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My son helped me put some of my paintings on Amazon last year. Small things, mostly, fish motifs, a few Lakshmi pieces for Diwali time. We thought it would be good, reach people outside Bihar who don't come to the melas. Six months now. What I notice is, if I put a painting with very fine line work, very detailed, the kind that takes me four days, it sits there. No sales. But a simpler piece, one I can finish in a day, with brighter colours and a big bold fish in the centre, that one sells within a week. Same size, same paper, same story behind it. I don't understand this. The detailed one has more of me in it. More tradition. But the simple one is what people want to buy. I am grateful for the sales, do not mistake me. But I wonder if Amazon is showing the simpler paintings to more people because they get clicked on faster. Or maybe people see a very detailed Mithila and they think it will not match their home. I am not complaining ji. Just trying to understand. The folk artists I know in Madhubani, we all sit and wonder about these things. If you sell online also, has this happened to you, what you think is your best work, nobody wants, and something you made in one day, that one moves? 🙏

I have been trying for months to make nice reels about Mithila painting. The process, the natural colours, the meaning of the fish and the peacocks. Good lighting, proper background, all arranged. My son helps me with the editing. And these posts, they get some likes, some comments saying "beautiful art ji," but not much more. Then last week my son took a photo of me at six in the morning while I was mixing pigment. I had not even bathed. Old kurta, hands stained with lampblack. The photo is not good, blurry, bad angle. I told him delete it. He said no, let me post. That blurry photo got three inquiries from young women in Patna and one from Delhi who want to learn. They said it looked "real." One said she could see I was actually doing the work, not performing. So now I am thinking, all the effort I put into making things look nice for Instagram, maybe that is the wrong thing. Maybe the people who want this art are looking for something that is not polished. But this is strange for me because in Mithila painting, we spend hours making every line perfect. The whole point is precision. But online, they want the opposite. I am not sure what to do with this information. Keep posting the blurry morning photos or go back to the proper videos? Both feel wrong in different ways.

Myself Ramesh. I paint Mithila art from Bihar, fish and peacocks and gods, same as my mother and her mother before. This is our tradition, many centuries old. Last year a gallery in Delhi, very nice building, very polite lady on phone. She said she is interested but first wants to "verify" if my work is "authentic village Mithila" because she has seen "too many commercial reproductions." She asked me to send photographs of my hands painting, and a letter from someone in my village who can vouch for me. I said ji, I am 56 years old, I have been doing this work since I was a little boy. My mother learned from her mother. You can see the natural pigment, the line work. But she insisted. So I sent. Then she said the fish are not the "right" colour and asked if I can change to what sells in South Delhi. I said no, this is Mithila fish, this is how we do. She stopped replying. Any of you had a gallery ask you to prove your own tradition? Or tell you your own art is not "authentic" enough? What do you even do with that.

A gallery in Delhi once told me, "Can you make these paintings bigger and finish in half the time, we have buyers waiting." I said ji this is Mithila painting, every line takes time, the natural colours need to dry, I cannot rush the fish and the gods like chai. They did not understand. This happened with you also? Someone wanting you to produce faster, change your speed, compromise the work itself? How you handled it?

Last year in Madhubani, marriage season was coming and a family from Darbhanga came to me. They wanted a large Mithila piece for the wedding wall, traditional, with the sun and moon, the fish, the bridal procession. I told them ₹8,000 for the whole thing, handmade paper, natural colours from my own stock, ten days' work minimum. They said they would think about it. Next week I heard they went to a younger fellow in the next lane. He does the work too, learned from his aunt, but he charges ₹4,000. He uses poster colour, not geru and rice paste. And the paper is machine-made. But it is half my price, so they went to him. I am not angry at the boy. He is feeding his family. But this is the thing, when your own neighbour will do it for half, the customer does not see the difference between handmade pigment and a tube from the market. They see two paintings that look somewhat same, and they pick the cheap one. My son tells me I should raise my prices even more, because the people who understand the difference will pay. But the people who understand the difference are fewer every year. The ones coming to buy are often new money, wanting a "Mithila painting" to hang on the wall like a thing, not knowing what they are looking at. So I am stuck. ₹8,000 is already not much when you count the grinding of the colours, the preparation of the paper, the days of sitting. But I cannot compete with ₹4,000 and poster colour. And I don't want to compete that way either. How do you hold a price for the real thing when the market does not know what real means anymore?

