Chief Editor Madan Chitrakar Executive Editor Navindra Man Rajbhandari Consultant Editors Diwakar Dhungel Jitendra Man Rajbhandari Designer & Photo Editor Bijaya Maharjan Assitant Editor Sajeet M. Rajbhandari Cover Image Mother Goddess Durga, c.18 th century CE Printer Colors Prints & Production Pvt. Ltd. Kathmandu Publisher SIRJANA COLLEGE OF FINE ARTS Utter Dhoka Sadak, Lazimpat Kathmandu, Nepal Tel. 01 443 0535, 01 441 8455 www.sirjanacollege.edu.np [email protected]A Journal on Arts and Art Education Vol. VI, 2019 The 18 th Anniversary Issue The opinions and the interpretations expressed in the articles are the personal views of authors and do not necessarily reflect the views of the publisher and editors. Established in 2001 in affiliation to Tribhuvan University snf / snf lzIff ;DaGwL k|sfzg cª\s ^, @)&^ !* cf}“ jflif{sf]T;j cª\s k|wfg ;Dkfbs dbg lrqsf/ sfo{sf/L ;Dkfbs gjLGb|dfg /fhe08f/L ;Dkfbg ;Nnfxsf/x¿ lbjfs/ 9'ª\u]n lht]Gb|dfg /fhe08f/L l8hfOg/ tyf kmf]6f] ;Dkfbs ljho dxh{g ;Dkfbg ;xfos ;hLtdfg /fhe08f/L cfj/0f lrq b'uf{ ejfgL, sl/a O= ;+= !* cf}“ ztfAbL d'b|s sn;{ lk|G6\; PG8 k|f]8S;g k|f= ln= sf7df8f}“ k|sfzs l;h{gf sn]h ckm kmfOg cf6{;\ pQ/9f]sf ;8s, nflhDkf6 sf7df8f}“, g]kfn kmf]g g+= )! $$# )%#%, )! $$! *$%% sirjanā l;h{gf ISSN 2565-5086
Transcript
sirjanĀ 1
Chief EditorMadan Chitrakar
Executive Editor Navindra Man Rajbhandari
Consultant EditorsDiwakar DhungelJitendra Man Rajbhandari
Designer & Photo EditorBijaya Maharjan
Assitant EditorSajeet M. Rajbhandari
Cover Image Mother Goddess Durga, c.18th century CE
Printer Colors Prints & Production Pvt. Ltd. KathmanduPublisher SiRJaNa CoLLEGE of fiNE aRtSUtter Dhoka Sadak, Lazimpat Kathmandu, NepalTel. 01 443 0535, 01 441 [email protected]
a Journal on arts and art Education Vol. Vi, 2019the 18th anniversary issue
The opinions and the interpretations expressed in the articles are the personal views of authors and do not necessarily reflect the views of the publisher and editors.
Established in 2001 in affiliation to Tribhuvan University
Rinchhen Nurbu Sherpa (Bfa 4th Year). Traditional Mask Dance. 2019. Acrylics on canvas, 122 cm x 95 cm.
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editorialWhere words fail art speaks.
At its simplest art is the outcome of the human need to express oneself. For humans to have humanity, there is a constant urgency for expression; a need to tell a tale to the world how you feel and what you feel. This is where art finds its true roots. It is the hunger for creation that the Homo Sapiens’ brain has hardwired into itself. This hunger in turn is where ‘SIRJANĀ’ manifests its essence. Literally being a translation for the word creation, SIRJANĀ is our attempt at creating something that is timeless and meaningful.
Sirjana College of Fine Arts, aims to use our annual publication ‘SIRJANĀ: A Journal on Arts and Art Education’ as a medium that expresses the collective creative spirit. This is because we at Sirjana, believe that art is everywhere. Therefore, we have chosen to use this journal as an instrument to lead the common eye through a journey of understanding and appreciations that art plays in our lives and society. For art is as simple as what Walter Gropius defines, “neither an intellectual nor a material affair, but simply an integral part of the stuff of life, necessary for everyone in a civilized society.”
On our 18th year of inception, we proudly bring to you the 6th volume of ‘SIRJANĀ’, a collective effort of academics, students and creatives who hold faith in the power that art holds. SIRJANĀ is simply a scholarly collection that was conceived as a way for us to present what it means to create. However, for us SIRJANĀ is also our way of narrating, the little stories we come across within art. SIRJANĀ is built around the idea that we need to define art not just on the basis of what others before us have, but to create a modern perception of what Nepal thinks of art as. We have made a conscious effort to include within SIRJANĀ writings and imagery that look at different styles, eras, and even domestic and foreign trends in art. We hope that the contents of SIRJANĀ will not only provide our readers a delightfully knowledgeable experience but also instill intellectual discourse amongst art scholars and art enthusiasts alike.
We would like to extend our sincere gratitude to everyone who has contributed to SIRJANĀ through articles, pictorials or informational materials that have made the publication of this journal a reality. The college would like to acknowledge our editorial team, designer, photograph contributors and staff for all their hard work and effort in bringing out this art publication.
The Spirit of Nepali Painting: What has hath Driven the Art
Madan Chitrakar
20
Caryā of Guhyasamājatantra: A divine drama
Arun Shrestha
36
Nepal’s Lumbini is more than a birth place of Gautama Buddha
Dr. Binod P. Bista
46
Symbolism behind Art and Colour denoted on the Buddhist Prayer Flags
Dr. Poonam R. L. Rana
54
bfa show - 2019
Dynamics of Contemporary Nepali Paintings
Dr. Yam Prasad Sharma
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Classical Music in the Shah and Rana era:1768-1951 AD
Dr. ramesh pokharel
62
Way of Being
Saroj Bajracharya
72
76
88
100
110
122
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An exhibition catalogue of SKIB-71
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sKIB-71 in textual and visual memoriesDr. Abhi Subedi
abstract
SKIB-71, the acronym of Sashi, Krishna, Indra and Batsa represents a very significant phase in the movement of modern Nepali paintings. These four artists launched a movement in paintings a quarter of a century ago with a view to inspiring young artists and opening new vista of communications with artists using other media and methods. Their personal involvements in art activities couples with their experimentations created a unique atmosphere in Nepali paintings characterised by such features as the gatherings of artists, interactions, exhibitions and, above all the pedagogy of arts. After the sad demise of Indra Pradhan in 1994, three of them continued to work for which they chose to engage in art pedagogy or to work quietly on cultural motifs. Among the many reasons to consider them as part of art activities today is their impact on art education, accentuation of the subject of experimentation and participation in the art activities of present times.
Preview
A massive national exhibition of art was underway at the erstwhile NAFA gallery in the huge hall of the Asian Baroque style building named Sita Bhawan in Naxal in Kathmandu in the winter of 1973. I had organised an informal meeting of writers, mostly poets with four painters Sashi Shah (1942), Krishna Manandhar (1947), Indra Pradhan (1944) and Batsa Gopal Vaidya (1946). Sadly, Indra Pradhan's death occurred in 1994. The loss of this very active artist with great propensity for opening inter-art sharing is deeply felt by his colleagues and poets alike. Indra's help and interest had made it easier for me to bring the poets closer to the artists.
SKIB 71 as the name shows was formed two years earlier. These artists all
being more or less of the same age, it was very easy to communicate with each other. My interest in paintings was already established. Meeting Lain Bangdel (1924-2002) and dramatist and painter Balakrishna Sama (1902-1981) quite regularly had left a deep impact on my mind. My studies of the Western art and literature had given me ample insight and methodology to enter the realms of art and literature. My idea was enthusiastically accepted by SKIB. The meeting went wonderfully well. All I need to mention here is that the poets and artists were equally elated by this idea of seeing each other's works as related works of art.
Most importantly, that meeting opened up a modus operandi of the meetings of painters and poets. The onus lay on my
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shoulders that I was happy to carry out with great sense of inspiration and zeal. We had limited access to the media. But I chose a method of writing articles or letters to the editors about the painters. For literature I had no problem. My first book of western criticism was under production at the Academy the same year. I got a letter published about the meeting in the only English daily of that time in reader's column. I could not find the paper cutting to cite here. Anyway, SKIB chose an open path, a flexible way of looking at arts, not least by accepting other genres of art as their own. This trend continued for many years.
I want to use this article written at the suggestion of artist and editor Navindra Man Rajbhandari for his annual art magazine. So the modality of this article is to cite at length the texts I have written at different times about these painters in groups or as individual in their exhibition brochure, and make analyses. I feel very delighted to read them over again, and to realise how we continued to celebrate the confluence of arts.
