Kanchipuram Murals – An Artistic Sojourn

Every year millions of tourists, art connoisseurs and heritage enthusiasts visit Ajanta, the mural capital of India located in Sahyadri Hills of Maharashtra. The mural heritage of Ajanta was however short-lived, thanks to the fall of Vakatakas and their patronage.

The features that were laid in Ajanta was however found in full bloom in the Pallava Court at Kanchipuram, 1000 km away from the Vakataka capital. Unfortunately very little of Pallava murals have survived today. Following the Pallavas, it was the Vijayanagar and then Nayaka rulers who also made Kanchi as a canvas for their mural sojourn.

Pallava – Image Courtesy: Vijay Sundararaman Iyer

Vijayanagar – Image Courtesy: Vijay Sundararaman Iyer

Nayaka

Pallavas who made Kanchipuram as their capital were great patrons of art. Mahendra Verman I, the founder of the dynasty was credited for the introduction of rock-cut architecture in Tamil Nadu in 7^th Century CE. Because of his artistic talent, he was titled variously as Vichitra Chitta, Mattavilasa, Chaitrahari or Chitrakarapuli. However, none of Mahendra’s murals has survived at Kanchi today. What has remained are from the period of Rajasimha, who ruled towards the end of the 7^th century CE.

Also, Read here:

Ajanta – India’s First Renaissance

Mahendra Verman I at Mahabalipuram

Kailashnath Temple Kanchipuram

Rajasimha’s murals have also mostly gone; however, a close observation helps us to find traces of lines and colours on small cells in the pradakshina path.

In cell 9 there are remains of fragments of upper and lower arms of Shiva and in cell 11, one finds the beautiful face of Shiva depicted in Pallava style with only a part of the nose, cheek, kandala and yognopavita. In cell 23, there are remnants of a painting of Shiva and cell no 34 there remain traces of a mahapurusha (kirata, shoulder and thigh are left). However, the most striking remains are that of a Samakanda mural in red on the back wall of cell 41. The colours are gone, but the line of composition of the seated Shiva and Parvati and a lovely attendant of Parvati are an indication of the excellence of the artist’s ability. Depicting Samakanda was a favourite Pallava theme for murals as well as sculptures. The curve of the arms and legs, the excellent proportion of the limbs, details such as tussle, the folds of the garments and the ornamentation are surpassed only by the very adorable baby Skanda. Parvati’s figure is full of feminine grace.

Kanchipuram is located at a distance of 72 km from Chennai off Bangalore Highway. The city is also well connected by rail. Located on the banks of Vegavathi River, Kanchipuram has a rich history and heritage. It was the administrative capital of Pallavas in the 7th century. It was later ruled by Cholas and Vijayanagar rulers. Kanchipuram was a great centre of education in historical time. Of the 108 holy temples, the best -known are  Varadharaja Perumal Temple, Ekambareswarar Temple, Kamakshi Amman Temple, and Kumarakottam Temple. The city is well-known for its hand-woven saree industry known as Kanchipuram Silk. While at Ekambaeswarar Temple relish Kanchipuram Idli which is offered to temple as prasadam every morning. 

Images Courtesy: Vijay Sundararaman Iyer

One other painting which is in a fair state of preservation is that of Kinnara and Kinnari, a half human and a half bird couple who are celestial musicians.

The tradition of Pallava murals had carried forward the Ajanta tradition. They display the same grace of line and movement. The artists were masters of brushwork and figure drawings. The paintings were executed on a smoothly prepared surface in the fresco style. The colours used are black, red, white, yell, blue and green.

The Pallava murals of Kanchipuram are known for their fully open and wide eyes in accordance with South Indian ideals which demands wide, beautiful eyes as they are most striking features in the face. Faces are round and fuller.

The Pallava tradition of murals was revived much later in the 16th century during the Vijayanagar Period at the time of Achyutadevaraya who had commissioned murals on the walls and ceilings of Vardarajaperumal temple at Kanchipuram.

Vardarajaperumal Temple

In Andal Unjal Mandapa, the ceiling is carved with stories of Krishna from the Bhagavata Purana and Harivamsa, stories of Kaliyamardana, Vishnu with his consorts and so on.

