If you love stories then read along. Let us take you to the vivid world of scroll paintings! Here you will find paintings that would have you falling in love with the art that tells you the story as much as the story itself. Welcome to the world of Cheriyal Art!

 

 Cheriyal scroll painting depicting Indian Myth

               Cheriyal scroll painting depicting Indian Myth

 

 Types of Cheriyal art scrolls depicting different types of stories.

   Types of Cheriyal art scrolls depicting different types of stories.

Originated from the village of Cheriyal, 85 km from Warangal district of Telangana, Cheriyal scroll painting is a version of Nakashi art rich in Indian mythology motifs. Painted in a narrative format like that of a comic strip, Cheriyal art depicts stories from the Puranas and Epics. While they bear some resemblance to Madhubani paintings, they are intensely infused with local flavour that creates the uniqueness in Cheriyal art of storytelling.

Each Cheriyal Scroll painting is drawn on a khadi cloth opening with a piece of Lord Ganesha, followed by Goddess Saraswati. It’s way adopted by the artists to pay respect to the deities and seeking their blessings.

The technique of cheriyal scroll painting would tell you about the sophistication level as firstly they begin with applying a paste of tamarind seed along with tree gum and white clay. After applying three coats of this paste and allowing it to dry for a day or two, the scroll is finally ready for the further procedures. Now the artist draws the outline using a squirrel haired brush. Next is the turn for the predetermined colouring system. The red colour fills the background and blue and yellow colours are used for Gods and Goddesses respectively. While brown and darker shades are used for demons and pink skin tones are used for depicting humans.

Earlier natural dyes were used which were obtained from grounded sea shells, turmeric, vegetables etc. While today natural dyes are largely replaced by organic watercolors which are mixed with tree gum before applying on the scrolls. These paints are said to last over 300 years provided they don’t come in contact with water.

 D.Vaikuntham working on Cheriyal Art

        D.Vaikuntham working on Cheriyal Art

Today D.Vaikuntham’s family is only to practice the cheriyal art form, they have continued the Cheriyal tradition since the 15th century. They are the true masters of art form in this era. Apart from making the scroll paintings, the art has got a modified version of making masks in the same colour pattern and same themes of depicting the Indian mythologies as well. Due to the trouble of fitting in the modern world, the artists are forced to modify the art form.

The modified version of Cheriyal art as a mask

    The modified version of Cheriyal art as a                                                mask

Adapting the modern global changes is a major challenge for ancient art forms. It makes it difficult for them to breathe in with so many alternatives and replacements around but Cheriyal Art continues to survive. Ergo, an ancient tradition has been preserved with passion and zeal overflowing to keep it alive today and for coming generation!


Everyone remembers playing a game of Ludo or Snakes & Ladders be it on a hot summer day or a cool winter evening. These board games that form such a beloved part of our childhood actually take their origins much far behind in history. One such game is Chowka Bhara.

In former princely states like Tripura, Karnataka, Madhya Pradesh, Maharastra, Tamil Nadu , Kerala and Punjab, Chowka Bhara was a favorite past time. The game uses easily available articles like sea shells, broken bangles and tamarind seeds, broken bangle bits and coins. The players seek cialisfrance24.com to move them across a 5 by 5 square drawn on the board to reach an inner space called “home”. It is played in a squares format on the floor.

 

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Fig: A Chowka Board

Fig:A custom made board

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The four player game Each player have four pawns (coins, bangle bits etc) starting at different positions at the four crossed squares at the outermost ring. The rules of game

Chowka Bhara Board-(http://bp1.blogger.com/5D2Wzovowzc/SB2_kwbnjXI/AAAAAAAAAAU/LXU2kY3WVQo/s400/chaukabara-5×5.jpg )

How the game works: 

  1. The board is always kept in the center during the game.
  2. Each player has a different starting point and initially keeps all his coins there (marked by X on his side).
  3. Each player takes turn to throw all four cowrie shells on the floor and moves one of his coins according to the number as indicated by the shells.
  4. Movement of coins is in anti-clockwise direction in outer squares and then in clockwise direction in inner squares as shown by the arrow in the diagram.
  5. If a player’s coin lands on a square occupied by opponent’s coin. The opponent’s coin is cut and the player gets an extra turn to play.
  6. The cut coin returns to its starting home square and has to go round all over again.
  7. The crossed squares (home squares) though, are safe places and no coins present here can be cut.
  8. When a coin reaches the square left of its home square, it further moves up into the inner squares in clockwise direction. Each coin finishes its race when it manages to get into the innermost crossed square.
  9. The first player to get all his coins into the innermost square wins the game.