Uttam Nepali made an exhibition of paintings by bringing poets into his oeuvre itself two years after this inter-art meeting of the SKIB. I wrote the following about Uttam Nepali's exhibition of the paintings and the inter-art spirit of that:
"Uttam Nepali made his first major attempt to bring painting and poetry together in an exhibition of his abstract paintings at NAFA in September 1975. The 32 abstract paintings exhibited on the occasion covered the names of the major modernist poets of his times. Uttam Nepali himself wrote/writes poems. So he recreated the spirit of the works of these poets with a great sense
of closeness and sympathy. His style of representing poetry in art was by directly writing short text along the conceptual dimension of the painting. The title of the exhibition was 'Poet, Poetry & Painting', a straightforward title. He sought to combine these three forms in each painting through the medium of abstract art. He conceptualised the text and style of the poet first, chose a line that struck him as very eloquent about the poet's concepts and craftsmanship in writing and included these lines on the body of the abstract canvas. In other words, the line/lines form part of the sensa in the abstract painting. Sensa in abstract painting is what the voyeur sees on the canvas, the colours, abstract forms and movements of lines that do not form any figurality." (Across. January—March 2003. Vol 6. No. 4. Pp. 9-13).
Though SKIB did not write, they were great friends of poets and writers. That is the reason why I worked so closely with them. Uttam Nepali kept up writing poetry along with his art works. He continued that spirit of association by executing portraits of poets and writers in later years.
I have already written elsewhere. SKIB however continued to foster that spirit, that sense of the confluence of art and literature. But they continued to be painters or artists par excellence. To understand what kind of paintings they executed I want to cite my own texts written for catalogues or elsewhere. First I want to cite my text included in the flier of an exhibition organised by Sirjana Contemporary Art Gallery under the title "A creative journey of 25 years, SKIB-71" in the last week of December 1995 in Kathmandu. Baikuntha Man Shrestha, Chairman of the Gallery quotes me as below:
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"It will be relevant to quote here Dr. Abhi Subedi's views on SKIB-71. He writes —"SKIB-71, the acronym of Sashi, Krishna, Indra and Batsa represents a very significant phase in the movement of modern Nepali paintings. These four artists launched a movement in paintings a quarter of a century ago with a view to inspiring young artists and opening new vista of communications with artists using other media and methods. Their personal involvements in art activities couples with their experimentations created a unique atmosphere in Nepali paintings characterised by such features as the gatherings of artists, interactions, exhibitions and, above all the pedagogy of arts."
"Sashi studies the unique dramatic modes of culture in somewhat surrealistic style. There is vision of the apocalypse in his paintings; Krishna has created a changing pattern of experiences in different modes of experimentation over the decades; the late Indra's paintings combine charm with the fragmentation of experience and the disintegration of values with creation of new hopes in the pleasant combinations of forms and media; Batsa views the occult and the sacramental subjects with the openness and readiness for experiments of a modern artist. In short, the SKIB-71 have created impact on the modern Nepali art scenario and all the three artists today are prolific, active and receptive to new ideas and concepts".
Baikuntha Shrestha has quoted my earlier catalogue introduction to the group's paintings, which is missing in my collection. But in these paragraphs I have tried to sum up the quality, style and nature of these three painters' works. Indra Pradhan missed this Silver Jubilee
of the SKIB group that occurred one year after his death. In the following section I want to cite texts I have written about the individual artists for which I have reproduced texts from my earlier writings in papers and catalogues. After presenting my texts and my memoirs of the visuals — their paintings, I will try to review briefly the times that the SKIB-71 saw and responded in their works and how they have remained active up until the present times. I will write more about this aspect of their art towards the conclusion of this essay.
indra Pradhan
In the following text, cited from my earlier article published under the rubric "SKIB and Art Education", I have attempted to show the picture of the artist and his dedication to art education in the seventies and eighties. Today, it gives me a sense of being even closer to the spirit of this artist and his state of art. It goes in this manner:
"He (Indra Pradhan) was waiting for me in the class studio where students learned paintings with him. Students' freshly painted works were dripping with water and acrylic colours. It was a spacious room at Budanilakantha High School where the painting teacher Indra Pradhan had just finished teaching his students before sending them back to their classes. It was some year in the seventies. Among the students was crown prince Dipendra Shah, … the tragic young man whose story is cast on the canvas of the nation's history and people's memories in visible and invisible lines made with bold brush strokes, as it were, and drawn with all irregularities. Indra Pradhan, sitting in front of the canvas just left by the crown prince looked as though he was
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contemplating a future for the nation, for a simple unassuming royal house and the nonchalant atmosphere that he visualised on the basis of the 'creative gusto and simplicity' seen in the works of the crown prince. He would make a great king with a human heart, compassion and love for a genuine life, the late Indra Pradhan said to me revealing his inner feelings.
"This secret dreamer, this artist Indra Pradhan who painted in both huge and small, horizontal and mostly vertical canvas handled motifs that were based on the artist's experience represented by the simple yet complex forms that filled sometimes the entire field of action with the crowding and competing images that gave the cult of horror but lay pleasantly along the eye paths of the viewer. I can recall that clearly." ("Space Time Today", 7 October 2001).
Indra Pradhan's art works look charming. The cult of violence, dissolution of forms on big scales, the uncanny looking position of images that include the human figurality and other forms turned out to be lucid, not threatening. The painter did not take any stake in creating figures that would speak either of occultism as in Batsa Gopal Vaidya's paintings, or of radical challenges as in Sashi Shah's stallions. Instead, in the impressionist projections of bigger threats or changes, he creates very charming pictures achieved through a very pleasant and inviting combination of colours. His paintings do not show strong movement of brush strokes but the smooth delineation of the images. The overall impact of Indra Pradhan's paintings is one of delight and joy, of friendliness and warmth. Perhaps this comes from his long pedagogic associations with school students and practices, a loving engagement indeed.
Alluding to SKIB's contribution to art education I have written more in this very article. I have further said this about Indra Pradhan:
" To return to the late art guru Indra Pradhan's dream, art education in Nepal can be made a very productive and viable enterprise which can help create as well as perpetuate a tradition by combining the cultural and creative energies inherent in Nepalese arts with free artistic education. The architects of such education can be no other than the artists themselves, like the SKIB, who have dedicated their lives to the promotion of art education in this country." ("Space... 7 October 2001).
Lain Singh Bangdel says this about Indra Pradhan's art:
"Indra Pradhan's cityscapes are very interesting, richly painted and sensuously appealing. The artist seems to be aware of his subconscious mind, which reflects his love for a city where he spent so many years. The lyrical city-spaces have no echo of the mountains and the blue valley of his native land, nevertheless they suggest a veiled allusion or poetic drama". (SKIB Exhibition Catalogue 1971).
What is interesting about this text is that Bangdel's words echo the features of his own paintings in expressions like 'lyrical city-spaces', "echo of the mountains and the blue valley". Anyone familiar with Bangdel's paintings can recognise the echo.
I have always found SKIB as great teachers. Sashi Shah and Krishna Manandhar have been instrumental in promoting art education at the tertiary level in Nepal. Sashi Shah and Krishna Manandhar became principals of Lalitkala
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Shahi Shah. Ramayana. 1993. Acrylics on canvas.
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Campus located in Bhotahity for 12 and 8 years respectively, and of Sirjana College of Fine Arts for over 8 years each. That is a long period of serving as leaders of Arts Colleges. Manandhar was succeeded as principal of Sirjana College of Fine Arts by another senior artist Madan Chitrakar in 2018. That means the SKIB artists' contribution to art pedagogy is very important and noteworthy in the history of art education in Nepal.
Shashi ShahI would begin with observations about Shashi Shah's art made by Kishore Chatterji in a short review published in The Statesman (May 25, 1993). He writes:
"But perhaps the quintessential Nepalese artist is Shashi Shah whose section of canvases with their bemused yogis and apocryphal horses show a mind fully conscious of roots but alive and vibrating with the dance or the topmost leaf. Those who believe that art must emerge from the soil will find Shah an interesting artist". (Cited from the catalogue entitled "A creative journey of 25 years", Sirjana Contemporary Art Gallery, December 1995).
It is very interesting to read that this art reviewer sees the origin of Shah's art as the native soil. But that may not always be the case. Shah has made a unique combination of the Western style of painting, conspicuously seen in Picasso's stallions in his mural "Guernica", foregrounding their sinewy twists and agility, with the Hindu concept of the 10 incarnations of Vishnu; Shah takes the last avatar in the form of Kalki that comes in the iron age, or our times, to set things in order. Shah's stallions are so flexible that he uses this figurality for diverse motifs — cosmogonic and earthly.
