Warli Paintings From CopperWiki

Warli Art

Warli paintings are folk paintings made by the Warli tribe, the largest tribe in Maharashtra. The Warli tribe resides in Thane district of Maharashtra on the northern outskirts of Mumbai and extends up to the Gujarat border.

Traditionally painted on walls, Warli paintings are a vivid expression of daily and social events of the tribe and provide the only means of transmitting folklore to a community not acquainted with the written word.

Contents 1 Why should I be aware of this? 2 All about Warli Paintings 2.1 Characteristics of Warli Paintings 2.2 The Artists of Warli 2.3 Understanding Warli Paintings 2.4 Different from Other Paintings 2.5 Warli Paintings Today 3 References 4 See Also 5 Additional Information

Why should I be aware of this?

• They are an example of diversity in Indian art.
• They tell us about life and communication in those days.
• Warli Paintings are very different from other folk and tribal paintings in India.

All about Warli Paintings

While there are no records of the exact origins of this art, its roots may be traced to as early as the 10th century AD. Research suggests that the Warlis are the propagators of a tradition which originated some time in the Neolithic period between 2,500 BC and 3,000 BC.

Characteristics of Warli Paintings

The Warli art form is similar to the pre-historic cave paintings in its execution. These extremely rudimentary 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. 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. While men and women are depicted in almost identical fashion, the only differentiator is the little knot of hair in the form of a bun, that indicates Warli women.

Stylistically, Warli Paintings can be recognized by the fact that they are painted on an austere mud base using one color, white, with occasional dots in red and yellow. The white pigment is a mixture of rice paste and water with gum as a binding agent. This sobriety is offset by the ebullience of their content. Traditionally, when painting the mud walls, the Warlis use a bamboo stick chewed at the end, to make it work like a paintbrush. Even now, when they paint on cloth, they use a narrow stick dipped in white rice flour paste.

Unlike the realism of Kishangarh Paintings, the themes in Warli paintings are highly repetitive and symbolic. Many of the Warli paintings that represent Palghat, the god of marriage and fertility, often include a horse used by the bride and groom. The painting is sacred and without it, the marriage cannot take place.

In Warli paintings it is rare to see a straight line. A series of dots and dashes make one line.

Each painting is usually an entire scene that contains various elements of nature including people, animals, trees, hills etc. The thread that binds all these loose elements can be events like a marriage, a dance, sowing, harvesting or hunting. Different varieties of trees are drawn in detail forming intricate decorative patterns. Birds, squirrels, monkeys, snakes and other animals are also depicted, frequently in action. Other elements in nature like streams and rocks are also featured. The 'Tree of Life' and the 'Tarpa' dance are significant images often seen in Warli art. The Tarpa is a trumpet like instrument and many Warli paintings will have a tarpa player surrounded by drummers and dancing men and women.

The artists have recently started to draw straight lines in their paintings. These days, even men have taken to painting and they are often done on Handmade Paper incorporating traditional decorative Warli motifs with modern elements such as the bicycle etc.

The Artists of Warli

Originally, Warlis were hunters and so the motifs in their paintings were based on hunting. Today, most of the tribals have shifted to cultivation and work according to the monsoon, and the themes in their paintings have changed. Traditionally, only women practiced this art form on the interior walls of their mud houses.

Understanding Warli Paintings

Although the Warlis live very close to Mumbai, India’s largest metropolis, they shun all influences of modern urbanization. Even though many paint for commercial gain today, they have continued to adhere to old themes and motifs that can only be appreciated by those who know and understand Warli culture.

Warlis worship nature in many forms – sun and moon, god of thunder, lightning, wind, rain etc. Different gods are worshipped in different seasons. In the coming of the first rice crop, they worship the god of rain in a festival called Naranadeva. In other festivals that follow, the Warlis worship the goddesses of fertility, household peace, harvest and many more.

For the Warlis, life is an eternal circle. At all occasions – birth, marriage, and death they draw circles, symbol of Mother Goddess. Death is not the end for them; rather it is a new beginning. Which is why circles best represent the art of Warli, which has neither an end nor a beginning.

