India is known for its rich cultural traditions, and its diversity is reflected in a wide variety of unique and remarkable art and craft forms. These are an integral part of Indian identity, but over time, many of these traditions have faded into obscurity. One such art is Tikuli, a form of hand painting that dates back more than 800 years. Once vibrant and flourishing, this art has now become a neglected and vanishing craft. Tikuli art, a lesser-known but richly vibrant form of painting, originates from the culturally abundant state of Bihar, India. With a history that spans centuries, this exquisite form of artwork is deeply rooted in the traditions of Mithila and has evolved to carry layers of historical, spiritual, and social significance. What makes Tikuli art especially fascinating is not only its aesthetic appeal but also its unique journey of revival through changing economic circumstances and even through challenges like the COVID-19 pandemic. https://amzn.to/4amKmYH This Article, titled “The Revival of a Dying Legacy—Tikuli Art”, is a sincere attempt to highlight the importance of reviving such a heritage craft. It aims to give new life to Tikuli by exploring innovative ideas and techniques that can adapt the art to contemporary needs. Through commercialization and modern product development, the goal is to provide new livelihood opportunities for artisans while preserving this traditional art. INTRODUCTION Tikuli, a local term for “Bindi,” is a dot that signifies a woman’s commitment to her husband and is worn by royal married women in Bihar. The Bindi was a symbol of marriage and commitment for life in ancient India, which was known as the “golden bird” due to its vast gold reserves. Tikuli art during the Mughal rule transformed into a luxurious form of expression, symbolizing class and royalty. Bihar became a hub for this exquisite art, with traders from far-off states to Patna purchasing intricate gold and silver foil designs. However, as machine-made goods took over during industrialization, the handmade beauty of Tikuli began to vanish. The more detailed the design, the higher its value. By 1900, the Tikuli art was facing the threat of extinction. In 1954, Chitracharya Padmashree Upendra Maharathi, a painter, artist, and designer, provided a new dimension to the Tikuli art by adopting the Japanese method to portray the dying Tikuli art on glazed hardboard. Traditionally, Tikuli paintings were made using glass as a canvas. The artist would shape the glass like a balloon and paste gold foil on it, painting over it with delicate and intricate motifs using natural colors and enamel. These artworks, deeply influenced by the styles of Madhubani painting, often featured mythological themes, folklore, and scenes from daily life. The use of strong outlines and bold colors like red, blue, yellow, white, and black gives Tikuli art its distinct identity. However, due to the high cost and fragility of glass, the craft underwent a transformation in recent years. Modern Tikuli artists have adapted the art form onto more durable and cost-effective materials like hardboard and MDF (Medium Density Fibreboard), which not only makes the art more accessible but also opens up creative applications such as decorative plates, coasters, wall hangings, and table mats. The unorganized and largely rural nature of the Tikuli sector, along with outdated production methods, low availability of raw materials, and limited market access, have all contributed to its decline. Indian handicrafts are a unique part of India’s cultural fabric, with their vast, vibrant, colorful, and simple yet graceful charm making them a unique part of India’s cultural fabric. HISTORY A bindi is a traditional forehead decoration worn in South Asia, particularly in India, Bangladesh, Nepal, Sri Lanka, Pakistan, and Mauritius. It is a bright red dot applied in the center of the forehead near the eyebrows, symbolizing the sixth chakra, ajna, the seat of “concealed wisdom.” The bindi is believed to retain energy and strengthen concentration, and represents the third eye. According to the Jabala Upanishad, Avimukta (the middle of the eyebrows) is the abode of Brahman in all beings. Bindis were created from Vedic times to worship one’s intellect, and were used by both men and women. The belief was that on the bindi, a strong