I was asked to speak about Sashi Shah and his painting on exhibition at Siddharth Gallery on 25 March 2007. I would like to use some of the arguments I presented in that discourse:
Sashi Shah chose the stallion, a form that he has used for a number of purposes. We should see the subtlety in his horse imagery. A first glance will not reveal much. The immanence of horses is the feature. Not our familiar reading of a so called natural itch of the horse for a rider but the free movement that challenges being tamed are captured in these figures. Shah gives moods to these horses. The sombre, excited, terrified and anguished looks of these stallions show one dimension. Another dimension is the kinetic quality. Shah captures the temporal dimension — the livid times. We can see time by the leaps the stallions take over space. We can measure time through the figures fixed on canvases. Shah creates the nuances of the time through the manipulation of the kinetic avatars of the horses. The space is another very important element in his paintings. He is the visionary artist who knows the sense of space on a canvas. Space on a canvas is both physical as well as psychological creation. The positioning of the central metaphor on the canvas creates both kinds of spaces. Shah is very clever at choosing the space for the horse on his canvas. If you stand in front of each of the painting you become overwhelmed. The horse swamps you. The reasons are his placing of the metaphor and the power of the look and movement of the stallion that dominates your eye-path; it takes your eyes with you. Viewer should allow time to herself. Then one can see the mood. In that sense each horse is different and each time you see his new painting it becomes a mirror to you. The other use of the
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stallion is in its mythologizing process. Time extends to a larger space and covers the world of myths.
Sashi Shah says this about his horses:
"Horse and horses are here. Horse is not a new and strange thing. The white horse is the symbol of the vehicle today by Kalki. The other horses here are also symbolic — some sorts of evil and horrifying. They are manic. They are
devastating. They are likely to destroy our world and our civilization. Some are good, some are evil, and some are as terrifying as nuclear weapons of these days. May they all look beautiful — it is my major goal". (From the catalogue of his painting exhibition entitled "Shashi Shah's the Kalki Avatar", January 1993). In this text written by the painter in his free style speaks volumes about his paintings with horse — he also likes to use the plural form horses — as the dominant motifs.
Krishna Manadhar. Composition. 1975. Oil on canvas. 122 cm x 95 cm.
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Krishna Manandhar
Krishna Manandhar's style is different from those of his fellow artists. His abstract landscapes sometimes remind of Bangdel's paintings that depict the subtlety and fluidity of the Nepal valley and the Himalayas. Krishna's landscapes are more abstract. His style retains some of the characteristics of the paintings he executed then. He made an important exhibition of his paintings on 23 February 1992 under the rubric "A Journey through Forms and Colours" for which I wrote a catalogue review. After reading that review I have decided to produce several paragraphs of that here for two reasons. One, what is written about Krishna Manandhar is relevant today. Two, he had exhibited diverse paintings there, and the review has, captured that diversity. Here are some excerpts:
"Krishna Manandhar has completed two decades of active engagement in paintings the spectrum of which can be seen in his continuous experiments in styles and in the delineation of the motifs that range from the trivial to the lofty and grand. His modern canvases present a panorama of his development, his tensions and achievements as an artist. …
"Krishna Manandhar's canvases speak of his inner dynamism, a continuous search for form and modality. They speak through the figures that loom in the twilight of the translucent colour combination as it they represent the mind itself that charges its shape and its colour combination under different conditions of individual inspiration. In his canvases, apart from a set of those that present figures and landscapes in kaleidoscopic forms, there is a unique combination
of colours and forms because in these canvases colour becomes both form and subject. …
"Krishna's paintings in musical series exhibited at that time create the sonic and melodious affect through a dynamic fusion geometric forms. He has captured the tunes that emerge in them at the time of contemplation. The musical feeling emanates at a point where they dynamism of colours and forms meet by emitting the waves of tremulous colours from the centre whatever that may be in the canvas. The effectiveness of the colour sensation can be enhanced through the combination of colours that produce so many different shades that our linguistic perception fails to describe it in lexical terms and the colours simply represent the atmosphere of the mind. Krishna says that he was experimenting with these immense possibilities of creation in the early phase of the SKIB spirit. The lyrical contemplation of colours was thus a natural outcome of this attitude."
In that catalogue writing I have attempted to review the changing styles of Krishna Manandhar, which functions like a historical assessment of his paintings. The changing styles of his paintings look like this:
"Krishna's paintings in the second phase became coloured blotches which marked a spontaneous development of his earlier lyrical preoccupation with the dynamic fusion of forms and colours. The blotches present a mobile picture through the apparent close-ups and vanishing dimensions of these points on the canvas. As the dynamism of he blotches merges with the dynamism of the sensation the viewer's mind finds its way into the canvases. A certain pointillist surrealism
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presents the evanescent forms that appear and die in the mind."
About the third phase of Krishna Manandhar's art, I have taken his paintings not exhibited at that exhibition but the ones I was familiar with. Considering that Krishna has made the architectonic forms as the feature of the style, the following observations I made then are still relevant. I write:
"But his blotches gradually gave way to full-fledged architectural forms and to a perspective that is very natural for a landscape. However, Krishna's preoccupation with the dimension of the mind remains very strong in the paintings that followed the blotches and architectural forms. The vertical shapes produced with single brush strokes as if cutting swaths through the canvas represent the continuous progression feelings that occur and develop with a certain degree of suddenness."
I have mentioned the cultural and mythopoeic forms in his paintings. I have alluded to that element in the following manner:
"These paintings make use of the sacramental value of colour especially in the Hindu culture. The tantric and mystic aura created by these paintings is a matter of interest for the viewers. … The pancatattwa fire, water, earth, sky and air, need a great deal of creative handling in the paintings. His SKIB colleagues are fascinated by this subject, too. …
"In fact, his later paintings combine almost all the major tenets of his earlier paintings—the points, vertical forms, horizontal movement of colours and the tense spaces between forms all merge to create what I would like to call
the paintings marking the culmination of his creative life. Krishna says, "My environment, my world of the past chases me wherever I go. I achieve tremendous satisfaction when I am able to transcend them, but the constant awareness of my world and my efforts to overcome its delimitations impel me to create my own world that is my paintings".
Indeed, this world is tense and it pulsates with life. He is also engaged in executing some, what he calls saleable abstract paintings, and seems to be occupied with the mural blow-ups as well. I have met him at the Studio sitting in the middle of the mural narratives and extending his narration left and right like the unobtrusive narrator in a story. He is an active artist, and it is a matter of great satisfaction to him sit growing and experimentation with the spiritual dimension uses the world, its forms and colours to merge with the ones that emanate from the mind and create a fusion of the two in these complex and yet pleasant canvases".
Krishna shifted his focus on art pedagogy, which also influenced his style of working and the selection of the motifs. It is so very good to see him still working and active.
Batsa Gopal Vaidya
Now I would like to turn to Batsa Gopal Vaidya. For that as in the case of Krishna Manandhar I would like to use a catalogue review that I wrote for his exhibition of paintings under the rubric "Ganesh Mandalas" in February 1993. These paintings capture the essence of his style and choice of themes, which are little tantric, esoteric and calm at the same time. Batsa brings out the world around
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him, the place where he was born and where he grew. The confidence, the gusto and the sheer joy permeated through the yellow, light green and vermilion type pigment that we find in his paintings
give Batsa a unique character as an artist. I would like to take excerpts from my review that appear equally relevant today. I write:
"It's indeed a Ganesh Mandala that he is creating. A hundred yards or so to the east of the monuments of consummate art and architecture in the stones, woods and metals, in the precincts of Mangal Bazar in the old part of Patan city. Batsa Gopal Vaidya was painting his Ganesh Mandalas on the fourth floor of the back wing of his house now attached to his old one. Most of these Ganesh mandalas are in exhibition at the Sirjana Contemporary Art Gallery…
"Batsa Gopal is a senior artist, who is an active member of the SKIB-71… They have developed their individual styles and have clearly left some impact on the contemporary artists. Batsa Gopal discovered his interest in the Hindu religious motifs principally in the Ganesh. Now he is the worshipper and lover of Ganesh. To him Ganesh is an icon, a motif and now a Mandala, a symbol of the expansion of consciousness. … But the most important questions are how does he treat this dominant image? How does this image influence the atmosphere of his mind? How does Ganesh fit into his modernistic art? …
"The Ganesh Mandalas have a rigid and studied order. Batsa has not allowed any randomness to appear in his paintings. Similarly his field of action is defined in terms of the canons of the painting of a modern classical order. The enclosure of the canvas, the Ganesh's Mandala, is defined. But the most important point about these Ganesh Mandala is that he has transcended the defined field of action. …
Batsa Gopal Vaidya. Buddhism. 1980. Oil on canvas.
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"The balance of these Mandalas is carefully constructed, however, the symmetrical balance is achieved through the canonically defined position the trunk and body and the head of the deity. But the artist has symmetrically balanced the painting by placing the conic shapes of what he calls the Nepali Himalayas at the bottom of the canvas, on either side of the Ganesh.
"The lines appear in the form of contours making up the three dimensional perception of Ganesh. But some lines are invisible the paths of which should be followed with Batsa's very balanced and expressive brush strokes. Such brush strokes mark the motion of the Ganesh. The gentle motion is suggested by the unbroken and defined lines. The diagonal lines marked by the trunks show the Ganesh image in action. The colours, mainly secondary and even tertiary, and some primary ones, and yellow merge smoothly.