Different from Other Paintings

Warli Paintings are very different from other folk and tribal paintings in India. Their themes are not mythological, nor their colors as bright as the ones seen in Madhubani Paintings. Neither do they contain the robust sensuality of the paintings found in Eastern India. Instead they are painted on mud, charcoal, cow dung based surface using Natural Dyes in white with series of dots in red and yellow.

Their linear nature and monochromatic hues make them similar to pre-historic cave paintings and Aboriginal Art in execution. Warli Paintings usually depict scenes of human figures engaged in activities like hunting, dancing, sowing and harvesting. These paintings also serve social and religious aspirations of the local people, since it is believed that these paintings invoke powers of the Gods.

Warli Paintings Today

Warli paintings were never originally intended to be used for commercial gains. However, after they were discovered twenty five years ago, they became instantly popular, probably because they evoked the trumpets, drumbeats and songs of the Warli tribe through their simple motifs. Soon the tribals realized that the sale of their paintings made economic sense. Today, Warli paintings on Handmade Paper and cloth have become very popular and are sold all over India.

for details go to http://www.copperwiki.org/index.php/Warli_Paintings

Warli painting

Warli painting

A painting on a wall of a Warli house

Warli paintings, at Sanskriti Kendra Museum, Anandagram, New Delhi.
In her book The Painted World of the Warlis Yashodhara Dalmia claimed that the Warli carry on a tradition stretching back to 2500 or 3000 BC. Their mural paintings are similar to those done between 500 and 10,000 BC in the Rock Shelters of Bhimbetka, in Madhya Pradesh.
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, the cauk or caukat (pronounced "chauk" or "chaukat"); inside it we find Palaghata, 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 pared down pictorial language is matched by a rudimentary technique. 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. But in the 1970s this ritual art took a radical turn, when Jivya Soma Mashe started to paint, not for any special ritual, but on an everyday basis.

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warli art @ www.wikipedia.org

HISTORY

Based in the Thane District, about 150 km north of Mumbai, the Warli tribe numbers over 300,000

members. They have their own beliefs, life and customs which have nothing in common with

Hinduism. The Warli speak an unwritten dialect mingling Sanskrit, Maharati and Gujarati words.

The word « Warli » comes from « warla» which means a piece of land or a field. In his book, The

Painted World of the Warlis, Yashodhara Dalmia claimed that the Warli carry on a tradition

stretching back to 2 500 or 3 000 BC. Their mural paintings are similar to those done between 500

and 10 000 BC in the Rock Shelters of Bhimbetka , in Madhya Pradesh.

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, the

cauk (or caukat); inside it we find Palaghata, 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 pared down pictorial language is matched by a rudimentary technique. 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. But in

the 1970s this ritual art took a radical turn. A man, Jivya Soma Mashe started to paint, not for any

special ritual, but on an everyday basis.

Source text from www.wikipedia.org

warli art by khabatti.com

Warli Art
400 yrs old Tribal Art Form Warli art originated in Thane Dist. of maharashtra, western part of India, in a village also know by the name Warli. It is situated near Dhanau. This art is a 2 dimensional, with no perspective or proportion. Warli painting is simple and linear with the maximum use of triangular shapes. As the universal energy YIN/YANG; concept having the upward facing triangle representing the Male and the downward facing triangle representing the Woman. It also represent fertility as the tribal belief revolve around the cycle of Birth and Death. No wedding takes place without the drawing of "mother Goddess" in the front portion of the Bride's house. Usually the paintings are done by married women. Another important ceremony in the "Tarpa Dance". The village head is known as "Bhagat".