Extra Turn:

  • Whenever a chowka or a bhara (four or eight) is got during a throw of cowrie shells, the player gets a bonus turn to throw the cowries.
  • When a player cuts opponent’s coin, he gets an extra turn to play.
  • During an extra turn, either the same coin or some other coin can be played.

This ‘Game of Chance’ finds relevance in mythology Mahabharata. Evidently,in two or four player format this game involves an element of chance by the roll of special dice and an element of strategy .

The Chowka Bhara board game is still played to improve the counting skills of the children . As important aspect of personality development, it was used to teach kids war tactics and strategies as well as eye-to-hand coordination in earlier time.

Want to try this game now? Check out the ‘ Store’ section to buy Chowka Bhara at Nazariya.

Happy Shopping!

 


You can always find the books of your choice in a library but seldom can you find both the writer and the book at one place. One such place in India is Jaipur Literature Festival. It is the world’s largest free event of its kind. In its 10 years, it has hosted 1300 speakers and 1.2 million book lovers. Man Booker Prize winners to debut authors, this place welcomes them all. In a society like ours, debate and discussion are integral since ages which JLF fulfills.

Source: instagram.com/jaipurlitfest

Not only writers but critics, historians, musicians, journalists, poets, activists, politicians and orators from all across the globe come together at one place for five days of readings, debates, and discussions. The festival takes place in the month of January in Diggi Palace in Jaipur and is a place of open expression.

Source: instagram.com/jaipurlitfest

Gulzar, Javed Akhtar, Sashi Tharoor and William Dalrymple are few names from the list of literary geniuses of the world who graced the festival. The venues were flooding with young, euphoric crowd dressed in chic and boho outfits. All five days of the festival started the Front Lawn venue beginning with Shillong Chamber Choir. The keynote address by Gulzar and Anne Waldman was the first session that officially marked JLF 2017’s beginning.

Source: instagram.com/jaipurlitfest

Of all the six venues of Diggi Palace, Cox and Kings Charbagh and Mughal Tent remained the most crowded on all five days. There were several book launches and readings by eminent literary figures. The discussions were everything from Sanskrit in Mughal Court to Shakespeare’s Restless World. While Hotel Clarks Amer hosted the music stage venue, Amber Fort became the venue for Heritage events.

Source: instagram.com/jaipurlitfest

Nicole who had come from Australia said,” I had come to India as a young girl about 30 years ago, I have been to all the states but here in JLF I’ve experienced the essence of India. The crowd is young and full of life, levitra en ligne not quite like the one we see in literary festivals. JLF has something for one and all”. Certainly, not just bookstores and session venues, there were stalls selling refreshments from international cuisines like Falafel and Hummus. Live sketch counter attracted a lot many bibliophiles.

Know more at https://jaipurliteraturefestival.org/

Facebook: Jaipurlitfestofficial

Instagram: jaipurlitfest

Twitter: @ZEEJLF

If you come to Jaipur to attend JLF don’t miss visiting the Rajasthani markets that sell miniature paintings and bandhej dupattas. Almost everything is available in shops in Bapu Baazar and Johri Baazar.  The forts of Nihargarh, Jaigarh and Amber are a must visit too.

 


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Image Source: www.anokhi.com/museum

The two-story pink sandstone haveli in the dusty lanes of Amber is usually easy to miss. Many of the locals know this as Chanwar Palkiwalaon ki Haveli and not Anokhi Museum of Hand Printing, eight miles outside Jaipur where women clad in the most colourful of sarees suspend their chat to wave at you.  The museum focuses on contemporary fabric ranging from innovative designs created by talented artisans to traditional outfits still worn in select regions today, albeit in dwindling numbers. A focused selection of historic textiles provides a context for a further understanding of block printing.

image source: http://josephinewilson.com/?p=417

Image Source: http://josephinewilson.com/?p=417

The one of its kind museum is an endeavour to preserve the community of artisans of 500-year-old block printing in Rajasthan. It was started by Anokhi, a clothing line selling block printed garments in stores across in India. The company was the brainchild of a British woman who married an Indian and moved to Jaipur in 1970, Faith Singh worked with local craftsmen to create contemporary prints on textiles that have become so popular in India and abroad. It was Ms Singh’s daughter-in- law Rachel Bracken-Singh who restored the dilapidated 17th- century mansion which once belonged to the palanquin bearers of the royals and turned it into a museum. This preservation project earned a UNESCO award for ‘Cultural Heritage Conservation’ in 2000. The old but well-maintained building is a cool relief from the desert heat.

