mean Tamil Nadu pilgrimages, undeterred by hurdles. High-profile venues like Patna Gandhi Maidan, Bhubaneswar, Indore, Gurugram, and Haryana have amplified her reach, with Krishna, Ram, Vishnu, Lakshmi, Shiva pieces flying off shelves.
This narrative celebrates rural women’s ascent via artisanal pursuits, bolstered by Jivika and government synergy, weaving economic vitality with cultural preservation.