FOLK ART - MITHILAAKALA Foreword Painting is a man-made intellectual exercise. This art when displayed in a specific way by people, makes a distinctive style. Each region of India has its own distinctive understanding of art and style. Folk painters in their specific style mould life, traditions, festivals and beliefs according to their understanding. They knit its look into the things easily available in that region. With the passage of time, this understanding is widespread and accepted all over the world. In such Indian styles, styles like Pirothakala, Madmirar (Kutch), Sanjhakala (Punjab), Sanjhikala (Braj), Saurakala (Odisha), Mandnakala (Rajasthan), Phadkala (Bhilwada), Godnakala (Bihar), Phogatkala, Kolam (Kerala), Saheraikala , Aripannakala, Rangolikala (Alpana), Mithilaakala (Madhubanikala) etc. are prevalent. Among those, the history of Mithilakala (Madhubanikala) and Warlikala is very old. Mithilakala is very pleasing. This made me curious to know about it. This presentation is the result of my desire to put before you the contents of this art that I have discovered. In order to solve the problems of Mithilakala, I have started this small searchby placing the objective in view that the seekers of this art, be able to receive its external form and internal thoughts as well as the expressions located in it as it is. The folk belief is such that Mithilakala was started by king Janak in an attempt to enhance the beauty of Janakpuri on the occasion of Swayamvara of his daughter Sita. Although this art was prevalent in folk practice even before that, the folk art was recognized by the multi-pronged efforts of King Janak. Since then, the people there, started using this style in decorating their homes. Human by nature is festival lover. In order to express the good feelings of their heart in festivals, people who have passion and skill towards this art, have refined their art in this way and have also done experiments in plenty. Mithilakala is the folk-cultural art of Mithila region. This art is an art created and settled down in the heart of the tribes living in the villages. The objects depicted in this art are also symbolic. Folk painters have derived shapes from nature. Mountains, rivers, lakes, clouds and mostly the trees, vines, flowers and leaves and animals and birds were also found among these. This is my humble attempt to explain in a simple way the emergence of symbols, various beliefs and styles associated with development, amongst the most important things in the context of Mithilaakala, In the modern contemporary society, many changes have taken place in Mithilakala. Because of this, its real public understanding is being diminished. Without understanding the real meaning of the underlying symbols of this art, it is not appropriate to review its true nature. Parmendra Gajjar, Param Baroda 2025