"Each Ganesh image is closer to the everyday experience of spiritual awareness. Such nearness is unmistakable because the colours are warm and there is lightness and brightness in them. … A certain sense of idealisation dominates the artist's sense of proportion in these paintings. The surface is smooth and fine with only the... textural structure. But in the implied texture there is simplicity and charm. In fact, his Ganeshes are warm, lovely, comic, friendly and serene. Batsa Gopal successfully combines these various moods in his Ganesh Mandalas."
I have indicated a number of times about the canonical rigidity demanded by the Ganesh image, and the artist's treatment of that. I have mentioned about an
important tension between rigidity and fluidity in paintings that utilise motifs from myths and other iconic matters. I have presented this tension in the following manner:
"… Batsa does not allow the Ganeshes to radiate their energies freely. That is a disadvantage. But on the other hand, his successful balancing of the lines, figures, colour tinctures and the suggestion of the motions within the paintings create a psychological impact on the viewer who begins to view each painting in terms of the aesthetic sense the source of which is the combination of the primordial feelings and perception of the Ganesh image as an aesthetic construct."
I have drawn this conclusion at the end of the review:
"Batsa's paintings create an energy of a different order. It is an energy that the viewer has to experience within him or her. The consummate and mature canvas gives the viewer the experience of a detached yet intimate perception of the archetypal image of Ganesh".
Kedar Mathema writes these comments about Batsa Gopal Vaidya's art in general:
"Batsa Gopal blended medieval tantric images with modernism. They showed commercialism. They come a long way since the 70s. Although little poorer since they lost Indra, they are still today among the few in the forefront of contemporary art movement of Nepal".
To art critic Bansi Shrestha — "Vaidya, appears as an occult painter." (Both extracts taken from the catalogue entitled "A Creative Journey of 25 Years", Sirjana Contemporary Art Gallery, December 1995).
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Retrospectively
When SKIB-71 launched their easy and free movement, it was clearly a post-Bangdel period. Uttam Nepali had been going strong at that time. Laxman Shrestha had exhibited his paintings at NAFA in 1967 with brochure written by Balakrishna Sama. Creating a native scenario and taking that to the audience was the main need of the day. These SKIB artists did that. They saw school, training, and most importantly, joint forum with the writers especially poets as very important things to perform by artists, cultural karmis and writers. That is how we met them. Exuberance became their main thrust. Teaching became the main goal. Except for Batsa Gopal Vaidya who retired from a government job, all formally became teachers of art colleges and school.
SKIB were looking for icons and metaphors. They had in different ways created their styles and their own icons. Search for metaphors became their main forte. Batsa kept on experimenting with Ganesh and occult forms. He still does. Indra and Krisha’s search for icons was fluid. They moved from one icon to another. Movement, or kinaesthetics in what may appear as a rigid form, is the feature of Krishna Manandhar’s paintings. Indra chose the transparent, subtle and natural forms with very light and charming combination of pigments. Krishna’s main metaphor was nature and abstract mountains. Indra’s metaphor was the pattern cast by the mellow sun filtering through foliage to the leaves at the lower level, patterns like bird droppings, tendrils and stretches of rainbow, cult of darkness which is not that in reality. Masks appear in his
paintings but they do not represent gloom or darkness Mask is power achieved through love and lucidity, and at times embellishment to some degree in some of the paintings.
Essence and Conclusion
SKIB-71 were not seeking to be fixed in their different stylistic spheres. They had common goals, which was to achieve fluidity. But as their search for metaphor covered many areas including poetry and sculpture and works with other contemporary artists like Sashikala Tiwari and others, their images were amorphous. They did not limit themselves to any fixed forms. Even Sashi Shah's recurrent stallions are metaphors of diversity. Batsa Gopal's icons assume new meanings when they are handled with the techniques of modernist art.
How do we view SKIB-71 today? The answer is not easy. But to seek the answer we should look at two things — a common spirit and confidence of launching something new in Nepali art, and continuity. I have encountered questions like what brought them together though their styles do not represent any closely shared styles of art like that of, let us say, Pablo Picasso and Georges Braque in France. SKIB worked with different ways and they had different world visions. But what is important is their common recognition of the transition of times in Nepali art. At least, they found a common motif to work on, and that was, to repeat, the recognition of the changing time in Nepali art. Their place is not relegated to history; they are still working. I strongly believe that SKIB-71 have successfully linked the fin de siècle, if I may use the term mostly used for the end of the 19th century, to the 21st century
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Dr. Abhi Subedi
Born in Terathum of eastern Nepal, Dr. Abhi Subedi received his higher education in Nepal and Britain. He is an essayist, critic, linguist, playwright and poet. He has over two-dozen books on different subjects to his credit. Among his over 10 plays, strong theatre groups in Nepal and abroad have performed several of theme.
Professor Subedi has taught 43 years at the Central Department of English.
He has written extensively about Nepali arts and artists. He is involved in a number of interdisciplinary study groups and a prolific writer on issues of freedom, culture, literature, arts and social transformations. His essays and seminar papers are published in Nepal and outside.
in terms of activism and sharing of art works. To me, the greatest contribution of SKIB-71 is their art pedagogy, which they fostered not as a routined programme but as a challenging yet motivating educational culture.
I would like to close by repeating that SKIB-71 has become an important landmark in the history of modern Nepali paintings.
Let us commemorate our inter-art meeting of NAFA gallery of that afternoon in 1973 at some other gallery because that gallery has collapsed in the big earthquake of April 2015. But such a meeting space should combine paintings, poetry and the neo-Baroque architectural spirit to reminisce that moment. That will also be a fitting tribute to Indra Pradhan.
Cheers, friends! Your contributions to the Nepali art of the modern times is unique and very original. The models that you have created for education, production and dissemination of arts warrant more careful studies and applications.
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the Musical Court of Lord indra. Picture courtesy: Narottam Das and Indira Shrestha Guthi
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the spirit of nepali Painting: What has hath Driven the ArtMadan Chitrakar
abstract
(Note: Herein the term, ‘Nepali Painting’ exclusively refers to the earlier art of Painting – rooted in religious faiths: and not the art that emerged after the arrival of western notion of painting.)
For centuries, ‘The art of Painting in Nepal’ remained confined to the visual forms associated with spiritual beliefs: or as a description of imageries from Hindu and Buddhist pantheon. Occasionally, the visuals also narrated rise or decline of particular thoughts or a cult within a given time. The complexities found in the art also, have had intrigued many – by the impressive presence of myriad set of imageries – representing varied meanings or beliefs, expressed in diverse visual forms.
But little is explained and argued on or about the underlining reasons or the deeper human desire to envision so. To argue on it or explain it, it remains a challenge. To dwell on it, it also becomes imperative to go behind - look to the earlier times when chosen thoughts were appeared first or impressed upon the early people. This is necessary so as to understand the state of mind and their perception of life then. Only then, one can or may imagine or analyze what may have had led them to the chosen beliefs and to the visual forms that we call art today. This should be described as the driving spirit of the art.
Present essay therefore, is a brief and a modest attempt to unravel some of such driving spirits – based on the available references and also, personal observations.
If one is to make a comparative study of growth and evolution of Nepali art – especially with the art of painting in other civilizations, Europe, China or even India, within a common given timeline, Nepali Art presents some very distinct features. This is for number of reasons. First, since its earliest appearance in 11th CE and right up to second half of 19th CE, it continually stuck to the ideas of religious dictums, except a few occasional examples of secular forms. During the
period, while in other civilizations, the art traversed divergent courses - to reveal varied changes in thoughts – mixed along with the external influences; Nepali Art, on the other hand, comparably remained rooted - essentially in the basic thoughts of two religious practices – Hinduism and Buddhism.
Secondly, no other art is so replete with an amazing array of multitude of exotic anthropomorphic forms of deities, as is
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found in the art of Nepal. And each is presented with the unique features of own – complexions to emblems to unearthly forms of multi-heads or multi arms. Each hand or head represented diverse attributes one can imagine of. Nepali art thus, presented a panorama of a complex set of deities or images, resulted out of two competing religious thoughts, often co-existing or even with converging views in many respects, at almost the same time. The additional arrival of divinities in the art – adapted or derived from the southern – Gangetic plains and the northern – Tibetan influences, led to create an outstandingly a very rich feature. Also, added to it were the imageries of locally evolved deities – mostly from the Shakta cult – that enjoyed a great respect in the Valley of Kathmandu, during one stretch of time in Nepali history. It all helped add and enrich further, the art here.
