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Go to the shopThese Madhubani coasters carry the same Mithila painting tradition once found on village walls in Bihar, scaled down to the size of your tea cup. Each one is hand-painted, the motifs outlined in the craft's signature double line and filled with dense colour so no space sits empty. As a set they hold together, the kind of small, useful object that carries a story to every table it reaches. Finished to wipe clean, they are made for daily use.
Minor glaze and color variations are natural and add character. Handle with care. Wipe with a soft, damp cloth. Avoid harsh chemicals and prolonged direct sun exposure.
Each piece is handcrafted, so slight variations in colour, texture and dimension are natural and celebrate its handmade origin.
A coaster earns its place by being used, and these are built for it. Set them out on a coffee table, a study desk, or a dining spread, and they bring a small jolt of colour to plain wood or glass.
For everyday use, they sit happily under tea, coffee, and cold glasses alike, catching rings and heat before either reaches the surface below. Wipe them with a soft, slightly damp cloth and let them dry flat. That is the whole routine.
For occasions, a set reads as a considered host's touch at a dinner, or as a housewarming and Diwali gift that stays useful long after the festival has passed and the sweets are gone. Pair them with plain ceramic or brass so the painted motifs stay the star. Keep it simple.
Keep them out of long, direct sunlight, which fades natural pigment over time, and never leave them soaking or under a running tap. Stored stacked with a sheet of paper between each, the painted faces stay crisp for years.
On a surface this small, the order of work is everything. Before any motif appears, the artist blocks in the base fields of colour, laying flat areas of yellow, red, and deep blue across the coaster face. Across a set, this blocking is done with an eye to consistency, so the faces read as siblings rather than strangers.
Only once the colour has settled does the detailing begin. Using a fine nib or a twig, the artist draws the motif's outline in the craft's characteristic double line, two parallel strokes that frame each form. The space around the figures is then packed with fine pattern, the hatching and dots that give Madhubani its dense, no-empty-space look. It is slow work.
The pigments follow the Mithila tradition, drawn where possible from natural sources: turmeric for yellow, soot for black, indigo for blue. The painted face is then sealed. What you hold is a wall-painting language shrunk to a saucer, made by hands that learned it the old way.
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