 Large boards are put up in the open courtyard which explain the lengthy process of hand block printing. It all begins with the design to be printed on the textile. Once finalised—often floral, paisley or geometric—they are carved by hand onto wooden blocks which have been soaked in oil overnight and cleaned. These blocks are then used to print the pattern onto fabrics using natural vegetable dyes like indigo, pomegranate rind and turmeric in vibrant blues, reds and greens. 

 

 

 

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Image Source: www.google.com

 

 

Inside Anokhi

More than a hundred garments and blocks are on permanent display inside alcoves and galleries across two floors. There are ethnic designs and patterns  and also Western clothes in traditional prints, like knee-length dresses in shades of red and russet. On the roof-top terrace, a few craftsmen sit with their tools, ready to demonstrate their work to interested visitors. The museum also offers a 2-day course in block printing and wood carving to the enthusiasts. The museum shop carries a selection of hand-crafted merchandise which includes limited edition textiles, clothing, furnishings, jewellery, books and cards.

Anokhi is trying to preserve the dying craft which is overpowered by the more efficient and more economical machine-printing process damaging the livelihood of the artisans and threatening to extinguish an important craft. But it has a modern approach too. The team is always looking for new craftsmen and techniques to develop new garments in the main workshop on the outskirts of Jaipur. They have worked with a British designer to re-interpret William Morris’s prints, made costumes inspired by the Russian theatre, and worked their patterns into contemporary fashion—all of which are showcased in temporary exhibitions.

 

 

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Image Source: www.anokhi.com/museum

 

Visit them in Jaipur:
Chanwar Palkiwalon ki Haveli (Anokhi Haveli)
Kheri Gate, Amber, Jaipur
Tel:- 91 – 141 2530226 / 2531267

 

Museum Working Hours

  • Tuesday – Saturday : 10:30am – 5:00pm
  • Sunday : 11:00am – 4:30pm

Together with garments – Indian and Western in design – home textiles, sarongs and accessories, Anokhi offers a diverse and colourful selection of products in its 27 outlets in major cities of India. Anokhi doesn’t offer e-commerce.

Instagram @anokhijaipur

Facebook @AnokhiIndia

Here are some insights, with Ms. Rachel Bracken-Singh, the museum’s director:

Are there any festivals/events/Hand Printing workshops in the museum?

The museum offers regular works throughout the year. These are usually against request and range from individuals and small groups of enthusiasts to large school groups –from within India as well as visiting from abroad. School groups, college groups, design student groups – we tend to tweak the workshops to suit the particular need. While most workshops involve block printing we also offer block carving workshops. Throughout the day, the onsite printers and carvers demonstrate their skills and offer interactive sessions with visitors as they walk around.

 

What excites the visitors the most about your museum?

The response to the museum and what people enjoy most varies quite a bit. While most people love to try their own hand at block printing and also block carving, we find that there is a very clear appreciation for the overall quality of the experience from start to finish, in all the spaces at the museum. A great deal of attention has been given to clear and concise information and good visuals, and great care is taken in maintaining a high standard of care for the various striking and interesting textiles as well as tools, techniques, etc. The building is well worth a visit for that alone!! Visitors leave feeling that they have had a very positive, informative and satisfying and holistic experience.

 

How is the museum funded?

It is funded by Anokhi – we do not take outside financial support. The small shop there and museum publications go part way to supporting some of the costs.

 

What would you say to those looking forward to visit the museum?

Above all, I would recommend that any visitors coming to the museum should give as much time as they can to enjoy a complete experience – a full morning or an afternoon. The opportunity is there to fully absorb and appreciate one of India’s most beloved indigenous crafts,  set in a beautifully restored 16th century haveli. Interacting with the craftspeople and well-informed staff, and then enjoying a cup of desi chai in a traditional clay pot with a view of Amber’s enduring heritage is something to be savoured.