But the most important part in the present contexts, in Nepali Art is the significance
and the very purpose of their presence in the local beliefs, and in the visuals. Irrespective of the faiths, each deity has had a reason and so, accordingly, each motif or detail found in the art, also have had a reason and a meaning. Categorized broadly into two, the deities usually, either remained of benign character or in an angry or fierce mood. Apparently, there is no third option here, as is found in the aesthetics of Indian art – like ‘Navrasa’. So is the envisioning of attributes like the emblems to vehicles to the ascribed colors of complexions, as needed of a chosen deity. The divine beings thus, with benign looks are usually, considered to be prayed or worshipped – to attain eternal peace - after one’s death: and enjoy a state of well being during the life time. But the presence of wrathful deities means they’re to be feared. So there’s a need to appease or worship – for seeking protection from all the potential evils and devils, during the bad times while living or after the death.
A Kalash-top of the temple spire. Kalash-as the deity of Annapurna temple, Ason.
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Human instincts: Driving Spirit behind the art
The argument above clearly suggests that a rise and evolution of any spiritual thoughts, since the very beginning, were essentially depended on and are shaped by the space, time and the circumstances the men or women lived. And it is the circumstances, the time and primarily, the basic human instincts that guides or have guided or led to a particular chosen religious thought. When we argue about the basic human instincts, obviously, the primary concern of a man has had always remained to stay alive: or to remain safe and secured. And probably, the second most important need or an instinct of man is to survive and lead a comfortable
life. And only then, a man is usually found concerned on the issues after death - rebirth, salvation or Mokshya. The thoughts of Nepali Art remained no different to these truths.
So while dwelling in brief with certain chosen examples, let’s begin with the envisioning of Vedic gods. Vedic gods essentially represents an array of forces of nature – like rain, fire, wind and so on. Men then being unable to understand the elements of nature, perceived it all as the destructive forces bent on destroying the humans. They sought ways to protect from it. As they feared these forces, they envisioned them in anthropomorphic forms, Surya as the sun god or Indra as the god of rain (see page 21) and Agni as
Heaven and Hell, Picture courtesy: Rajendra Chitrakar, Bhaktapur
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Goddess VasundharaPicture courtesy: Nepali Painting - through the ages, Patan Museum.
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the god of fire and so on. And then began the ways to appease them and try to remain safe from these destructive forces. By 900 BC, men had already composed of Rig-Veda, along with iconographic details and envisioned the elements of nature - as the deities one must not ignore but propitiate to appease, to stay alive. Then, the stage was set to be translated or imagined of visually as the Vedic gods, as described in the holy Vedas. This remains a glaring example of how the man’s primary instinct worked – initially to stay alive or the question of fear from the unknown! And in absence of other better ways, sacrifice or the sacred fire – Yagya, was chosen or conceived to be the best ways to appease those early divinities.
Often it’s argued that after the Vedic times, the next primary concern of human beings then, thought to be free from second birth or to be able to assimilate with the absolute. That is to seek final salvation or Mokshya, after the death. This notion led to the age of primacy of devotion. A gradual decline of earlier deities led gradually to the rise of Trimurti, the Hindu trinity – mostly in benign postures. But men continued to fear death and now; began to seek refuge in devotion and arrived an era of hymns or the devotional songs. And also, it led to the arrays of visuals of benign deities appeared - as a visual medium to concentrate upon. Blessings were sought from these deities with the unmistakable and eternal wish ‘to be able to reside in heavenly abode – Swarga – the heaven. The concept of ‘Paap or Punya’, soon dominated man’s instincts.
And in the art of painting, it was followed by the series of imagining of heavenly beings, and the life in heaven or a hard
life in hell to those who committed sins. Soon man was made aware of possibility of punishment in hell and therefore, a need to earn virtues by doing noble things during life time. At one stage of time, as a reflection in art, a notion of Heaven and Hell became a very popular theme in Nepali Painting as well (see page 23). But essentially, it was a concern specifically focused to the life after death. Men normally assumed them, the thoughts of Hinduism are unequivocally meant to earn enough virtues – Punya, so as to be able to attain heaven.
The popular phase of Buddhism – known as Mahayan, also delivers an almost similar a message to its adherents. It envisages a concept of Bodhisattvas or Lokeswor in popular art forms. They are the sages – who have almost attained enlightenment but have chosen to wait to redeem other humans in distress. In Nepali Painting, thus this thought too has had dominated and was able to earn a primary and an important space. It was because of the immense popularity the thoughts commanded amongst the laity since its very advent. Accordingly, paintings based on the Mahayan thoughts have led to impressively a large body of imageries depicting five celestial Buddhas, their spiritual consorts like Tara (see page 27), Lochani or Mamaki etc and of course the series on Lokeswor – one of the most popular being ‘Padmapani’.
instincts to Seek Prosperity
Contrary to a common notion that, men are thought to be more concerned of life after death, as the argument made above, in fact, human instincts to live happy and prosperous while alive, have had also remained equally strong and important. This human instinct is well evidenced
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and reflected in the spiritual thoughts, and of course in the visuals of Art. This is found in both the religious thoughts - Buddhism and Hinduism. Imagining of divine beings – with attributes to bless prosperity and riches, provides a glaring example. Goddess Luxmi is a very popular deity – she is regarded as the one who showers her followers with riches and prosperity. In Nepali Art – in painting and in sculpture, she occupies a very important art space. In Nepali Painting form, she is depicted different than as found described in the holy Vedas. In Nepali Art, she has many unique features as a deity of good-luck and prosperity both. In visual forms, in addition to paintings seen with her spouse Lord Vishnu, she is also well featured in ritual art – celebrated during a special event or a festival – dedicated to her worship. Here, her visual form is seen flanked by her attendants – carrying sacks of precious jewels. One of them is the demi - gods – Kubera. All the sacks
with riches are meant to be showered to her devotees. A different form of goddess Luxmi – known as Dhan-Dhanya Luxmi is also found conceived in Nepali Art – Painting.
And what’s more interesting is a fact that the notion of prosperity has had been equally popular in Nepali Buddhist practices: and is also, well reflected in Nepali Painting. A typical Buddhist Paubha – a religious vertical scroll, almost always feature an image of goddess Vasudha or Vasundhara as part of a composite composition. She is regarded as a spiritual consorts of one of the celestial Buddhas. In our contexts here, her relevance is on her abilities – to grant boon of prosperity and the blessings of well being or an ability to sustain life with – much needed food grains. In visual form, in addition to other emblems, she is seen holding a Kalasha – an auspicious vase and also strands of grains – as a symbol of life sustainability.
Here, few more words may be need to dwell on ‘Kalasha’ – as mentioned above. Since the early times, ‘Kalasha’ has had remained a very important symbol in the religious life of Buddhists as well as to the Hindu followers. To begin with, an observer would note that in Newar architecture, every religious shrine or any holy architectural form is topped by a Kalasha: the practice has had remained in practice since the time immemorial. In a normal visual form, a 'Kalash' is a jar filled with holy water. But symbolically, it suggests an embodiment of the full prosperity: and even a glimpse of a Kalasha would lead to bring good luck as well. Accordingly, Nepali society, Newar society in particular, this emblem has had a long history as an unmistakable symbol of prosperity. In a very popular ritual art
Goddess Laxmi as seen in a ritual art.
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Goddess Tara - note the presence of 'Vasudhara' in bottom center.Picture courtesy: the author.
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form known as ‘Asta-Mangal’ or eight auspicious symbols, Kalasha remains one of them but has a special place. Often, when there’s a need to combine all in one, this form remains the very basis – on which are added other symbols. No festival or rite and ritual are initiated or are considered sacred without a visual or physical form of Kalasha in Newar society. Most amazing is its growing popularity in its use and application in the present modern day Nepali modern society. Kalasha – a symbol of prosperity is often found as a logo of financial institutions and so are its depictions – in graphic forms in the main entrances and in the main gates of many modern buildings.
Moreover, the timeless popularity of notion of prosperity is glaringly narrated by the presence of many popular shrines in the city of Kathmandu – with some huge stone-sculpted forms of 'Kalash' in open. But some are located inside the sanctum-sanctorum - with ‘Kalasha’ alone as the central deity. The temple of famous Annapurna at Asan – a core area of the city, stands as a most visible example. Everyday hundreds of devotees throng to and pay obeisance to the shrine – seeking blessings of prosperity and for well being. Many localities in the Valley are also named after the auspicious jars of a particular locality.
Wrathful Deities: Protection from the Evils
Few words are also needed on the presence of wrathful or angry deities in Nepali art. Angry deities are found in both the beliefs – Hinduism and Buddhism. But in the both the beliefs and the wish for blessings remain the same. Protection from the probable doomsday – diseases, evil spirits, demons, ghosts so on. The concept of Asta-Matrika (Eight Great Mothers), Bhairavas and other similar emanations remain interesting examples in this regard. All the visuals of wrathful- angry Hindu deities lead directly to this direction. Even in esoteric Buddhism, many wrathful deities are found with similar message. Outside any medieval Buddhist Vihar, the main entrance is unfailingly flanked in the either sides by the images of Lord Ganesha – the elephant headed god and Mahankal – an angry god but an emanation from one of the five celestial Buddhas, – here as the guardians of the Vihar or the monastery.