Other common themes include the Vijayanagar crest of the boar and dagger, vidyadhara ridden of palanquins composed of feminine figures of Rati and Manmatha.

Vijayanagar Murals – Images Courtesy: Vijay Sundararaman Iyer

Sadly the Vijayanagar murals are also badly survived. The only prominent colours left are red, yellow, green and black. Yet the leftover outlines depicts prominent figures, strong undulated lines and animated movement.

Vijayanagar rulers were succeeded by Nayakas in the 17th century, who had commissioned Jain themes of various bala lilas of Rishabadeva, the first Tirthankara, of Vardaman, of Krishna, of Neminatha and so on. These paintings are illustrated as long elaborate panels in the ceiling of the Jain Temple at Kanchi. The panels are supplemented with the depiction of purnakumbha, flowers along with dancers and musicians.

The mural heritage of Kanchi may not be the richest in India but what makes it interesting is the evolution of styles and multiplicity of forms and themes that developed at different periods of history under the patronage of different dynasties. But sadly most of it gone with ravage of time.

Author – Jitu Mishra. He is grateful to archaeologists Vijay Sundararaman Iyer and Aarti Iyer for their knowledge sharing and accompanies at Kanchi in February 2018. Jitu can be contacted at jitumisra@gmail.com

Travel through Digapahandi – Ganjifa’s Last Bastion

In some corner of my heart, I have developed a special weakness for Khemundi, an erstwhile historic territory in South Odisha’s Ganjam and Gajapati Districts with Paralakhemundi as the capital. Here I was born close to 5 decades before in Chitrakara (Artisan) Street. Though I did not live here for longer stretch of times, I used to spend my childhood vacations twice a year spanning one and half months put together.  As I recall my childhood days, Kumara Purnima or Sarad Purnima used to be a festival immediately after Dusshera when elderly folks of the town would play day and night a kind of circular pictorial card game, called sāra locally. Later, I came to know it is called Ganjifa or Ganjapā, a game introduced from Persia through Mughals in the 16th century, but now lost everywhere except Paralakhmundi’s cousin town Badakhmundi or Digapahandi in South Odisha’s Ganjam District (25 km away) from Berhampur, the largest city of the region.

Asta Rangi Ganjapā Cards being played at Digapahandi 

In the last 500 years of Digapahandi’s history, the region was blessed with diverse cultural influences. The influence of the Jagannath Cult of Puri had been its founding stone in the 16th century when a branch of Gajapati clan started ruling the Khemundi territory from Paralakhemundi.

Also, Read Here:

Monks, Monasteries and Murals – A Photo Story on Puri’s Two Legendary Mathas

Travel tips:

Digapahandi is a small town/large village located at a distance of 25 km from Berhampur, also the nearest Rail Station. The town is well connected from Berhampur by a motor road (the national highway that connects Gopalpur Port with Raipur, the capital of Chhatisgarh). A drive through the highway and the surrounding countryside is very scenic with hills, paddy fields, water bodies and colourful villages. Beyond Digapahandi starts the Ghat Road of Eastern Ghats. Another 25 km drive from Digapahandi is Taptapani, a natural hot spring surrounded by dense forests, hills and Saora tribal villages. 

While at Digapahandi your resource person for Ganjifa cards is Shri Lakshmidhar Mahapatra (+91 9439135827).

Digapahandi does not have staying options. But if you are interested in forest and tribes, try for Panthanivas (Odisha Tourism) http://www.panthanivas.com/ at Taptapani. Otherwise, you can find plenty of options at Berhampur or Gopalpur-on-Sea. 

Lord Jagannath, Balabhadra and Goddess Subhadra in the Sanctum Sanctorium of the Jagannath Temple within the premise of the ruined palace

Sarathi

Lord Gopala and Goddess Radha

The last independent king of Odisha was Telenga Mukunda Deva (1559 – 68 CE). During his reign, Paralakhemundi was separated from the Old Khemundi state. Due to the fact that the Old Khemundi state was divided into three parts between the two sons of Swarnalinga Bhanu, the elder brother Ramachandra became the king of Badakhemundi and Sanakhemundi, while the younger son Subhalinga Bhanu became the king of Paralakhemundi State. So Badakhemundi and Sanakhemundi have always had a relationship with the Parala State, the place of my birth.   After the death of Mukunda Deva, the region was briefly occupied by the Qutbshahis of Golkonda who were defeated by Mughals subsequently. The region was also under the Maratha domain for sometime before it was subjugated to the rule of East India Company in the early 19th century.

