Manjusha Tribal Painting: A Cultural and Artistic Legacy of Bihar, India

A distinctive fusion of mythology, ritual, and visual expression can be found in Bhagalpur, Bihar, India's Manjusha tribal painting, a colorful but comparatively unknown folk art style. This art style, which has its roots in the religious celebrations of the Bishahari Puja, tells the story of Bihula and Chand Saudagar by fusing regional myths of snake worship, divine vengeance, and feminine devotion. Manjusha painting has remained a localized technique, frequently eclipsed by its more marketed rivals, in contrast to other well -known Indian folk art traditions like Madhubani. Nonetheless, it is positioned as an essential part of India's indigenous cultural legacy due to its symbolic language, ritualistic significance, and community -centered creation process. This study explores the Manjusha painting's stylistic traits, religious purposes, historical development, and revival initiatives. In addition to analyzing the socioeconomic and gender factors at play in the practice and transmission of art, it delves into the conventional iconography, narrative structures, and materials employed by artists. The study demonstrates how local practitioners-particularly women-are not only conserving the art in its traditional form but also modifying it for contemporary markets through creative designs and digital platforms through a number of case studies and artist interviews. By doing this, the article emphasizes Manjusha painting's cultural adaptability and endurance, highlighting its dual function as a means of spiritual sacrifice and economic empowerment. In addition to calling for greater institutional support, scholarly acknowledgment, and ethical promotion, it makes the case for Manjusha's inclusion in the larger story of Indian tribal art. This study adds to current conversations on folk art preservation, cultural identity, and the politics of legacy in postcolonial India by presenting Manjusha as a dynamic living tradition.