copied from from khabatti.com
original source at- http://khambatti.com/shabbir/gallery/main.php?g2_itemId=158

warli by indian-art.net

Warli is the name of the largest tribe to be found on the northern outskirts of Bombay, in Western India and extends up to the Gujarat border. The origin of the Warlis is yet unknown and no records of this art are found, but many scholars and folklorists believe that it can be traced to as early as the tenth century AD. This art was eventually rediscovered in the early seventies, and became popular for its unique simplicity and fervour for life. Despite being in such close proximity of the largest metropolis in India, Warli tribesmen shun all influences of modern urbanization. Warli Art was first discovered in the early seventies. when the practice of embellishing the walls of the house was the only means of transmitting folklore to a general populace not versed in the written word. In many important respects, this highly ritualistic art form differed greatly from the folk and tribal art known to urban India until then. It did not narrate mythological stories in vibrant tones nor did it contain the robust sensuality of the paintings found in Eastern India. Usually the Warli paintings are done during the marriage ceremony and they call them as Lagnace citra meaning marriage paintings. The painting is sacred and without it the marriage cannot take place. Their respect for nature is from the most gigantic to the smallest creature and plant. The figures and traditional motives are repetitive and highly symbolic. They communicate through their paintings and their life style and passion for nature are depicted with utmost details. Triangular humans and animals with stick-like hands and legs, geometrical designs with rows of dots and dashes are drawn on the mud walls of the huts of Warlis. In Warli paintings it is rare to see a straight line. A series of dots and dashes make one line. The artists have recently started to draw straight lines in their paintings. From the depths of the painting spring a variety of activities with humans, animals, and trees. The subjects found in these paintings are wedding scenes, various animals, birds, trees, men, women, children, descriptive harvest scene, group of men dancing around a person playing the music, dancing peacocks, and many more. One of the famous Warli paintings is the marriage chowkatt - a painting made at the time of marriage. The Warli women called savasini meaning married women whose husbands are alive, paint a chauk or a square on the walls of their kitchen. Warli paintings are strangely ascetic, unlike other folk paintings of India which consist of myriad primary colors in such abundance. Instead they are painted in white on an austere brown surface decorated with occasional dots in red and yellow. This first impression of sobriety is countered by the ebullience of the themes depicted. These are remarkable in their intensely social nature. They look outwards, capturing the life around and by implication, the humanness of living. Men, animals and trees form a loose, rhythmic pattern across the entire sheet. This results in a light swinging and swirling movement, describing the day to day activities of the Warlis. In doing so, they seem to be seeking communication among themselves and with the outside world. It is believed that these paintings invoke powers of the Gods. The Warlis do not narrate mythology or any great epic. Simply painted on mud, charcoal and cow dung based surface with rice paste for the colour white, the art form deals with themes that narrate their social lifestyle and activities. The loose rhythmic movement that each painting suggests adds life to the paintings.

copied from indian art.net
for details
original artical at - http://www.indian-art.net/warli/index.html

What is "Warli Art?" by Rashmi Talpade

What is "Warli Art?"
“Warli” is the name of the largest tribe to be found on the northern outskirts of Bombay, in Western India. Despite being in such close proximity of the largest metropolis in India, Warli tribesmen shun all influences of modern urbanization. Warli Art was first discovered in the early seventies. While there are no records of the exact origins of this art, its roots may be traced to as early as Tenth century A.D. when the practice of embellishing the walls of the house was the only means of transmitting folklore to a general populace not versed in the written word . In many important respects, this highly ritualistic art form differed greatly from the folk and tribal art known to urban India until then. It did not narrate mythological stories in vibrant tones nor did it contain the robust sensuality of the paintings found in Eastern India.
Warli paintings are strangely ascetic, unlike other folk paintings of India which consist of myriad primary colors in such abundance. Instead they are painted in white on an austere brown surface decorated with occasional dots in red and yellow. This first impression of sobriety is countered by the ebullience of the themes depicted. These are remarkable in their intensely social nature. They look outwards, capturing the life around and by implication, the humanness of living. Men, animals and trees form a loose, rhythmic pattern across the entire sheet. This results in a light swinging and swirling movement, describing the day to day activities of the Warlis. In doing so, they seem to be seeking communication among themselves and with the outside world. It is believed that these paintings invoke powers of the Gods .
My journey to this magical world of little match-stick people began about fifteen years ago when I was first introduced to this style of painting as an art student. The outcome of this profoundly moving influence was a series of derivative works, which adapt forms and subject matter in compositions which are so alive to me that I can almost feel the activity, the voices and the drumbeats of the people. So much so that they ceased to be primarily a tribal art and became a series of tableaux for me, enacting a lifestyle of people who were a part of me . Their monochromatic murals came alive for me to the extent that they attained a spectrum of overpowering tropical colors in my imagination, overshadowing the extreme poverty by sheer vitality of expression .
They represented to me a feeling of hope and optimism , an attitude I have found so essential for existence in modern times. The resultant paintings which are a medley of original forms and themes, combined a swirl of colors and compositions, juxtaposed together to create the series exhibited . It is almost as if I were viewing various episodes of a lifestyle unfolding before my very eyes, and the heavily decorated patterns painted around most of the compositions are like curtains framing the performers on stage - a stage uncluttered by perspective, dimensions or light and shade details .