 

 

 

 


Author: Noah Unathraj

Image Source: http://www.thehindu.com/multimedia/dynamic/02510/14TH_KINNERA_2510681e.jpg

“Art is not what you see, but what you make others see”, quoted the famous French artist Edgar Degas. Yes indeed in my perspective art is something more imaginative, profound and absorbing to the human soul. It frees out mind and body from the busy mauhauul of everyday life and looking up to something which is delightful and engrossing in a heartfelt manner. Art is the involuntary susceptibility that an insaan feels in a warm way. India is “Vasudhaiva Kutumbakam” unity in diversity hence has engulfed emulsions of many art forms and has become the hunting ground for souls of peoples engrossed in art. Today I am to present you something of an art which has lost its prominence 4 centuries ago. Though it has not totally died down precisely, it has almost been on the verge of extinct but has some time ago resurged back to life by none other than Mister Darshanam Mogilaiah the one of the very few survivors of this extricated instrument titled “The Kinnera” (a string instrument).

A  re-known artiste of the Telangana state, in fact the one person in the country playing the 12-step kinnera, hailing from Ayusaolni kunta village of the Mahabubnagar district in Telangana state. He belongs to a low esteemed family where his forefathers have dedicated their lives in an urge to empower and boost up the spirits of the people to take part in freedom struggle against the British by playing the instrument and singing patriot songs in synch. The “Dakkali” tribe has put in their flesh and soul for design and working of the instrument, has actively participated in the freedom movement. “Dakkali” have been a Chenchu race breed and brought up through odds and slavery right from the start by the landlords and the upper caste people in the society and hence in order to revolt against them have invented the device to unite the people of all the lower caste in their society and have struggled for their freedom and fought their way out.   

Kinnera is a stringed instrument like Desi Veena, has 12 steps which is able to produce 12 different tunes with the 2 strings that are mounted on them. The instrument uses bamboo for the neck, dried and hollowed gourds for resonators, human hair or animal nerves for strings and pangolin scales for frets which are fixed using honey-wax. According to Adivasi studies state that the Chenchus have lost the instrument half century ago when the gourd used for resonator became extinct in this region. This has come into lime light while researching about Panduga Sayanna a Telangana fighter. The dakkali singers sang in his praise using “Kinnera”.  It has almost taken 3 years to trail out and explore this history through the help of Dakkali Pochaiah.

Darshanam Mogilaiah

Image Source: http://cdn.deccanchronicle.com/sites/default/files/Moghulayya_0.jpg

Darshanam Mogilaiah aged 65 has been the forerunner of this instrument now. He belongs to “Madiga Mastin” tribe which is a sub-caste of community. He has been a master of this art and 5th generation artiste in the family which has been playing the “Kinnera”. He is skilled at frolicking the 12 step music singing mostly in praise of Meera Saab who according to a legend, lived during the Wanaparthy Samsthan 400 years ago in Mahabubnagar. Meera Saab, a Robinhood-type do-gooder, used to rob the rich and feed the poor. His ancestors constructed the kinnera with 8 steps or more, Mogilaiah is the only one to build up to 12 steps to produce different tunes with the 2 strings. He uses dried fruit, coconuts or dried horns positioned at 12 places on the instrument, helping generate a different type of music. The ‘twelve frets’ of the Kinnera are made of ‘bull horn’, who have been his treasure which are permanent while the others when worn out can be replaced. He speaks “The Chiluka (parrot) is also a very important element of my Kinnera as it starts dancing along with me in many of my rhythmic songs.” He says people must recognize the sacrifice being made to protect the heritage of the local songs and rising voice on social issues through his family tradition.

With times and advent of electronic instruments, it’s on the wane- perhaps extinct. He is perhaps among the few living bards who can play the instrument and perform. This enthralling singing in hand with the instrument is an experience to live up. He just doesn’t want to be recognized as a performer of this wonderful instrument, but preserve the art of it. Through his endeavors he has received a fillip in the form of Dasari Ranga, a research scholar of Osmania University, who is doing a thesis on “Karshaka Geetalu” (folk songs of agricultural workers) has arranged a program to showcase the art resulting in authorities of Telugu University and University oh Hyderabad (UoH) for introducing a course on kinnera folk art for which Mogilaiah could be an instructor.    

Music is the entity which binds a person together irrespective of his caste, creed and color. Even though its origin is from the flock flare it has found out its way through and has been an important criterion in enhancing and encouraging the morale of the people even at hardships, thought dead has risen out now in order to re-mesmerize back the people and showcase its versatility on the world stage and give the while a wider perspective of so many such art forms which are there lying underneath waiting for an opportunity for them to be resurged back to life.    


