India Post today released a set of 2 stamps and a sheetlet of 16 stamps on Warli paintings and Shekhawati paintings.Warlis carry on a tradition stretching back to 2500 or 3000 BCE. 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, known as the \”chauk\” or \”chaukat\”, mostly of two types: Devchauk and Lagnachauk. Inside a Devchauk, we find palghata, 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 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.
The havelis of Shekhawati Rajasthan are known the world over for their wall paintings. The themes of these frescoes depict gods, kings, flowers, arabesques and scenes from daily life. The Shekhawati paintings also depict Europeans, as can be identified by their hats in a sea of turbans, in scenes of infantry in opposite sides.The technique of Fresco painting in Shekhawati was neither primitive nor unique to the area. Instead it resembles closely the Italian Fresco technique developed around the 14th century. In Shekhawati, the fresco painters were called Chiteras and belonged to the caste of Kumhars (Potters). They were also called Chejaras (masons), since they performed both the functions of painting as well as of constructing the buildings.Initially only natural pigments were used for colour e.g. Kajal (Lamp black), Safeda (Lime) for white, Neel (indigo) for blue, Geru (red stone) for red, kesar (saffron) for orange and pevri (yellow clay) for yellow ochre. Later on, chemical pigments and synthetic dyes from Germany and England were also introduced. The Chhatris at Narhad (built in 1508 AD) and Jhunjhunu (built by Hansa Ram 1680-82) are fine specimens of this form of painting.
FDC ,MS and Brochure was not available today at most of the philatelic bureaues in India.