for details please reffer-
original artical at - http://www.haskell.org/jcp/Rashmi/Warli/WarliPeople.htm

“Warli art speaks of our way of life, our culture; it reveals the heart of the Warlis.”

Warli for your walls news
Impressed by the Warlis and their way of life, Mary Thomas helps you imbibe techniques of how to embellish your walls with the art of the Warli
20 February 2009


These paintings adorn walls of five-star hotels in Mumbai, tourism buses and offices in Maharashtra making them the icon of Maharashtra tourism. Even T-shirts, coasters, linen with these designs and motifs are considered chic. Many schools take workshops for children. Now what are we talking about? Is it some latest fad? Not really, we are referring to mural style rudimentary paintings that date back to the early 10th century. They are so easy to paint that even a child can master them. They don’t need any great artistic skill either. Some practice of the common symbols is all you need to set the trend rolling on the walls of your home.

Nomenclature
Folk arts in India are innumerable, whose custodians are the many tribes that live in the interiors of various states. Warli painting, named after the tribe that evolved it, is one such highly popular art form. The Warli tribals were forest-dwellers who have made a gradual transition towards being a pastoral community in the West coast of Northern Maharashtra. A large concentration is found in the Thane district, off Mumbai. A little backward economically, they still maintain their indigenous customs and traditions.

The name Warli comes from ‘Waral’, which means a piece of land or field, since farming is their main source of livelihood. Their tradition and folklore is passed down through paintings, as the written word is not used for communication. While there are no records of the exact origins of this art, its roots may be traced to as early as the 10th century AD. In her book The Painted World of the Warlis, Yashodhara Dalmia claimed that the Warli are the bearers of a tradition stretching back to 2500 or 3000 BC and theitr mural paintings resemble those done between 500 and 10,000 BC in the Rock Shelters of Bhimbetka, an archaeological site in Madhya Pradesh where the earliest traces of human life in India were found.

The Warli style of painting evolved from its mural form. Even today, it is a tradition with the Warlis to decorate the mud walls of their huts with paintings made of rice paste. Warli art is done in white on brown or red mud base in simple geometrical shapes. It has gradually diversified into different backgrounds with modern mediums to preserve the paintings. From walls and floor, the Adivasi has graduated to paper and canvas to cater to the market for decorative art, which is highly commercialised.

Evolution
During festivals or occasions such as harvesting or rituals such as weddings, the Warlis paint their walls. Hamsa Mehta, a self taught warli artist from Ghatkopar Mumbai says, “Nowadays, these paintings are made on paper, usually green or brown, the colour of mud-walls with or without the cow-dung, usually with white paint. The dark background goes to enhance the effect of the white or cream that is painted on it. It can be black, brown, silver on navy blue, golden on dark hues of red or any other combination of light and dark that your imagination can stretch up to.” “The paintings are simple line drawings, mere outlines with little or no detailing. The human figures in a Warli painting are simple, yet stylish — easy even for a child to master,” says Simee Sayal from Art Orbit, Mumbai. Simee who has been painting and teaching warli art and various other art forms says that warli is an art which will never go out of fashion and it holds special fascination for children since it is very simple to paint and geometric. She charges from Rs2,500/- for a 12” X 12” painting onwards.