Content Research and Written By: Saif Ansari

The painting is an exquisite work of an Indian art. Extremely fine hand made art on old stamp paper with embossed bead work found mainly in Rajasthan. Rajasthan’s role in the expansion of Indian art has been very significant. One of the most innovative & significant example of Rajasthan art treasures is the world of miniature painting includes mainly Painting on old stamp papers.

radhakrishdancing2

Lord Krishna with Radha & Gopis

Source: http://craftoptions.com/images1/paintings/Painting%20Aug2010/oldstamppaper%20miniatures/radhakrishdancing2.jpg          

A traditional style painting isn’t merely about size, but also the level of detail in the painting. It’s the detail that differentiates an Old Stamp Paper Painting from others. If you look at it through a magnifying glass, you’ll see extremely fine brush marks with every detail scaled down & finely finished. The painting depicts maximum possible details that bring out a feeling of earthly charm & pleasure. It is indeed an art to cherish & a collector’s delights.

There are some important considerations in determining the fundamentals of art as surface design is not the only basic quality of an artwork. In order to promote visual & verbal literacy, art terms like appropriation, content, metaphor, mood, narrative, subject, symbol & theme. The spirit of Rajasthan gives an epitome of history & legends colored by courage & romance, finds an expressions in different paintings.

Rajasthan is the Land of wonderful legends of romance & bravery. India’s region in the northwest corner of the sub-continent is of amazing beauty packed with art, history & culture that goes back to several centuries. These Rajasthan Paintings were founded at Udaipur in 1996. They are placed in Udaipur known as city of lakes; here one can see a wide range of high quality paintings from well-known Rajasthan.

                             kishangarh-painting-on-old-stamp-paper-826-310x310

Rajput Art of Living

Source: http://www.artnindia.com/wp-content/uploads/imported/Rajasthan-Rajput-Miniature-Painting-Old-Court-Stamp-Paper-Indian-Folk-Ethnic-Art-190614258625.jpg

As Hindu-Rulers of Rajputana carry on close political & social links to the Mughal court, one can examine strong Mughal influence paintings here; Influenced by the surroundings, paintings have their own unique style; court assemblies & animals such as Camel, Elephants of their army, hills & valleys, religious festivals, processions & scenes from their own life & from the life of Lord Krishna – a widely devoted Hindu God in India. Painting on Old Stamp paper is different in size & material from others. Papers were mainly handmade & of hard texture from typically used papers for paintings. The colours were made from minerals & vegetables, valuable stones as well as pure silver & gold. The mixing & preparing of colour was an elaborate process. It took two weeks sometimes months, to get the desired results. The brushes have to be very fine & are therefore prepared by the artists themselves. To get high-quality results, the brush is even today made from hairs of the squirrels, tail-carefully cut without harming the little animal.

rajasthan-rajput-miniature-painting-old-court-stamp-paper-indian-folk-ethnic-art-190614258625                            Folk Art, King with his Army                            

Source: https://natsybydesign.com/image/cache/data/Sep13/mughal_miniature/kishangarh-painting-on-old-stamp-paper-826-310×310.JPG

The traditional Painting started falling after the first half of the 18th century & by the end of the century it lost almost most of its strength & attraction. However in the Pahari region the art of painting uphold its quality till the end of the first quarter of the 19th century. The traditional styles of Indian painting finally died out in the second half of the 19th century under conflict of the Western colours & method of painting.

You can buy more such paintings online on our website: www.nazariya.in


Author: Seemab Alam

To the ups and downs of numerous Ghats, to the survival of the crowd and passing by the majestic cows around the streets, comes the beautiful haveli’s, temples and houses who amidst the chattering women and wandering local vendors stand with their walls being canvases to the bright coloured parrots, elephants, gods and goddesses, all adding up a supreme uniqueness and charm to the lanes of Varanasi.

These wall painting art is known as “Bhitti Chitrakala”, a folk art of Varanasi. However with the growing modernisation this folk art is finding itself difficult to breathe. The paintings showcasing mythological and colonial stories, Rajasthani and Mughal art at Jangambadi Muth, Bhonslaghat, Bageshwari Temple have already lost their gleaming look while others are on the way to extinction.

The main reason for the dying of this art is ignorance and unawareness. However the existence of this art goes back to the 16th century. Today most of the people around the houses who hold these fine wall paintings do not know about them at all. While there once was a time when the same art was valued and people took pride in expressing them on their houses. While today people find doing the same a waste of time and money.

Dr. Sudhir Keshri, assistant professor from the faculty of visual art, Banaras Hindu University (BHU) says that “The paintings in the city are now hardly visible, main reason being the witlessness of the people and no willingness to take any action against it by the authority.”