individual, family, and society could be formed. Traditional bindis are red or maroon in color, and can be made by applying vermilion powder with a fingertip. For beginners, a small annular disc can be used. Various materials, such as sandal, ‘aguru’, ‘kasturi’, ‘kumkum’, and’sindoor’, can be used to color the dot. PROCESS Originally, it involved melting glass, blowing it into a thin sheet and making and adding traced pattern in natural colors and afterwards embellishing it with gold foil and jewels. The gold foil was etched to form traced patterns and later, natural colours were added for enhancing the etched designs. Tikuli were mainly adorned by Queens and Aristocrat women of yore. Jewels were put on gold leaves according to the status of the women in the society and these beautiful hand crafted Bindi’s were a proud possession of women in India. Later, post British raj and industrialization, machine made bindis replaced Tikuli. For more than a decade there after Tikuli artists were jobless. Many shifted their occupations; others lost their houses. Hence, Shri Upendra Maharathi, a renowned artist then, reestablished the craft in the form of enamel painting on hardboard. The base was prepared out of wood which was coated and smoothed using sand paper 4-5 times till the base was a dark brown/black glistening surface like polished granite. Now ready to be embellished using enamel paint and a fine sable/squirrel hair brush, it was painted by women in single strokes in a complimentary colour scheme using primary colors to create a piece of art. Themes, shapes, colour schemes and style of composition have seen changes since then. Since, enamel paint makes the surface heat proof and water proof, making utilitarian items like coasters, trays and
SOUTH INDIA’S STRUGGLE WITH WASTE AND WATER MISMANAGEMENT
South India faces significant challenges in managing municipal solid waste, with issues ranging from inadequate collection and processing to improper disposal and a lack of public awareness. The region struggles with high waste generation rates, especially in urban areas, and a large proportion of waste ends up in landfills or is openly dumped, posing environmental and health risks. Overflowing Cities, Sinking Futures Walk past the towering Kodungaiyur landfill in Chennai or the smoke-shrouded skies of Kochi’s Brahmapuram, and it’s clear: South India is buckling under the weight of its own waste. The numbers are staggering. Every day, the five southern states—Tamil Nadu, Karnataka, Kerala, Andhra Pradesh, and Telangana—generate over 45,000 tonnes of municipal solid waste. That’s nearly one-third of India’s total. With rapid urbanisation and rising consumption, this figure is expected to double by 2035. But it’s not just about volume—it’s about failure. Poor segregation, outdated infrastructure, neglected waste workers, and public apathy have turned trash into a ticking time bomb. A Snapshot of South India’s Waste Landscape Here’s what daily waste generation looks like in some major cities: Hyderabad: 6,500 tonnes, Chennai: 6,300 tonnes, Bangalore: 4,500 tonnes, Coimbatore: 1,100 tonnes and Kochi: 700 tonnes. Yet, less than 30% of this waste is processed scientifically. Most of it ends up in open dumps, burning landfills, or clogged water bodies. In places like Jawahar Nagar (Hyderabad) and Kodungaiyur (Chennai), leachate and methane leak into nearby neighbourhoods, affecting both health and livelihoods. Villages on city outskirts are turning into dumping grounds—without consent, compensation, or accountability. SECTOR-WISE WASTE GENERATION IN INDIA When we break down India’s waste, two things stand out. First, more than 50% of municipal solid waste is organic, made up of food scraps, market waste, and garden clippings. Ideally, this could be composted or turned into biogas. But with over 70% of waste still unsegregated, most of it ends up in dumpsites, mixed with inerts (33%), plastics (6%), and other dry waste. Recyclables—like paper (7%), metals (2%), and glass (2%)—are lost in the mix, reducing both resource recovery and income for waste pickers. Second, when we look at the sectoral sources of this waste, households and public spaces account for about 45%, but industries (25%), agriculture (10%), biomedical (10%), and e-waste (10%) form the rest. These non-household streams often include hazardous materials, but are rarely tracked or treated properly. Together, these two charts reveal a deeper problem: waste in India isn’t just a disposal issue—it’s a mismanagement crisis. Solving it means targeting both what we throw and who throws it. WHY THE SYSTEM IS COLLAPSING ? 