Their extremely rudimentary wall paintings use a very basic graphic vocabulary: a circle, a triangle and a square. The circle drawn from nature represents the sun and the moon while the triangle is derived from mountains and pointed trees. The square indicates a sacred enclosure, the square, the cauk or caukat (pronounced "chauk" or "chaukat"); for the Palaghata, the mother goddess, symbolising fertility. Significantly, male gods are unusual among the Warli and are frequently related to spirits, which have taken human shape. Scenes portraying hunting, fishing and farming, festivals and dances, trees and animals surround the central motif in these ritual paintings. Human and animal bodies are represented by two triangles joined at the tip, the upper triangle depicting the trunk and the lower triangle the pelvis. Their precarious equilibrium symbolises the balance of the universe, and of the couple, and has the practical and amusing advantage of animating the bodies.

The pared down pictorial language is matched by the rudimentary technique. The walls made of a mixture of branches, earth and cow dung lend a red ochre background for the wall paintings. The white pigment a mixture of rice paste and water with gum for binding is painted on with a bamboo stick chewed at the end. The Warli women called savasini meaning married women whose husbands are alive, paint a chauk or a square on the walls of their kitchen. The paintings, which were the preserve of the womenfolk until the late 1970s took a radical turn when a man, Jivya Soma Mashe started to paint, not for any special ritual, but on regular basis.

Symbolism
The sacred nature of the trees is suggested by their soaring heights in relation to the men and beasts. Dances of spring, of budding trees, of the meeting of lovers, and the poise and abandon form an important repertoire in tribal vocabulary. Nothing is static; the trees, the human figures, the birds challenge and respond to each other, create tensions and resolve them. The art of the Warli people symbolises man's harmony with each other and with nature. These paintings also supposedly invoke powers of the Gods.

The original symbolism of the paintings was (and still is) found in marriage ceremonies, which could not take place until a painting was complete. Warlis call them as Lagnace citra meaning marriage paintings The Warli values the sense of uniformity and the close social interactions with nature and the spirits is what makes the Warlis who they are. For the Warlis, life is an eternal circle. Death is not the end as much as it is a new beginning. Hence circles best represent the art of Warli, which has neither an end nor a beginning.

The purpose of these drawings remain ritual as it did from ancient times, that of projecting and invoking power, virility, protection from unknown diseases, and the dark supernatural forces which have to be kept appeased and satisfied at all times. The paintings pulsate with energy and are a vehicle for the tribal's innermost urges.

Do it yourself
"Warli art is a simple yet vivid expression in the form and figures by people whose lives are tuned closely by the rhythm of nature. What intrigues me is the way a monochrome composition with rudimentary forms can be so appealing," says Shilpa Naresh, Creative head, The Information Co who has effectively adapted Warli style to depict various themes. The simplicity in pattern and style render it easy to replicate. You can easily experiment with vibrant background colours. Warli Art has been adapted in modern form with permanent colours. An embossed effect is achieved by working with a cone. You don’t need any specialised knowledge but a creative mind and artistic flair.

Materials required

* Cloth / handmade paper
* Tracing paper
* Metallic colours (for cloth)
* Poster colours (for paper)
* Distemper (for walls)
* Carbon sheet

Step 1: Choose a design
Step 2: First draw the required pattern on the tracing paper and copy the design into the cloth/paper using carbon sheet.
Step3: If using cloth, paint using metallic colours and let them dry well. Use poster colours for paper
Step4: Draw outlines using the white colour and again leave it to dry for 24 hours.
If applying on cloth, iron on the backside of the cloth.