The paintings however can still be seen by a hair’s breadth around the old houses at Assi, Bageshwari Temple in Jaitpura, Laxmi Narayan Temple, Dasaswamedh Ghat, Devki Nandan Ki Haveli, Sankat Mochan Mandir and few more places.

Dr. Keshri adds, “The paintings depicts mythological stories from Durga Saptashati, Ramayan, Samudra manthan and Dashavtar on the walls of ashrams and temples. Also the elite class families used to paint their Havelis with certain designs. During marriages etc. people used to make paintings of Lord Ganesha, traditional sainiks, elephants, horses, parrots and peacocks. However today the ones who do paint their houses are all confined to the paintings of Lord Ganesha. ”

Concluding up Dr. Keshri says that “With the basic idea of considering wall paintings a waste of time and money and also with other advancements this art is hardly surviving. Topped with negligence, there rarely aren’t any artists into this profession anymore as most of them have shifted to other jobs due to no work availability.”

Around 2 years ago the students of Banaras Hindu University took the initiative to revive this art by painting the house walls of people who were willing to, for free. It was an excellent step to connect this intangible art with tangibility. Also a non-profit organisation- Jnana Pravaha, has put in efforts and collected the drawings of all the paintings that were made on temples, ashrams and other haveli’s and houses of the city as these drawings will be stored in museums.

Thus, a city like Varanasi which portrays a beautiful picture for people all around the world to know what gold this old city holds, would start losing something like Bhitti Chitrakala, it may somehow lead to start loosing up our traditions and folk art gradually.

I remember an old man talking at the ghats that “civilisation have come and gone, people have lived here and have been cremated here, days and years have passed but our benaras and it’s magic is still the same.”

I wonder if he would ever realize that things are not the same. I wonder if we, the young generations can uphold these traditions for the coming many generations to see all the gold this old city has been holding since forever.

All Picture Courtesy Belongs to Mohit Khetrapal (Student, Sunbeam School, Varanasi)


Author: Seemab Alam

Image Source: http://www.desipaintings.com/images/Chamba-miniature-painting.jpg

The romantic ambience of the monsoon season in the heart of Himalayan Mountains was once loved by a princess named Champavati, daughter of Raja Sahila Varman around 920 A.D. While Raja’s daughter took fancy to the site and asked her father to build a town upon it. As the Raja agreed with his beloved daughter and the town was given its name Chamba from the princess’s name Champavati.

Ravi River

Image Source: http://www.indiamike.com/files/images/07/95/31/chamba-1.jpg

The Chamba district is in the state of Himachal Pradesh in northern India. Located at the altitude of 996 meters (3.268 ft) above mean sea level, situated beside the bank of Ravi river and has the population of 20,312 people.

While Chamba is noted for its miniature Pahari Paintings  where Basohli style of paintings took roots with Nikku, the artist of Basohli migrating from Guler to Chamba in the 18th century. However Basohli paintings are considered the first school of Pahari paintings and during the reign of Raja Udai Singh and Raja Jai Singh, patronizing of this art form was conducted. In its continuation Raja Charhat Singh developed this folk art at another huge scale which had a long lasting effect on the local artists.

Image Source:                                http://2.bp.blogspot.com/_sFCue8XC5cI/TP4RcZPg5ZI/AAAAAAAAAl0/TBHMXxSAP2M/s1600/PACF016.JPG                                  http://1.bp.blogspot.com/_sFCue8XC5cI/TP4RAAio8wI/AAAAAAAAAlk/FBURg_0DCSE/s1600/PACF019.JPG                                        http://www.indiamike.com/files/images/17/95/31/chamba-2.jpg                             http://2.bp.blogspot.com/_sFCue8XC5cI/TP4RQtZZemI/AAAAAAAAAls/GbcQAMRgABQ/s1600/PACF008.JPG

Chamba paintings bear a resemblance to Mughal style of paintings including strong influences of Deccan and Gujarat style of paintings. Chamba paintings being very realistic and revealing social documents of history of those times also inspire from the natural surroundings and combine in the depictions of Hindu Mythology particularly the legends of Radha Krishna, Shiva-Parvati, Rama Darbar, Yashoda and Krishna, Gopis Love scenes, deer, birds and women.

Art has two different aspects of presentations, traditional and innovative. The art of Chamba, presented via Pahari painting school is basically traditional. The composition of this art is based on the old form. The main reason for this is the arcade for traditional style paintings. As very few artists have strength and courage to create their own idioms and independent styles that are really different from old forms. Many artists create copies from other paintings in a general manner, however they may enlarge and change the figures but the set form has a very hard grip on their psyche.