Myself Ramesh. I have a question for the experienced people here. A gallery in Delhi showed my Mithila paintings last year. Very nice people, good space, they treated me with respect. But the split was 50-50. I agreed because I was happy just to be there, honestly. My family said I should have asked for more. Now I am wondering, what is the normal thing? What percentage you all are giving, or taking? I know folk art is not the same as contemporary, but business is business only. Did I make a mistake, or is 50% just how it is for someone like me starting out? Please tell me straight. I can take it. 🙏

Myself Ramesh. I paint Mithila, as my mother and her mother taught me. Natural colours only, turmeric yellow, indigo blue, vermilion, so on. A gallery in Delhi some years back said they liked my work very much but could I please use "more contemporary palette" they said. I was confused ji. These colours are the tradition. They carry meaning. I cannot change simply because somebody wants something else. I said no. And they moved on. Now I wonder, has any gallery asked you to change something fundamental about your work? The colours, the subject, the size, the medium. And did you do it, or did you hold your ground? I am curious to know. 🙏

One time a gallery person looked at my Mithila paintings, natural colours, hand-ground, the way my mother and grandmother taught me, and said could I make them brighter? More modern? Like acrylic maybe. I was standing there holding a brush and I did not know what to say ji. I thought about it for many days. In the end I did not change. But I have wondered since if I was foolish. What is the thing a gallery asked you to change about your work, and did you do it or did you walk away? I am asking because I still think about this sometimes.

Myself Ramesh, doing Mithila painting since childhood in Madhubani. For many years I thought galleries are only for the big city artists, not for village people like us. But one day a small gallery in Patna, they saw my work at a craft mela and said bring your paintings to us. I was nervous ji, I went with my son carrying maybe ten pieces rolled in cloth. The owner sat with me, asked about the meaning of the fish and the peacocks, offered me tea. He sold two pieces in the first month and I thought I am dreaming. That was maybe fifteen years ago. Now I have worked with many galleries but that first one, I still remember the feeling of being treated like a real artist and not just a craftsman. What about you? Tell me your first gallery story, the one that made you feel seen, or maybe the one that did not.

She came to my home, sat on the mat, looked at my mother's old painting of Laxmi on the wall and said, "Ramesh ji, can you make her face a little more... you know, like contemporary? Like Deepika or someone." I said, Mata Laxmi? Like Deepika Padukone? She said yes, why not, we have to keep up with the times. I told her I have been painting Laxmi since I was a boy. In Mithila, the goddess has a certain face. The lotus, the elephants, the gold coins falling from her hand, the proportions of these also are fixed by tradition. You cannot just give her a film star nose and call it Madhubani. She said okay but can you at least make the eyes bigger and more modern. I took the order anyway because my daughter's school fees were due. I painted it the way it should be. She came to collect it and said it looks very traditional only. Took it but I could see she was not happy. My wife said, next time, make her wear sunglasses also.

I had a gallery in Delhi showing interest in my Mithila work. Very excited I was. Then they said, you will arrange framing yourself and also deliver to the venue at your own cost. For a group show, not even solo. I thought the gallery handles presentation side no? Otherwise what is the gallery doing. I told them sorry ji, this arrangement does not work for me. Maybe I lost an opportunity but it felt wrong. What is your experience with this? Which costs the gallery should cover and which the artist bears? I am still learning the business side after so many years of just painting. 🙏

