California residents usually sleep right through earthquakes. In rural India, tremors are considered rare.­ But, how ironic is it that an earthquake in India would be the catalyst to bring a unique art exhibit to Fresno State?

The Mithila art exhibit, currently on display in the Henry Madden Library through today, held its reception gala on Oct. 12.­ The event featured an unusual portfolio of original artwork from the Mithila region of India.­ The paintings focus on oppression and the ever-changing face of gender relations.­ There also was a spiritual dance by LeSandre, a local dance teacher who tells stories of legends through her movements.

Joan Sharma, professor of art and design, organized a student tour group to the region in 2011. She said the experience was wonderful.

“It truly showed us how this has been referred to as an evolution of an art form,” Sharma said. “People are very excited about the works, and enjoying the traditional and contemporary pieces.”

In 1934, British colonial officer W.G. Archer was one of the first officials to arrive on the scene of a residential area that was ravaged by an earthquake in the small town of Bihar, 20 miles from Nepal.

Archer was intrigued by what he had discovered while inspecting the damaged homes.­ On the newly exposed interiors, he stumbled upon something that was generally kept under wraps.

Colorful frescoes were painted on the living room walls, with similarities to some of the renowned western artists of the time. Archer, who would later become a curator for London’s Victoria and Albert Museum, took some black and white photos of the artwork, which were the earliest known artifacts from this era.

Bihar was considered to be the spiritual center of the Indian culture. There were no women associated with the rich culture of poets, artists and philosophers of the era. Their lives were relegated to housework, child bearing and chores within the home. Their only artistic release was painting the walls of their homes, with some stunning results.

“In the beginning, the artwork that adorned the walls of their domiciles

was a way of inviting the gods and goddesses into the home,” Sharma said. “This was reminiscent of the caves of Laskau and other discoveries in the 20th century.”

This ritual has been traced back to its origins, beginning in the 14th century. The subjects of the paintings have changed overtime. It wasn’t until a drought hit the region in the mid-1960s that female artists were encouraged to transfer their frescoes to a special paper, supplied by an artist from Bombay.

From religious figures to blessed marriages, the practice today has taken on new meaning.­ Many female artists are expressing their true feelings on topics considered taboo in India’s culture. This includes critical commentary on feminist issues and the abuse that women face.

“These paintings can now bring some economic flow to the artist and their family,” Sharma said. “Young women growing up listening to the BBC and becoming interested in international issues and concerns, like 9/11, inspired them to create these paintings that relate to today’s issues.”

Artist Shalinee Kumari was like many women her age in India — frustrated by her arranged marriage and handcuffed by society’s rules. She picked up a brush and learned the artwork style quickly; now her paintings are in big demand.

Using her paintings to express personal concern, and to critique society, she openly comments on national and international events through her brush strokes.

The artist, Kamlesh, created a visual gem, depicting two Indian lovers entwined in lustful embrace with flames lapping around them. The title: Burning Up with AIDS.

Kamlesh also created a controversial piece when she depicted the World Trade Center’s infamous twin towers into her latest creation. Flanked by Osama bin Laden, his followers rush towards the towers.

LeSandre also recreated stories of local legends with every move. As an artist herself, she used her hands and the bells on her

feet to paint a tapestry while bringing a fertile understanding to their world.

“The dance was a beautiful way to weave together culture and art form,” Sharma said.

Sitanjali Chandra has been studying this ritualistic dance style for the last six years.­ Chandra said she has become anxious for more knowledge of the art.

“The way she teaches this style of dance, it makes me want to share it with the world,” Chandra said.

For young women of India, it is a serious dilemma. “The world is at their fingertips even in their own backyard.”