The major reason for the extinction of this art form is that it failed to evolve itself with the changing time and adapt itself into the contemporary world. There has been a visible stagnation in Chamba painting in creative demeanour when compared to the work of other artists with vibrant innovations we find in Kolkata, Delhi, Mumbai and other cities in the world of contemporary artists.

Tradition needs to be preserved but the same preservation would cause the loss of any other substantial tradition is not appreciated. Therefore similar is the case with Chamba Painting. Chamba is a town with rich cultural tradition with many national award winners but altogether the town lacks the “art-world” coordination. The basic synchronization between the artists and politics either narrow or wide, demand of the market and changing perspective due to modernisation lacks in Chamba which somehow is responsible for the crumbling position of this wonderful art form. Also this has also prevented the artists of Chamba from a pure and delightful experience of interaction and sharing.

However the tangible connection to this intangible heritage survives with the preservation of many traditional paintings being showcased in many museums at Chamba, Shimla and Dharamshala and these museums also hold the distinguished work of artists like Lehru, Durga and Miyan Jara Singh.

Also with proper attention to this art form and by covering missing coordination of the art and changing world and fixing any other remaining loopholes we may preserve this art form from dying forever.

Its important for us to uphold what our ancestors have left us behind. Be it the beautiful stories, the massive mahals or the eye-catching art like the Chamba Painting. Our roots lie in them and binding our roots with such tempting traditions defines who we are.     


Author: Seemab Alam

Image Sources: 

http://i1.tribune.com.pk/wp-content/uploads/2012/12/481629-DastangoiPhotoPublicity- 1355931408-393-640×480.JPG                       http://ste.india.com/sites/default/files/2015/12/18/442871-d1.jpg

“Woh Dastan aisi thi ki na palke chapke na kadam dagmagate,

Woh Dastan aisi thi ki hum wahi tham se gaye the..

Us Dastango ki awaaz aur uske andaaz me thi kuch aisi baat ki jaha jaha woh hume lete gaya.. waha waha hum bas chalte gaye aur khote gaye..”

The medieval romances, the tales of travails and lovers, stories of adventure, magic and warfare. All of these epics narrated orally in nature, The Dastan and the adjoin art we scarcely know about is Dastangoi: The lost art form of Urdu storytelling. Coming all the way from 16th century, Iran, dastangoi is the compound of two Persian words Dastan meaning story and Goi which means to tell a Dastan.

The origin of dastangoi goes back to the pre-islamic Arabia and with it the spread of Islam dastangoi came all the way to Iran and to Delhi in India. From Delhi dastangoi toured its way to Lucknow by the 18th century. All this happened during the Indian Rebellion of 1857 when many artists, writers and dastangos moved from Delhi to Lucknow.

When dastangoi gained popularity and started its regular performances at various locations of the cities, there was a time when it became very popular among the opium addicts and it became one the most vital part of their gatherings at opium houses. The early dastangos told the tales of magic, war and adventure and borrowed spontaneously from other stories like the Arabian nights, stories written by Rumi and in India, they also narrated the stories from Panchatantra and later own the tales of freedom fighters and other major events.

By all this time dastangoi was attaining its fame but during 1920’s era of sound and cinema’s revolution in India things started getting different as in 1928 Mir Baqar Ali died, who was the last famous dastango of India. With that this classic art form started losing its charm.

By now people started seeing dastangoi as a dying art form but Ankit Chadha, the very young and among the only 12 professional dastango of India and the founder of Heptullha a ‘heptular’ company that conducts storytelling sessions for adults and children alike has a very different opinion regarding the same. When asked if he considers dastangoi as a dying art form? He says, “I do not. But, my opinion does not make it alive or dying. Also, the question is whether we see Dastangoi as simply a performance art form, or as a living culture of storytelling which it once was. As a performing arts form, in May 2016, we complete 11 years of Dastangoi as it was reinvented by Mahmood Farooqui. He has led this journey with great success – from no traditional proponents to more than a thousand shows by 25 performers trained by him. We have created dozens of modern dastans – as varied as biographies of Manto and Kabir to Dastan-e-Sedition on the trial of Dr. Binayak Sen to Dastan Alice Ki, the adaptation of Carroll’s children’s classic. All this, however, its still the beginning. While our audience is growing (and not dying at all), Dastangoi is still seen as something exotic by many of them. I want to see these listeners perceive Dastangoi as a part of their everyday culture as much as I see it as my way of life.”

