Rangoli of Maharashtra

Rangoli, which also goes by the name Rangawali, Rangmali and Rangmala in Maharasthra derives it’s origin from the word ‘Ranganchi Oal’, which literally means line of colour.

Rangoli is a daily domestic practice, drawn at thresholds such as the entrance of the house, before the Tulsi vrindavan (the basil plant placed in the verandah), and near the dining space. Beyond everyday observance, it assumes heightened significance during festivals including Gudhi Padwa, Siranian, Onali, Ganapati Chaturthi, Dussehra, Diwali, and Holi. Rangoli is also integral to life-cycle and ritual occasions such as the sacred thread ceremony, marriage rites, and fire rituals including yajña, homa, and havan.

Culural significance

Within women’s folk traditions, Rangoli is frequently referenced in songs and oral narratives, underscoring its cultural and symbolic importance. It is widely regarded as auspicious, grounded in the belief that the act of drawing Rangoli invites divine presence into the domestic space. Specific motifs are associated with particular deities, embedding religious meaning within the visual form. The swastik, for instance, is linked to Agni (the fire deity) as well as Ganapati, Lakshmi, Shiva, and Saraswati, and is commonly drawn before the Tulsi vrindavan. This is often accompanied by the motif of a tortoise, symbolising restraint and stability. The tortoise design also alludes to Vishnu’s Kurma (tortoise) incarnation, further reinforcing the layered theological and ethical meanings embedded in Rangoli practice.

In a similar manner, specific botanical and floral motifs within Rangoli are closely associated with particular deities, reinforcing the symbolic vocabulary of the practice. The belapatra (bael leaf) is traditionally linked to Lord Shiva, while the lotus is associated with Goddess Lakshmi. Neem leaves are connected to the goddess Yallamma, and Tulsi leaves signify Vishnu and Vitthal. The motif of dawana is associated with Khandoba, who is regarded as an incarnation of Shiva.

The symbolism of the lotus is further differentiated by the number of petals depicted. A ten-petalled lotus is understood to represent Lakshmi and the principle of creativity, whereas an eleven-petalled lotus, known as dyankamal, signifies knowledge. Beyond floral forms, Rangoli frequently incorporates motifs of flowers, birds, animals, and temple architecture, each employed to invoke specific deities and to embed religious meaning within domestic and ritual spaces.

In Maharashtra, the period from Chaitra Shuddha Tritiya (the third day of the bright fortnight of the Chaitra month) to Vaishakh Shuddha Tritiya (the third day of the bright fortnight of Vaishakh) is marked by the drawing of Rangoli designs known as Chaitrangan. During this time, women create Rangoli featuring motifs such as the sun and moon, shankh (conch), chakra (disc), gopadma (a symbol representing the footprint of a cow), fish, Shiva–Gauri, and groups of five dolls. The Jalakumbha Rangoli is specifically associated with the Prapadan ritual, in which prapa refers to a water repository, highlighting the ritual emphasis on water and sustenance.

While Rangoli has traditionally been a sacred practice embedded within domestic and ritual life, over time it has developed a distinct identity as an art form that operates across both religious and social domains. In Maharashtra today, Rangoli is created not only within ritual contexts but also during state- and national-level festivals. The visual repertoire has expanded to include portraits of freedom fighters, as well as historical figures such as kings, queens, and emperors, rendered in Rangoli style. Large-scale Rangoli exhibitions are commonly organised during major festivals such as Dussehra and Diwali, reflecting the practice’s evolving public, commemorative, and artistic dimensions.

Artists

Several practitioners have played a pivotal role in establishing Rangoli as a recognised art form at the national level. Gunavant Manjrekar, Kamalakar Gonji, and Ramdas Chaunde are noted for setting national benchmarks through their technical mastery and artistic innovation. Gunavant Manjrekar was instrumental in initiating a movement in Mumbai that sought to contemporise Rangoli, expanding its visual language and public relevance. Subsequently, Ramdas Chaunde of Pune pioneered the practice of organising exhibitions featuring large-scale Rangoli compositions, bringing the art form into organised public and exhibitionary spaces.

In urban centres such as Mumbai and Pune, Rangoli has also become an important element of public celebrations. During Ganesh immersion processions, expansive Rangoli designs are created along procession routes, often extending across entire roads, underscoring the scale, visibility, and collective character that the practice has assumed in contemporary contexts.

Materials

The tradition of creating Rangoli using rice paste and gandh-goli—a fine paste prepared from white stone—was originally widespread in Maharashtra. Alongside these materials, substances such as saffron powder, ashtagandha, bukka, black powder derived from tale (metal), gulal (coloured powders), and sindoor have long held ritual significance. Among Vaishnava communities, these materials are traditionally applied on the forehead as marks of devotion. The same substances are also employed within temple shrines, linking domestic Rangoli practices to broader religious and ritual contexts.