Tips and tricks

* Experiment with materials. You can even do it on your bed sheets, saris, dresses, cushion covers and curtains.
* Don’t restrain yourself on paper or cloth. Try making a stylish pot, napkin holder, lampshades or just begin … with a bookmark
* First draw the circle and then join them to form a coil with freehand.
* If applying on the wall, use apex as base coat
* Combine figures in beautiful patterns like peacock, well, trees etc.
* Add mirrors or colourful threads, if you want that extra shine to your painting.
* Borders can make it look more attractive
* If using “geru” as your base, mix it with linseed oil so that it stays longer

Traditional looking houses take to warli paintings wonderfully. They even look good on jute bags, serving trays, and can also be used for the base of a clock. While Warli paintings are made in detail, their real beauty lies in their utter simplicity.

Jivya Soma Mashe, the most popular of warli artists, who lives about 150 km from Mumbai says, “Warli art speaks of our way of life, our culture; it reveals the heart of the Warlis.” If you choose, it could be a statement of your lifestyle too.

Special thanks to Razvin Namdarian from bCA galleries persmission to use an interview with the artist Jivya Soma Mashe.

warli art charges / rates

Warli art basic rate
Sr. No.	Content	Rate (Rs)
1	painting on greeting cards [ 10X8 cm]	30
2	painting on greeting cards [ 15X12 cm]	50
3	panting on T shirt [each]	300
4	Wall painting [per sft]	300
5	without frame painting [per sft]	300
6	painting on cushion cover [2X3 one side]	250
7	Canvass painting [ per sft]	400
8	Glass painting [per sft]	600
9	Texture painting [ per sft]	650
10	painting on duppatta [each]	1200
11	painting on saari [each]	3500
12	Painting on bed sheet [single]	3500
Sr. No.	warli art education	Rate (Rs)
1	Addressing workshop [ max 3 hrs a day]	500
2	Education & Demo [at artist home]	500
3	Organised Seminar / workshop [per head]	300
Note -
1	Above mentioned rates are basic rates to get rough idea
2	These rates are for bulk orders, will vary for small qty orders
3	Actual rate will depend on art work, finishing, material use
4	Rate finalisation will be after confirming with artist
5	Rate may differ for same size by design & finishing

 

 

वारली चित्र कला दर
क्र.	चित्र	दर [रु]
१	सुभेच्छा पत्र [ 10X8 cm]	३०
२	सुभेच्छा पत्र [ 15X12 cm]	५०
३	सदरा आणि गन्जिफ़्रोक वर वारलि [प्रति नग]	३००
४	भिन्ती वरिल वारलि चित्र [प्रति चौ. फु]	३००
५	बिना सजावट चित्र [प्रति चौ. फु]	३००
६	उशि कवर वरिल वारलि [2X3 एका बाजुने]	२५०
७	केन्वास वरिल वारलि [प्रति चौ. फु]	४००
८	काचेवरिल वार्लि चित्र [प्रति चौ. फु]	६००
९	वारलि चित्र टेक्श्चर सोबत [प्रति चौ. फु]	६५०
१०	दुपट्यावरिल वारलि चित्र [प्रति नग]	१२००
११	साडिवरिल वारलि चित्र [प्रति चौ. फु]	३५००
१२	बेड शीट वरिल वारलि चित्रे [प्रति नग]	३५००
क्र.	वारलि चित्रकला शिक्षण	दर [रु]
१	वर्ग आणि प्रात्येक्षिक [ कमाल ३ तास / दिवस]	५००
२	शिक्षण आणि प्रात्येक्षिक [कलाकाराच्या घरी]	५००
३	प्रयोजित कार्यशाळा [ प्रत्येकि ]	३००
सुचना
१	वर नमुद केलेले दर सर्व साधारन दर आहेत, महिति साठि
२	हे दर समुहिक आणि मोठ्या सन्खेच्या ओर्डर साठि आहेत
३	प्रत्याक्ष्यातले दर हे कलाकुसर, वापरलेले सहित्या ह्यावर अवलम्बुन राहतिल
४	कलाकराने ठरवलेले दर हे अन्तिम राहतिल
५	सारख्याच अकारा सठि सुद्धा कलाकुसरी नुसार दर बदलतिल