Mother Goddess Durga - as an example from Shakta cult.
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In short, the concluding lines remain that human instincts and the desire is continually looking for ways to stay alive, prosperous and also, is seeking to attain salvation after death. And through the religious thoughts, men longed to see it all in visual forms – in painted form or as a work of sculpture. The presence of amazing array of gods and goddesses found in Nepali Art – Painting, strongly drives the point – either in anthropomorphic or in symbolic forms.
References
Burns, Edward M. World Civilizations, Vol. II, New York, 1941. Basham, A. L. Aspects of Ancient Indian Culture, Bombay, 1966.
Madan Chitrakar
Madan Chitrakar is an eminent artist and an art writer. Three well acclaimed books "Tej Bahadur Chitrakar - Icon of Transition" (2004), "Nepali Art - Issues Miscellany" (2012) and "Nepali Painting - Through the Ages" (2017) remain to his credit, in addition to the numerous writings on Art and Culture in English and Nepali.
Presently, he is associated with Sirjana College of Fine Arts as the Principal.
'Mahankal' - an angry deity from Buddhist faith. Picture courtesy: National Gallery of Painting, Bhaktapur.
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Pramila Giri. Togetherness. 1980. Bronze.
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Art creations of Pramila GiriBanshi Shrestha
abstract
During the 60s and 70s, various new concepts and trends of European modern arts were slowly and nobly emerging in Nepali Art. Traditional Paubha artists and some senior artists such as Chandraman Singh Maskey, Tej Bahadur Chitrakar were following the conventional grammar, characteristics and themes in their art creations.
There were virtually no women artists in the creative art scene. Later Pramila Giri and Shilu Payri along with some other female artists oppeared on the art stage with new ideas and concepts of modernity. Artist Giri in her early stage, was also following the conventional approaches, but later she began to experiment and present her new art forms with mythical figures and themes.
Her analytical thoughts and search led her to use the various forms, images and symbols of religious and mythical figures of BHAIRAV in her art creations. Thus, she started in presenting the figures and forms plus sculptures on her large size canvas. It was completely a noble approach and presentation.
BHAIRAV, a gigantic demonic figure but with all the divine powers is regarded as the incarnation of Lord Shiva. Red, white, blue, black colors are used to represent a chosen incarnation of the Lord.
Thus, if the viewers are familiar with the mythical figures of Lord BHAIRAV, it will be easier to conderstand the use of colours and the presentations of the figures in her art creations.
The decade of 1960s in Nepal was very significant in the political, cultural and artistic history of the country. Many new changes and developments were happening and passing fast. Similarly, the traditional mass psychology was at the threshold of the changes, moreover the educated, elite, literate and conscious persons/citizens were crossing the threshold for new and better aspirations in social life.
A simple girl grewup and educated in a village called Bastipur of southern Nepal
in Siraha district, left her native soil to join the Tagore Kala Bhawan, Shantiniketan of West Bengal, India for her art education in 1963. She returned to her native land in 1976 after the completion of her degree in Masters of Fine arts from California state University and exhibited her solo art show in the capital city. At that time, we as teachers were also deeply and enthusiastically involved in the literary and artistic circles and movements. With friends, we used to visit the art exhibitions and enjoy the nobility and innovative figures, forms, colours including the
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paintings of Pramila. The art lovers with their knowledge of native and western art used to exchange and share the opinions; and appreciated the new trends in Nepali art.
Then, in 1982 Pramila as an emerging artist of the country, exhibited her huge sized paintings with sculptures in the City Hall. There I met her again and talked about her paintings and sculptures.
By then she had exhibited on various occasions in the City Hall and also at the Patan Museum with her own new concept of the Bhairav series in paintings and sculptures.
Now, after the lapses of three decades I can vagely recollect my bygone memories of her unconventional paintings and
sculptures. Again, in 2016 AD she exhibited her art works under various titles such as — (i) Sculptures and Paintings, (ii) Bhairav series paintings, (iii) Birds are flying, (iv) Bhairav series sculptures, (v) Other sculptures, (v) Tibet series paintings, (vi) Impression series paintings, (viii) Images of earthquake and family painting.
We began to talk about her new artworks. She answered her new series is entitled - 'Different Aspects of Lord Shiva'. Here, I realized that she was highly interested in the incarnated figures of Bhairav, the supreme figure of Shiva. She went on to explain that long before, she happened to meet a tantric named Dhana Shamsher. He had explained to her that the purpose and function of the incarnation of Bhairav. That it means Bhishan Naad or terrific sound.
Acording to the myth, she described, "Once Brahma, the creator and incarnated figure of Bishnu argued about their supremacy." To settle their claims Lord Shiva incarnated himself in the figure of Bhairav, and settled the issue by saying that none is supreme except Lord Shiva. God Bhairav punishes the evil or wrong doers but protects the rightful devotees. The myths or the old scriptures also describe God Bhairav has an ability to change the forms to suit the purposes and functions. It is said, there are generally eight various forms or images of Bhairava. And they are represented in red, yellow, black, blue, etc. They are used for different occasions to suit a desired function. As for example, black is used for Kaal Bhairav meaning that the God could punish or destroy the evil doers. Blue is used as the symbol of infinity as the lord of the whole universe.
According to Pramila, her guru Keshav Malik described her artworks on Bhairav series as not abstract. But the artist disagreed and said that her works are indeed abstract. To her, the works remain
Pramila Giri with Pandit Jawaharlal Nehru during her convocation in Santiniketan, India, 1963.
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abstract, and evoke aesthetic feelings and compel the viewers to think. This is regarded as the success of the Bhairav series.
In this regard, her love, reverence, devotion to native culture, traditions, religion remain appreciable. She seemed to express her feelings of absolute totality in representative forms and symbols. She is found to visualize her dreamy meditation or meditative trance. Here she
is philosophic and symbolic because of total infinity or divinity. That is beyond the descriptions.
As a creative artist she has taken the mythical Bhairav quite differently from the traditional appearances. She penetrates beyond the sensory natural forms and figures and tries to paint the invisible and divinely aspects. She
Pramila Giri. Blue Series I. 2010. Oil on canvas. 195 cm x 195 cm.
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visualizes in deep thoughtful meditation. She added she was trying to express her inner emotions and the feelings. So she is not interested in the natural forms. Some viewers may find male and female forms but they do not represent as serious expression. Our scriptures also describe there are no difference of male or female figure in absolute totality or Sampurnata.
The colours, forms, figures of paintings harmoniously attract the feelings of art visitors and arouse the sense of
appreciation and wonder. The art creations exhibited at Nepal Art Council hall reflect that she is expressing her feelings of inner senses with suitable harmonious colours. All the works are reflective and representative. We know that the infinite universe, the unseen reality, spiritual feelings and human values can never be described in words. Only the visible natural objects and forms can be described in words and colours - not the divinity or an infinity.
Pramila Giri. Tibet Series I. 1991. Oil on canvas. 190 cm x 192 cm.
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In the present series, her art creations remain dreamily meditative. The artist is seen going beyond the myth and religion. Her series of 'Sound of Silence', 'Birds are Flying', 'Bhairav' and 'Tibet Impression' are more reflective, representative and symbolic.
It seems, she also enjoy in creating sculptues. She is said to have been impressed by Jean Arp (1888-1966), Henry Moore (1898-1986) and Barbara Hepworth (1903-75).
During her visit to Tibet she found the Buddhist devotees practising meditation from the childhood. Then she had no language to exchange the ideas and feelings with the Lamas or the Tibetans but through her observations and learning she easily understood the simplicity and devotion of the people.
During the show as stated above, we also exchanged views and ideas about the monasteries in Tibet such as Gyantse, Salu, where the visitors can clearly see the influence of Newar artists.
Sculpture and painting are seen integrated in her series of 'Birds are Flying'. She has painted the bird in symbolic form. Here, she could recollect migrating birds from Siberia to Nepal in winter. They fly very high over the Himalayas. Their sounds could be heard. Figures are faint. But one could recall a philosophic description or palpable vision. One could also smell the scent of the unseen flowers. Her art works remain highly symbolic. The understanding of meaning of Pramila's artworks depends on the religious, cultural, philosophic knowledge of the viewers,
The title of her exhibition held in 2018 was 'My Roots'. She is said to dedicate the
show to her widowed grandmother. She considers her as her roots who supported, encouraged and inspired her.
As a keen art lover and visitor I found the art creations of Pramila philosophic and symbolic. The colours, forms and figures give us the meaning and feeling that surpass our literaly descriptions. One cannot normally express the impressions and feelings completely.
Thus, she has philosophically displayed the interest and love as the roots. So, her search and devotion in religion has led her to the symbols of Bhairav. Her roots can be interpreted as the invisible spiritual power of Bhairav. She has expressed it all in her varied paintings in harmonious colours. The symbolic forms and shapes draw the deep interest of viewers, and the colours attract senses and feelings.