1. Lack of Segregation Despite laws mandating source segregation, over 70% of waste remains mixed. This makes recycling or composting virtually impossible. 2.Outdated Infrastructure Dry waste collection centres are sparse. Composting facilities and waste-to-energy plants are either underused or dysfunctional due to poor planning. 3.Invisible Waste Workers South India’s recycling backbone—its 60,000 to 80,000 informal waste workers—remain invisible in policy. Many, often women from marginalized communities, lack basic protections like health insurance or safety gear. 4. Plastic Overload Single-use plastics still dominate markets. Despite bans in Tamil Nadu and Kerala, enforcement is lax, and illegal trade thrives. 5. Failed Waste-to-Energy Projects Several WTE plants shut down due to toxic emissions and community resistance. The 2023 Brahmapuram fire in Kochi was a stark reminder—poisonous smoke from burning plastic engulfed the city for days. A CRISIS BEYOND TRASH This isn’t just a sanitation issue—it’s an environmental and humanitarian crisis. Toxic air from landfill fires, Poisoned rivers like the Adyar (Chennai) and Musinagar (Hyderabad), Health hazards for waste pickers and informal settlers, Destroyed farmlands and contaminated groundwater near dump sites. But in this landscape of neglect, Bangalore is carving a different path. BANGALORE: FROM GARBAGE CITY TO GREEN HOPE Once infamous for its 2012 garbage crisis, Bangalore is slowly transforming into a model of urban resilience. Generating over 4,500 tonnes of waste daily, the city is investing in solutions rooted in community action, decentralised systems, and smart technology. Here’s how it’s making a difference: 1. Segregation at Source Bangalore mandates household-level segregation into wet, dry, and hazardous waste. In areas like HSR Layout and JP Nagar: QR-coded bins and tracking apps are in use. Kannada-language campaigns build awareness. Fines and incentives promote compliance. In well-segregated wards, up to 70% of waste is diverted from landfills. 2. Composting & Biomethanation Since 60% of Bangalore’s waste is organic, the focus is on converting it into resource. Kasa Rasa, a citizen-run composting unit in Koramangala, is a local success. Biogas plants at Domlur and KR Market turn food waste into cooking fuel. BBMP mandates bulk generators (like tech parks) to manage their own waste on-site. 3. Dignity for Waste Workers Groups like Hasiru Dala and Saahas Zero Waste have transformed waste work in Bangalore. Workers now have ID cards, safety gear, and access to healthcare. Many are part of formal collection systems, with regular pay and recognition. Still, more needs to be done—legal protections and co-operative ownership are the next steps. 4. Smart Technology for Smarter Cities Tech is helping streamline waste operations: GPS-tracked collection trucks. IoT-enabled bins. Citizen complaint redressal via the Swachhata App. Real-time ward-level performance dashboards. Bangalore is exploring AI-based sorting and open data platforms to reduce leakages and corruption. 5.Circular Economy & Safe Waste-to-Energy While past WTE models failed, new approaches are emerging: RDF (Refuse-Derived Fuel) plants at Kannahalli and Doddabidarakallu process 750 tonnes/day. Startups like Swachha Eco Solutions upcycle plastic into tiles and furniture. But the key lies in Extended Producer Responsibility (EPR)—holding brands accountable for the waste they create. 6.Rebuilding Infrastructure Instead of centralised landfills, Bangalore is building decentralised hubs: Composting and biogas units at ward level. More Dry Waste Collection Centres (DWCCs). Engineered landfills with leachate control and gas capture. It’s a slow process—but the blueprint is changing. 7. Pay-As-You-Throw Pilots in select wards are testing user fees and Pay-As-You-Throw (PAYT) models. Bulk generators like malls and hotels are being charged. Households may follow, depending on volume and segregation. This economic shift encourages responsibility—and disincentivises waste. 8.Civic Action & Behavioural Change At the heart