The Ruined Palace and the Tank

Ganjifā cards game was perhaps introduced here through the Mughals as there is no tradition of playing Dasavatara here, which is popular in Puri. Here 8 colours (Atha Rangi) or 8 suits cards is traditionally played.

8 suits cards had been initiated by Emperor Akbar. These were Ghulam (servant), Taj (crown), Shamsher (sword), Asharfi (Gold Coin), Chang (harp), Barat (Document), Tanka (Silver Coin) and Gimah (merchandise). In Digapahandi packs, one finds close resemble with the Mughal names, such as Gulama (Mughal: Ghulam). Chenga (Mughal: Chang), Someswara (Mughal: Shamsher) and Barata (Mughal: Barat). The other four colours are Surjya (Sun), Chandra (moon), Phula (flower) and Kumancha. Besides Ganjapā, there are three other games played traditionally at Digapahandi, which are explained by the players in the film here.

Digapahandi was also a thriving centre of art and culture during its heydays. However, most of its tangible heritage is lost with the ravage of time.

In Ganjam, a type of murals incorporating ideas from South and Puri had developed known by Dakshini style of murals. In one of the recent stories, we had highlighted the murals of Biranchi Narayan Temple at Buguda. The erstwhile kings of Digapahandi also had commissioned similar work in the 19th century at its mutts and temples. One can still find their traces adorning the walls of its crumbling temples.

Also, Read Here:

Illustrating Ramayana Katha – Biranchi Narayan Temple at Buguda

The ruined Jagannath Temple and traces of murals that once covered its walls profusely

Another interesting aspect of Digapahandi’s cultural heritage is Osakothi murals that one finds on walls of temples and sacred spaces, freshly painted during Navaratra every year.  Osa meaning penance and kothi meaning sacred space, Osakothi represents the shrine where Osakothi rituals take place. The Osa fasting is carried out by women for the welfare and longevity of their husbands and families. The paintings are solely done by men. A folktale goes, a beautiful woman Shriya whose seven sons were killed by a jealous queen. However, she was blessed by goddess Mangala upon observing Osa for 12 years with seven more sons and everything that she desired. Since then it became a custom to observe Osa for prosperity and well being of a woman’s family.

In an Osakothi shrine what draws your attention is more than life-size images of Goddess Durga, Kali, Shiva, Chhinnamasta, Parvati, Saraswati, Ganga, Yamuna and a number of folk deities. One also finds scenes from Ramayana and Mahabharata as well as warriors, birds, animals and other floral designs. Be there between Dussehara and Kartik Purnima to witness Osakothi rituals, where you can find elements of tribal, folk and Hindu beliefs and practices.

Also, Read Here:

Osakothi Rituals in Ganjam – An Anthropological Journey

Digapahandi and its rural heartland are frozen in time. Little wonders it is also the gateway to South Odisha’s tribal territory, especially of Saoras and Kondhs. You discover miles and miles of paddy fields that appear in monsoon and during Durga Puja as fields of emerald. At distance, there are hills of Eastern Ghats.

Though its immediate surroundings do not have a significant tribal population, there are a few hamlets here and there of Sabara tribe, once hunter gathers into subsistence farmers. They also entertain you through their soulful devotional music using an ethnic musical instrument called kenadarā.

Author – Jitu Mishra

He can be contacted at jitumisra@gmail.com

Illustrating Ramayana Katha – Biranchi Narayan Temple at Buguda

Raja Srikar Bhanja of Ghumsar! History might have forgotten him, but his contribution to art and culture even today stuns visitors and art scholars alike.

A distant relative of Kabi Samrat Upendra Bhanja, Srikar came to rule in 1790. However, after ruling 9 years in 1799 he renounced to lead the life of an ascetic devotee of Lord Sri Rama in South India. In 1819, the British unseated his son and successor Sri Dhanajaya Bhanja and reinstalled him again as the king of Ghumsar (today’s Bhanjanagar). While being in the heartlands of Southern India Srikar had got exposed to a diverse range of mural heritage in different courts including the Maratha wooden buildings.