Image Source: http://d152j5tfobgaot.cloudfront.net/wpcontent/uploads/2015/05/Yourstory_ankit_chadha_dastangoi.jpg

There seems to be a tangible connection to this intangible heritage. Intangible as the very existence of this art form has got a vague approach of people. But noticing the encounter of Ankit with this classic art form which shares a very low limelight these days proves that yet being immaterial, dastangoi has got a very solid connection to the people of India with the efforts of artists like Ankit making it possible. Upon this Ankit says, “While Dastangoi is a classic art form, it has still not become established in the eyes of state or society like music, theatre and dance are. We are still building the ground and I feel fortunate to be a key player in this process. And as far as the limelight is concerned, the inner journey means much more to me personally than the perception of the media and others.”

Passion plays a key role in upholding the art forms that tend to be dying. Also the responsibility of not letting go of what was ours is another thing. Apart from Dastangoi being performed around festivals like Jashan e Rekhta and others, Jamia Millia Islamia – a central university in New Delhi inculcates among its students to uphold these art forms. Through this the youngsters of the nation are connecting to this art form and appreciating their inclination towards the same.

It’s said that when Dastangos perform a Dastan they present it very lively. Like moving pictures and sometimes they themselves became pictures. Sometimes they speak like old women sometimes like kids and sometimes like ghosts or whatever the Dastan demands them to be. Although considered a fading art form of Urdu storytelling, Dastangoi is being recognised more and more among people of all ages. It emerges as a phoenix and is ready for all the pleasure of being born again and being loved again.


Author: Seemab Alam

The art of stories, the art of spirituality and an art believed to bring good luck, Gond Art is the reflection of India’s largest adivasi community called Gonds who are of Dravidian origin and can be traced to the pre-Aryan era. The word Gond is derived from the word kond which means green mountains. The Gonds are a diverse group spreading over large areas from the Godavari valleys in the south to the Vindhya Mountains in the north. Also in Madhya Pradesh, they are settled in the dense forests of the Vindhyas, Satpura and Mandla in the Narmada region of the Amarkantak range for centuries.

The Gonds are traditionally believed to be storytellers, the Pradhan Gonds used to narrate the stories glorifying the king and this was mainly the source of their livelihood. While with the emergence of British, their downfall began. But it was during early 1980’s when Gond Art found its way back.

The Gond cultural tradition captures different aspects of Gond life- their deities, dance customs, bond with nature, myths, sagas and wisdom. In the early days the Gonds painted their walls with lively portrayals of local flora and fauna and gods. The mystical art form is created by putting together dots and lines and the artists used colours developed by charcoal, plants sap, cow dung and leaves in the early days, today mostly acrylic are used. Most of the paintings when perceived carefully impart a sense of movement to the still images.

While all these paintings are a tribute to nature, the Gonds belief upon the supernatural power is rather interesting. When interviewed Padmaja Srivastava (founder of the organisation-Gond Tribal Art) she says “It’s interesting to know that the Gonds do not believe in idol worship. While they stongly believe in Ramaini which is the mixture of Ramayan and Mahabharat.”

Also she talks about the same very passionately, quoting “I believe that Gond Art is a contemporary art. From paintings on the mud walls to paintings on the canvases, this art relates to many superstitions and belief. Every piece of art they paint portrays a story or a belief. They say these paintings bring good luck for them and protect them from evil spirits.”


BANA PAINTING

Image Source:- http://folkpaintingsindia.com/all-art/gond-art/bana.html

The above Gond Art is a creation by Mansingh Vyam, a Gond artist. This is a painting of the Bana which is also regarded as Bada Dev by the Gondi. Bada Dev (Great God) is invoked under a Saja tree by a Gond Pardhan.The Pardhans being the musicians, story-tellers, and genealogists of the Gonds, invokes Bada Dev by sitting under a Saja tree and playing a musical instrument called Bana. On listening to the melodious sound of the Bana, and the song sung by the Pardhan, Bada Dev awakens from his slumber and comes down the Saja tree. As very well illustrated in the painting.

Isn’t it beautiful to fancy how Gond art from paintings on the mud walls became so alluring on the canvases? Well, it was Jangarh Singh Shyam who first offered this art on the canvases using poster colours in the 1980’s and since then Gond Art has never looked back but only developed.

The entire concept of being rooted to the culture of their ancestors and believing in the ideology their forefathers believed, strengthens the Gond culture in an incredible way.

The exquisiteness of their culture and tales shall forever be cherished. The illusions of their art shall forever be hailed.