Yesterday a young girl came to me with her Mithila work and she had used a bright purple from a tube for the lotus. She was so proud, and the drawing was good, her lines were clean. But I had to tell her no, this is not our colour. She looked at me like I had scolded her for nothing. I tried to explain. In our tradition, we do not have purple. We have red from the kusum flower, yellow from turmeric, blue from indigo, black from soot. The lotus is red or pink or sometimes white, but not this purple. She said but it looks nice, and she was right, it did look nice. But it is not Mithila. This is the thing that troubles me these days. I am not against new things. When I was young I also wanted to try new colours. But the old way, it has a reason. The natural colours are not just colour, they carry the thing itself, the earth, the flower, the root. When you use a purple from a tube, you lose that connection. The painting becomes decoration only, not ritual. I let her keep the purple lotus in the end but I asked her to do another one with proper red, and to tell me the difference after. She is young, maybe twelve. I want her to stay with this art but also to understand why the old rules are there before she decides to break them. Sometimes I feel like a strict grandfather when I say these things. But this is our heritage, not just any painting.

A woman from Tokyo found my work through the Mithila Art Institute page, wrote to me on WhatsApp. She wanted a wedding scene, the full thing, the groom's procession, elephants, the bride under her covering, all the detail. I told her 15,000 rupees for that size, which is already low but she was a foreign buyer and I thought maybe she won't pay more. She said yes very quickly. Then she said she will send in US dollars through her friend's account. 250 dollars. I thought okay, 250 dollars, that sounds like a good amount, more than 15,000 I assumed. You know what I did? I did not check. My son usually handles the online payment things but he was out. The money came. I felt happy. Later my son came home and said, Papa, do you know 250 dollars is almost 21,000 rupees? I sat quiet for a long time. She paid me what the work was worth. I undervalued it myself, not even knowing the rate of my own currency. The embarrassment is still with me. Not at her. At myself. I told her 15,000 for a painting that takes three weeks of daily work and she paid me 21,000 anyway because she decided that's what it costs. A stranger in Tokyo had more respect for my labour than I did. Since then I always check the rate before I quote to anyone outside India. But that feeling sits. How many more times have I done this to myself without knowing? 🙏

Myself Ramesh. I want to say something that has been on my mind. In the old way, we make our own colours. Rice paste for white. Lampblack from the diya. The red from kusum flower or from geru, the earth. My mother she would grind these things for hours on the sil-batta, mixing with gum from the babul tree. The colour sits on the paper differently. It breathes. Now many students and even some senior artists are using poster colours from the market. It is faster. Also cheaper sometimes. But I look at those paintings and the line has no life. The colour is flat like plastic. You can feel no hand in it. One girl in my class last month she told me guruji natural colours take too long. I said beta that is not a problem. That is the art itself. The grinding, the mixing, the waiting, this is not wasted time. This is the painting. But I also understand. The buyers they want bright. They want quick. And we must eat. So I am conflicted ji. I use both now. Some natural for my own work, some synthetic when I must. But I feel a little shame mixing the two in one painting. Like I am cheating my grandmother. Anyone else feel this way about old materials vs new ones? Or is it only me.🙂

I have been buying my painting paper from the same small place in Bhagalpur since I was a young man. My mother also used to get from them only. This paper is hand-made, khadi, you can feel the fibers with your fingers, the way it takes the natural color is different from anything machine made. For Mithila work this matters very much because the line work is everything, the paper must hold a fine line without bleeding, but also it must have some tooth, some roughness for the color to sit on. Last month I ordered my usual stack. And it came, and I thought maybe I received a bad batch. But I used it for three pieces now and it is not the same. The surface is smoother. Too smooth. The water-based colors are sliding instead of settling. The line is fine but the paper does not grip the pigment like before. I called the shop and the man told me their master craftsman retired and the new man is trying to "improve" the process. He said this like it is good news. I am sitting here with a half-finished fish motif on this new paper and the tail is not right. The color is not sitting where I put it. It is not the paper's fault maybe, it is my hand not trusting the surface. But how many years to learn a new paper when you already know one for twenty years. I do not want to start again. I want the old paper back. Has anyone else faced this with a material that changed without warning? Not a brand reformulation but the actual hands that made it, the knowledge that left. How do you decide whether to adapt or to find a new source altogether.