Once started a fresh reign, Srikara took initiatives to experiment with his yearning for his beloved Ghumsar. A major project was the construction of a wooden and stone temple for Lord Biranchi Narayan taken from his capital to Buguda, 25 km away and the project site. The building was painted by murals said to be so fine that they looked as if the divine artisan Viswakarma himself has made them. The year of its construction was 1820.

Travel Tips

Biranchi Narayan Temple is widely celebrated as the Wooden Konark of Odisha. A legend goes: Once a cowherd boy while tending cattle stuck his feet against a metal plate at the foothill. Consequently, the villagers dug up the portion and unearthed the life-size image of Biranchi Narayan.

The temple is built in the form of a chariot driven by seven horses. Apart from murals, the temple is noted for its remarkable wood carvings on the ceilings of the mandapa and the jambs of the entrance door.

Buguda is surrounded by a number of other interesting spots of tourist interest, the most noted being Buddhakhol, 3 km away. Amidst forests and streams, there is a cluster of 5 Hindu temples at the top of the hill, dedicated to Lord Shiva. In the past, the area was part of a major Buddhist civilisation which can be testified with the findings of a number of Buddhist images and caves where Buddhist monks once lived to meditate during rainy seasons.

Buguda can be approached from Berhampur (70 km), South Odisha’s largest city, Gopalpur – on –Sea (75 km) and NH-16 at Khalikote (70 km). A ride to Buguda from these cities/towns is going to be an experience of a lifetime, especially if you are travelling in monsoon and winter. On your way, you would discover rich ethnic life of Southern Odisha along with lush green paddy fields, hills and unspoiled forest.

Buguda does not have staying options. However, in Berhampur and Gopalpur one may find a number of hotels/resorts of various ranges. We recommend avoiding Berhampur which is highly chaotic and messy. Gopalpur – on – Sea is a better option where one can easily spend two days relaxing in one of the finest beaches on the Bay of Bengal.

In Odisha, Puri was the major centre for Odishan chitrakaras, whose work was connected with the Jagannath Temple.

Depiction of Schematic Map of Puri Srikshetra in Biranchi Narayan Temple

Also, Read Here:

Monks, Monasteries and Murals – A Photo Story on Puri’s Two Legendary Mathas

Some of them moved to various sassana (Brahmin villages) villages around Puri to work for their Brahmin patrons. The widely celebrated Raghurajpur and Dandashahi villages are attached to two sassanas near Puri.

Also, Read Here:

Raghurajpur – An Open Air Museum

During the 18^th century, secondary Jagannath temples were built in feudatory (gadajat) states of Odisha. Chitrakaras were sent out to provide replacement images and perform other services to temples. As a result of these migrations, several distinctive styles of paintings evolved, including Dakshini style of Ganjam.

Also, Read Here:

Travel through Digapahandi – Ganjifa’s Last Bastion

Some of these chitrakaras had settled at nearby villages, such as Mathura and Balipadara. Today both villages are active centres of art and craft. According to local people, chitrakaras from either of these two villages had painted the murals of Biranchi Narayan Temple where more than half of the repertoire represents Ramayana Katha. Today their conditions have deteriorated to a large extent. However, the remnants still shine thanks to the burnished surface of the wall over which the murals are drawn.

Painted according to classical canons, the Buguda murals have an exceptional aspect, the subdued earthy palate. In addition to yellow and russet ochre (appear in older pattachitras of Puri) a greyish green is prominent. Blue occurs very rarely and in a duller form then the pattachitras. Another unusual feature is the unusual amount of white background in the narrative panels. This was perhaps to make simply the story clear. Another feature of the panel is that they are not executed in sequential order and appear like a jigsaw puzzle.   The first three sections of wall organized in neat registers and balanced as a whole with repeated elements of design, but all later panels move in haphazard manners, at times from right to left, at times from left to right and at times from top to bottom.  It is believed that the irregularity meant for depicting varieties and for not making the overall organizations too predictable and monotonous.

