A designer draws inspiration from a centuries-old Indian art form — one that lasts only until the monsoon rains come
A designer draws inspiration from a centuries-old Indian art form — one that lasts only until the monsoon rains come
By Sarah Khan /
November 5, 2024
A Hazaribagh resident painting the ephemeral khovar murals on the walls of her home. Photo: Deide Von Schaewen.Every year as spring arrives in Hazaribagh, a lush corner of the northeast Indian state of Jharkhand, tribal Adivasi women carry on a generations-old bridal tradition called khovar. Like their foremothers, they first plaster the facades of their homes with mud and clay, then use combs or their own fingers to etch away at the damp surface, revealing dark silhouettes hidden in the layers beneath. Seemingly overnight, plain white walls become richly ornamental canvases that reflect their verdant surroundings — “Hazaribagh” means “a thousand gardens” — with depictions of flowers, leaves, vines, and animals. Then, just as suddenly, the summer monsoon descends on Hazaribagh, and rains wash away every trace of these sylvan motifs.
As evanescent as they may be, these striking murals have a long history, as local activist Bulu Imam discovered: Their origins lie in the region’s prehistoric rock art. A former big-game hunter turned celebrated environmentalist, archaeologist, and humanitarian, Imam has led a colorful life. One of his many passion projects is the Tribal Women Artists Cooperative, which he created three decades ago with 40 women in Hazaribagh, his hometown, to preserve these tribal villages and their traditions. Today there are 200 artists in the fold, and Imam has had their work displayed and studied around the world, from Rome to Brisbane to Los Angeles.
When Laura Aviva first glimpsed these whimsical black-and-white paintings in the pages of World of Interiors a decade ago, she was transfixed. “I thought it was so beautiful,” she recalls. “The fact that it was a matrimonial rite of passage, the fleetingness of it, the scale — I was enchanted by the whole idea.” As founder of the interiors brand L’Aviva Home, Aviva works with artisans around the world to create collections that celebrate and elevate traditional craftsmanship, blending cultural narratives with contemporary design. She reached out to Imam, and the result of their collaboration was L’Aviva Home’s Khovar Collection: wallpaper and fabric designs featuring original paintings Aviva commissioned from the women of Hazaribagh, capturing their hand-drawn sincerity and evocative themes. Members of the cooperative receive royalties for each yard sold. “This is the first time we have worked with a modern design company,” Imam says. “This is an additional income for the women, and they feel pride in being recognized.”
For fall, L’Aviva Home has introduced two new colorways to the Khovar Collection, shades of taupe and charcoal gray that are rooted in local palettes. Ten years after Aviva first connected with Imam, the partnership continues to add an element of longevity to a medium that was always designed to be ephemeral. “We tried to pay homage and respect to the original idea, and then took it someplace else,” she says. “We wanted to capture its spirit in a form that endures.” 
Sarah Khan is Further’s Editor-at-Large, and is also a contributing editor at Condé Nast Traveler. She lives in New York City.
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