Banshi Shrestha
Poet and a literary critic with two volumes of Poems and other publications and some translated and edited books.
Books on art – "R.N. Joshi", 2006 and "Fifty Years of Nepal art Council", 2nd in English. He often enjoys Painting with other artists in the field.
caryā of GuhyasamājatantraA divine dramaArun Shrestha
abstract
A very common understand of the word caryā brings to our mind often heard of the vajrayāna religious song known to us as caryāgīti accompanied by caryānŗtya. An apparently outward symbolic representation of the word in song and dance finds a deeper meaning when dwelt in depth. A thorough investigation into caryā opens up vast insight of vajrayāna philosophy and doctrines amalgamated in rituals of vajrayāna religious practice composed of sādhana, maņđala, mantra and mudrā with ultimate aim of emancipation in the present life itself. In essence a yoga practice with intricate procedures leads sentient beings to the world of spiritualism composed of esoteric ritual practices with a touch of aesthetical experience inherent in caryāgīti and caryānŗtya.
Caryā of Guhyasamājatantra
a divine drama Guhyasamājatantra is considered to be the earliest Buddhist Tantra literature written in the third century coinciding with the time of Asaňga. The other name given to guhyasamājatantra is tathāgataguhyaka. It composes of vajrayāna religious practices and propounds the vajrayāna doctrines with explanation of the terms used to propagate the vajrayāna philosophy. Guhyasamājatantra being basically a practice of yoga, introduces the element of pragyā in different forms of yoga practice which is a yoga of six limbs or şađaňgayoga. All these practices have been named as caryā. The main objective of the practice is to develop the hidden power of the mind. The composition of guhyasamājatantra is in the form of saňgīti or chanting together which are believed to be buddhavacana or the words spoken by Buddha. Guhyasamājatantra has a
reputation of being a prescription of a shortest path to emancipation. According to guhyasamājatantra, the yogi who has grasped the real truth, who has realized śūnya, to him the whole world appears as a drama without a real substratum; before him the duality in the world disappears and all things are to him mere appearances.1
Assuming guhyasamājatantra practices to be a caryā of divine drama, some of the terms occurring in guhyasamājatantra are picked up to describe the kind of caryā guhyasamājatantra propounds and adheres to. The terms are sarvacaryā, bodhicaryā, gyānacaryā, caryāpada and mantracaryā.
To begin with, on sarvacaryā, guhyasamājatantra narrates thus:
This passage in guhyasamājatantra has relevance in adhering to the view that the word caryā denotes primarily the ritual, or the practice of yoga propounded in vajrayāna Buddhism, besides the gīti and the nŗtya contained in the ritual. In stanza eight to stanza nineteen of chapter six of guhyasamājatantra, a detailed steps of visualization (or contemplation or bhavana) is described, credited to be proclaimed by vajradhara2, which is named as ‘sarvacaryā’ 3.
To begin with, it prescribes imagining a ‘candramanđala’ or moon disk in the middle of ‘ākāśadhātu’ or the sky and on it, an image of the Buddha. This preliminary exercise is named ‘śukśhmayoga’ 4 (ref. stanza 8). As a second step, it puts forward imagining a ‘sarşapam’ or tiny mustard seed with ‘sacarācaram’ 5 or moving and non-moving world at the tip of the nose for contemplation. Third step, like the first step, calls for imagining ‘suryamaņđala’ 6 or solar disk in the middle of ‘ākāśadhātu’ or the sky and an image of the Buddha on it. In a similar manner, following steps are adhered to with imagining of ‘cakramaņđala’ 7 or bright disk & ‘vajrapadma’, ‘ratnamaņđala’ 8 & ‘ādiyoga’, ‘padmamaņđala’ 9 & ‘rāgavajriņa’ and ‘raśmimaņđala’ 10 & ‘buddhapadam’. This is followed by imagining of ‘nilotpaladalākāram pancaśūlam’ 11 or five-pronged thunderbolt appearing like a blue lotus petal and ‘astapatram’ 12or eight petal lotus at the tip of the nose. What is to be achieved by all this is being called ‘bodhipadam’ 13 and what is drawn out of it is named ‘dharmapadam’ 14 marked with kāya, vāk, citta 15 (body, speech and mind).
Here ends ‘sarvacarya’16 (ref. stanza 19).
Relationship of some of the words that occur in sixth chapter of guhyasāmajatantra, besides caryā and kāya, vāk & citta, has a relevance of utmost importance in the study of ahorātrapadasādhanavidhi. To begin with, kāya,vāk & citta has been called ‘trividha’ and ‘trivajra’. There is a reference to vajrapada, suddhapada, padavibhāvanam & padam besides buddhapadam, bodhipadam & dharmapadam in the category of ‘pada’ which is the basis of explanation in ahorātrapadasādhanavidhi. For the understanding of Panca Buddha, words derived from ‘panca’ has a major significance and words like pancakāmaguņa, pancopahārapūjā and pancaśūla can be traced in this chapter of guhyasamājatantra, besides akśhobhya etc. Reference to candramaņđala, suryamaņđala, ratnamaņđala, padmamaņđala and rasmimaņđala in the set of five shows a close connection with Panca Buddha. As of the yoga is concerned, sukśhmayoga and ādiyoga finds being referred to. In a caryā adjudged as a ritual, pujā or worship has its undeniable place and here we come across pancopahārapūjā, mahāpūjā, mantrapūjā and pujāyedvidhi. Buddha is referred in varied ways like laghubuddha, buddhabimba, sarvabuddha and buddhabodhi. Vajradhara is the only deity named in the pantheon of vajrayāna. Samādhis are enjoined to paňca Buddha. In this scenario, bhāvanā or contemplation plays a central role of cementing the process of unification of various elements of the ritual.
On a final analysis, in the ritual or caryā, the doctrine of kāya,vāk & citta is the realization part, paňca Buddha and pada are visualization part whereas bhāvanā is the tool in the visualization process,
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yoga is the system of the path and pūjā or worship is the process of the ritual.
The sixth chapter of guhyasamājatantra is known by the name of ‘kāyavākcittaadhiŝŧhānapaŧalah’.
Moving on to bodhicaryā terminology put into use in guhyasamājatantra, the scripture dwells deeper into doctrine of vajrayāna and leads the sādhaka to a higher path. So, it says thus:
samantabhadra satvārtha bodhicittapravartaka l
bodhicarya mahāvajra bodhicitta namostu te ll stanza 10 ll
dvitīyoh paŧalah
Bodhicarya (or bodhicaryā) is the word which relates itself to nisprapanca caryā or caryā of realization as explained in the presentation of ‘Essence of Caryā Nŗtya 17’. Some of the caryā gīti under ahorātrapadasādhanavidhi harp only on the doctrinal aspect of vajrayāna Buddhism and some of the gītis are indulgent on the description of the deities, which is being named prapanca caryā, to be visualized in the process of the ritual amalgamating the song and the dance. This kind of ‘bodhicaryā’ or nisprapance caryā or caryā of realization is found in both caryā gīti and caryā nŗtya gīta, as categorized in the presentation of ‘Essence of Caryā Nŗtya’.
With reference to what is being elaborated above, the second chapter of guhyasamājatantra puts forward an explanation of the conceptual words like trio of kāya,vāk,citta 18; explanation of the term bodhicitta 19 with reference to bhāva, abhāva, bhāvanā, skandha, nairatmya, śūnyatā, dharma, pada & prakŗtiprabhāsvara; and buddhabodhi. The whole exercise being named as bodhicaryā and it is indicative of ‘nisprapanca caryā’ or caryā of realization.
The second chapter of guhyasamājatantra is named bodhicittapaŧala and in the word ‘bodhicarya’, we are being introduced to the word carya (or caryā) for the first time in guhyasamājatantra.
From the point of view of dance or nŗtya, the third chapter plays a significant role in defining different mudrā and hasta (hands) vis-à-vis paňca Buddha (paňcaraśmī, paňcakāmaguņa and paňcavarņa). Mudrā and mahāmudrā along with vajrahasta, cakrahasta, ratnahasta, padmahasta and khadgahasta are mentioned. As a buddhamaņđala or yogamaņđala, five maņđalas are named – vajramaņđala, svacchamaņđala, cakramaņđala, padmamaņđala and ratnamaņđala vis-à-vis paňca Buddha.
To further the practice of the religion, the tools used in the process is introduced to the sādhaka in the form of maņđala, mantra and mudra and we come across a word gyānacaryā .
As was explained in ‘Additional Passage to Essence of Caryā Nŗtya’, basic practice of Vajrayāna Buddhist Tantra is based on maņđala, mantra and mudrā. A reference here to gyānacaryā is indicative of formation of a maņđala of kāyavākcitta for the practice of what is propounded in vajrayāna Buddhism and therefore this fourth chapter of guhyasamājatantra takes the name of ‘guhyakāyavākcittamaņđalapaŧala’(refer sarvacaryā for ‘kāyavākcitta’ in sixth chapter of guhyasamājatantra).