 

Four major images of the rear of the temple abandon the sequence of each episode. Each panel presents a single event drawn from the Vana Parva (forest section) of the Ramayana, following Rama’s exile. In each, the principals are seated on top of a hill, which is filled with rural details. Most heads are tilted upward, providing a deliberate and heroic cast to their actions. The occasionally drawn down turned positions suggest pensiveness, modesty or subservience. Characters are further simplified with a single curve defining the leg muscle and knee joint, or the leonine male torsos, their shoulders turned almost frontally.

Depicting landscape is a major feature of Buguda paintings. Hills in the four iconic panels are defined by overlapping lobes, their edges outlined in contrasting hue and edges with curved cross-hatching primarily to suggest volume. These multi-coloured lobes are cunningly populated with varied plants and creatures including monkeys and bears.

The pattern used for landscape depiction is also carried by noted pattachitra artist Bijay Parida about whom we have done two stories earlier. One of his creations depicting the Vana Parba episode is highly influenced by Buguda murals. It is exhibited at ODIART Purvasha Museum.

Also, Read Here:

Celebrating Seasons in Patachitra – a Tribute to an Artist’s Dream and Passion

The murals of Buguda is the first major attempt of professional paintings in Odisha’s pictorial tradition and till today play as a role model for a host of pattachitra artists including Bijaya Parida. The Buguda artists had devised their own forms with a sense of innovation and experiment in which narrative concerns were part of the picture.

Author: Jitu Mishra

He can be contacted at jitumisra@gmail.com

Bundi Paintings from an Artist’s Perspective

Between 16^th and 19^th centuries AD, the Rajput courts in Rajasthan and Central India had patronized miniature paintings and wall murals of mythological and court themes in an epic scale. Though many of them have faded with the ravage of time, yet whatever are left constitute an integral aspect of South Asia’s visual history and heritage. Each of the Rajput courts had evolved with a distinctive style of murals done on the walls of palaces, inner chamber of the forts and havelis.

Most of these styles however had emerged combining indigenous as well as foreign influences (Persian, Mughal, Chinese, European and also from Gujarat, Deccan and Eastern India). In Rajasthan, the Hadoti region with its capital at Bundi was among the four principal schools that had evolved within the state.

The Bundi School had evolved at the Hadoti Court in the early 17^th century in the time of Rao Bhoj Singh, while him overseeing Chunnar near Varanasi as the governor of the province. During his governorship, he came in direct contact with Persian artists (these artists had been brought by Humayun) and commissioned them to illustrate a Ragmala series. The style with strong Mughal influence was first experimented at Badal Mahal in Bundi. In richness and brilliance, the Badal Mahal paintings have affinity also with paintings of Deccan, a region with which the rulers of Bundi were often in contact.

The style emphasized on hunting, court scene, processions, life of nobles, lovers, animals, birds and scenes from Krishna’s life.

The Chitrasala or the Ummaid Bhavan built in the 18^th century by Rao Ummaid Singh shows the climax of Bundi paintings, a style characterized by a fondness of lush vegetation, dramatic night skies, a distinctive way of depicting water by light swirls against a dark background, and vivid movement. The walls and ceilings of this palace are completely covered with paintings of the Bundi School and can be compared with among the best of pre-modern paintings anywhere in the world.

Two remarkable themes of these paintings is the Ragamala and Baramasa series depicting moods and sentiments of men and women, seasons and 36 ragas and raginis linked to the seasons, times of the day and the mood of the moment. Under Rao Bishen Singh (1771-1821 AD), hunting and wild animals became favorite subjects.

Bundi School of painting today has survived among a handful of artists, who still paint themes depicted in the Chitrasala. A few have also made some fresh innovations in filling the negative spaces and in colour schemes. Yug Pratap, a young Bundi artist shares his idea on Bundi paintings and his experience as an artist. Yug runs a small studio ‘Yug Art’ near Surang Gate in Bundi.

More on the video.

Bundi Fort – A Confluence of Ideas

In Southeastern Rajasthan, on the lap of Aravali lies Bundi, a picturesque Rajput fortified town. The territory was settled in the 13^th and 14^th centuries AD by Hada Rajputs, a sub-group of Chauhan Dynasty that migrated from Nadol in Pali District following its defeat by Qutb-ud-Din Aibak in 1197 AD.

