Art for Mamta is a meditation of the divine—an intimate dialogue with creation that beckons us to believe in, appreciate, and understand the wonders of the world.With each brush stroke she embraces the challenge of captivating natures beauty, paying homage to its smallest details, making every element in her work distinctive and alive. Her travels both across the world and within her homeland, have offered glimpses of countless landscapes, each transformed by the seasons. From the shifting hues of flora to the vibrant presence of wildlife, and the soul of each place’s culture, she has witnessed the ever-changing dance of nature. Each of her painting's is a testament to these experiences—a visual story waiting to be shared. Welcome to her artistic journey, where every piece invites you into the story of a place, a moment, and the divine beauty that surrounds us.
Mamta Mathur is a passionate wash painting artist dedicated to keeping this fading art form alive. In a world dominated by modern techniques, she continues to master and preserve the delicate, timeless craft of wash painting. Through her vibrant works, Mamta not only honors tradition but also strives to pass on her knowledge to future generations, ensuring the legacy of this beautiful art survives for years to come.
The traditional Bengal School watercolors (wash technique) were brought into India by the Japanese. In 1903, Japanese scholar and art critic Okakura sent his two artist disciples, Yokoyama Taikan (1868-1958) and Hisbida Sbunso (1874-1911), to India, and they stayed with the Tagores in Calcutta. Abanindranath then observed how Taikan, using a large flat brush charged with water over a carefully painted and highly finished surface, gave it a range of soft and delicate tonalities. Abanindranath acknowledged this in one of his autobiographical writings, but he also developed the technique further. After a thin transparent layer of watercolor, the painting was literally dipped in water (the Japanese never did it), which washed away some of the colors, and yet another transparent color wash was given to it. In this way, after successive color and water-washes, different colors fused, bringing out tender tones, replacing the stern geometry of European pictorial space with a dream-like timelessness of the living artists who still practise this technique of wash paintings. Beautifully recreating the stories from Indian mythology — from Ahilya and Savitri, Karna-Kunti and Karna Parashuram to depicting divinities like Durga, Ganesha, and Shiva — in subtle colors yet finely nuanced lines and delicate features.
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