Till 16^th Century, there was not much happening in Bundi, but its fortune changed with the arrival of Emperor Akbar. Rao Surjan of Bundi broke his relationship with the rulers of Mewar and established friendship tie with Akbar. It was a turning point in Bundi’s history. Then on, Bundi as a result of this alliance became a major centre of cultural creativity. Surjan was immediately awarded prestigious governorship that took him to Chunnar near Varanasi on Ganges.

This was the time of extra ordinary artistic and intellectual creativity being witnessed in North India. Interactions between different communities, religions and cultures were leading often to innovative and exciting results.

Chunnar was a major centre of paintings on Hindu themes in Persian style. Ragamalas that would become the most popular themes at Bundi were first experimented at Chunnar with extraordinary sophistication. An inscription says: ‘the pupils of Mir Sayyid Ali and Khwaja Abd al Samad’, two great artists employed by Emperor Akabar. They had been brought from Iran by Humayun, Akbar’s father to introduce Persian style in India.

Rao Bhoj Singh of Bundi (son of Surjan) when started overseeing Chunnar as the governor of the province came in direct contact with these artists and commissioned them to paint Ragamala series. A new idea was born which later influenced the world famous Bundi style, first executed on walls and ceilings of Badal Mahal, a Rao Bhoj creation.

As parts of imperial campaigns Rao Bhoj also visited Kabul, Gujarat, Odisha and Deccan and was influenced by painting and architectural styles of these regions. In Bundi, one of the major traits drawn from the Mughal/Persian miniatures is evoking a moody night sky.

Rao Bhoj’s successors Rao Raja Ratan Singh and Rao Raja Chhatrasal both continued the trend and added features to their palace and in Bundi. Chitrasala became the iconic painting gallery in the whole of India and famed Bundi worldwide. Creation of several lakes, such as Nawal Sagar, Jait Sagar and baoris like Raniji ki bowri established Bundi as a prominent centre of water architecture.

Come, let’s discover the world renowned artistic heritage of Bundi and appreciate the confluence of ideas that were seen at Bundi in 16^th-18^th centuries AD.

Sayla Murals – A Lost Heritage

Murals or frescoes have been valuable creations of humankind world over for thousands of years. India though has long roots of mural tradition tracing as far as to the Upper Paleolithic era, it was Ajanta in the 5^th century AD, where the classical tradition began.  In the 16^th century, a new chapter in Indian murals evolved with ideas merging from Indian mythologies and Persian styles. Soon Rajasthan and Bundelkhand became hotspots of mural art.

In art history literature, we encounter a number of reference on Rajput paintings, but very little on Sauarshtra style. Recently we had come across some rare evidences of 18^th century murals at Sayla Darwargadh (palace) which are almost at the vanishing stage.

Sayla is a small town located on the highway running from Ahmedabad to Rajkot. It was a princely state in the pre-independence era ruled by a clan of Jhala Rajputs. It covered a total area of 575 sq km.

The state was founded in 1751 AD by Seshmalji, who captured Sayla from Kathi Darwars and made it the capital of his state. He also built a fort around the capital and founded the Sayla Darwargadh or Rajmahal. The palace has halls for audiences, administrative and judicial meetings, but more than these lies a ruined three storied Rang Mahal containing traces of 18^th century murals in Saurashtra style.

Most of these paintings are gone, but a careful observation can still provide interesting insights, such as about the style, religious affinity, colours used, depiction of natural world, and so on.  This is the first time report of these murals.

They differ significantly from other contemporary style and demonstrate a lot of local characters and flavour. Krishna and rasa dominates but there are also worshipping scenes of Shiva lingams. Heavy use of gold colour and stylized trees are the hallmarks of Sayla murals. The other prominent colour is indigo blue.

One remarkable scene is vastraharan by Krishna of gopis, a scene widely portrayed across India in different styles. Krishna seating on a horse pulling chariot is yet another survived painting.

The Jhala clan had come from Sindh and established their reign at Patdi in 12^th century AD. After the Islamic invasion, they moved their capital to Halvad and made it their capital. Over the centuries, the Jhalas established several princely states, such as Wankaner, Limdi, Wadhwan, Sayla and Chuda.

The murals of Sayla are important as not much is known about the mural tradition of this region of India. Whatever if left requires urgent attention for preservation.