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The word gyānacaryā is indicative of the formation of maņđala of ‘dvādaśahasta 21’ and ‘abhyantara mudrānyāsa 22’, with placements of the different elements on four corners23 - east (purva), south (dakśhina), west (paścima) and north (uttara). The deities’ refered to are vajradhara 24 (and ‘pancaśūla 25’ pointing at Panca Buddha) and māmakī 26 along with ‘şođaśābdikām 27’ (ŝođaalāsyadevi) or yoŝita. What is created after the exercise followed is named ‘buddhapada 28’ (srjedabuddhapadam). The offerings 29 to the divine are prescribed in a pūjā 30 or worship.
It will be appropriate at this juncture to relate to the backward and forward connection of the subjects dealt, and the words coined, in guhyasamājatantra, to understand the broader concept of the vajrayāna Text. As was seen earlier, second chapter deals with the concept of bodhicitta, the third chapter is on samādhī (vajravyuho nāma samādhīpaŧala), the fourth chapter, dealt here, is on maņđala, the fifth is on sādhana and the sixth is on adhisŧhāna of kāyavākcitta.
The word caryā finds its significance as a gīti or a poem in the word caryāpada. Guhyasamājatantra is all praise for caryāpada and narrates thus:
ākaaśakāyasambhūta ākāśavākpravartaka l
ākāśacittadharmāgra caryāpada namoastu te ll 13 ll
pancamah paţalah
The fifth chapter of guhyasamājatantra is the chapter in which reference to sādhana appears, along with introduction to mahayāna 31 and its adherents (sādhaka), and the word carya 32 or caryā, in varied form like dharmacaryā 33, bodhicaripadam
34 and caryāpada 35- the first of the chapter being given the name enjoined with the word caryā- ‘samantacaryāpaŧala’. In a similar manner, the only other chapter in guhyasamājatantra which carries the word ‘caryā’ is the seventh chapter which is named ‘mantracaryāpaŧala’.
The word carya or caryā carry the same meaning and connotation which we encountered in the word ‘bodhicarya’, the first of the carya word.
As the characteristic of the practice (caryālakśhaņam) and knowledge of the religion or dharma is contained in dharmacaryā of mahayāna, which is also being called buddhayāna 36, it is also being given the name of ‘bodhicaripadam’, which generally is to be known as ‘caryāpada’ full of reverence.
Carya, caryā or cari, in these terms caryā is referred to in guhyasamājatantra. Caripada or caryāpada are the terms used to denote what can be equivalent to caryāgīti. To be specific, bodhicaripada and ākāśacittadharmācaryāpada are the names given to those passages on caryā or practice of mahāyāna Buddhism. Vajradhara is metioned as ‘cittavajrodhararājā’ and ‘nairātmyavajrarāja’. ‘Kāyavākcitta’ finds reference in verse eleven. As has been referred to ‘Essence of Caryā Nŗtya’, here too we find an indication of Panca Buddha in the form of ‘rāgadveŝamahākula’ enjoined with the expression like ‘caņđāla’, ‘māraņārtha’ and ‘mahāpāpa’ in verse two and three 37. ‘Ākāśasamatādvayavajram’ is the name given to samādhi contained of the caryā prescribed in this chapter. Nirvikalpa, nirākāra and nirābhāsa are the words to be noted along with ācārya.
In conclusion, the word mantracaryā of mantracaryāpaŧala of guhyasamājatantra,
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helps classify the word caryā as of prapaňca, nişprapaňca and atyantanişprapaňcacaryā kind.
In seventh chapter, besides vajradhara, vajrasattva along with paňca skandha of paňca Buddha, rupa, śabda, gandha, rasa and śparŝa are declared to be paňcagyāna. Mantracaryā being focal point of this chapter, jāpa as a method is put forward for practice of spell rendering. The concept of worshiping one’s own body is introduced in verse two. In conformity of what was said in Essence of Caryā Nŗtya, verse thirty three reiterates the concept of killing ‘tathāgata vyūha’. Tathāgatas are indicative of paňcabuddha 38. Gods and goddesses do not exist and are unified in the concept of vajradhara 39.
Hūňkara, omkāra and paňkāra, these are the three mantra recommended. As a part of the ritual, pujā is referred to, especially ‘pujāmadhisţhānapadasmŗti’ is to be noted which combines pujā and smŗti. ‘Smŗtibhāvanā’ is the method of contemplation or bhāvanā repeated in different form with the name assigned to each of them. This process is of significance as play of body (verse 2) and mind (bhāvanā) is adhered to, to achieve what is aimed at in the ritual of ‘mantracaryā’, including a pujā – ‘dveşakulapujānusmŗtibhāvanā’ (verse 35) and ‘maņđala’.
This chapter deals with three kinds of caryā- prapaňca, nişprapaňca and atyantanişprapaňcacaryā 40.
Thus the divine drama of guhyasamājastantra in the form of caryā or a ritual practice gets explained and ultimately classified into prapaňca, nişprapaňca and atyantanişprapaňca caryā.
Endnotes
1. Introduction to guhyasamājatantra by Benoytosh Bhattacharyya p. ix –xxxviii Guhyasamājatantra edited by Swami Dvarikadas Shastri
15. Refer to Additional passage to ‘Essence of Caryā Nŗtya’ in Caryā Nŗtya Paper presentation for relationship of Caryā Nŗtya with the doctrine of ‘kāya, vāk & citta’ propounded in Vajrayāna Buddhism. For detailed elaboration of Sixth Chapter of guhyasamājatantra see Yoga of the guhyasamājatantra by Alex Wayman p.25-28 & related pages.
16. atha vjradharah srīmān sarvatatvārthadeśakah l
Translated it means: Originate the citta in the form of kāya, kāya in the form of citta, and the citta by the transformation of vāk. (guhyasamājatantra Intro by BB XX)
In an attempt to clarify the concept further, it is said:
aho hi samantabhadrasya kāyavākcittavajriņah l
anutpādaprayogeņa utpādoayam pragīyate ll 2 ll (guhyasamājatantra p. 8)
Translated: How wonderful it is that though the auspicious and adamantine combination of kāya, vāk and citta ‘never originate’ (anutpāda), it is known to have origin (utpāda). (guhyasamājatantra Intro BB XX)
19. The Lord himself explains:
abhāve bhāvanābhāvo bhāvanā naiva bhāvanā l
iti bhāvo na bhāvah syād bhāvanā nopalabhyate ll 3 ll (guhyasamājatantra p. 8)
Translated: Neither the perception (bhāvanā) of the absence of existence (bhava) in non-existence (abhāva) can be called perception, nor can the perception of non-existence in existence be discovered. (guhyasamājatantra Intro BB XX)
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Now, last of the panca Buddha, amoghasiddhi, ends the discourse on bodhicitta by the remarks:
prakŗtiprabhāsvarā dharmāh suvisuddhā nabhah samāh l
na bodhirnābhisamayamidam bodhinayam dŗđam ll 7 ll (guhyasamājatantra p. 9)
Translated: The existing objects are naturally resplendent (prabhāsvara) and they are pure in essence like the sky. The citta where there is neither enlightenment nor comprehension (abhisamaya) is called bodhicitta. (guhyasamājatantra Intro BB XXI)
As a closing account of the narration in the second chapter of guhyasamājatantra, it says:
On the conclusion of all these definitions the bodhisattvas assembled were delighted, they recited gāthās (deśanā of Buddha, dharma & sangha) extolling the bodhicitta which was characterized as of the nature of pure truth (śuddhatatvārtha), purity (śuddhārtha), originating from the voidness of all worldly phenomena (dharmanairātmyasambhutā), the giver of Buddhahood (buddhabodhiprapuraka), absence of thought-construction (nirvikalpa), without any basis (nirālamba), good all round (samantrabhadra), beneficial to all beings (sattvārtha), originator of bodhi mind (bodhocitta pravartaka), embodiment of bodhi practices (bodhocaryā), great thunderbolt (mahāvajra), as pure as the mind of the tathāgatas (cittam tathāgatah śuddham), the holder of the thunderbolt which is the combination of the kāya, vāk
and citta (kāyavākcittavajradhŗk) and the bestowal of perfection (buddhabodhipradātā). (guhyasamājatantra Intro BB XXI)
20. Translation: Pray explain the supreme maņđala having the best speech of Samantabhadra, arising from the summit of quiescent dharma (=parmārthasatya) and purifying (the 80 prakŗtis) by the praxis of the gnoses (= the three lights). (Yoga of the guhyasamājatantra p.193-194)
21. dvādaśahastam prakurvita cittamaņđalamuttamam l
Translation of verse 19,20 &21, referred above, combined:
Having obtained a lady, 16-yeared, lovely in appearance, having prepared a fragrant flower, one should love (her) in its center. The wise man, empowering that Māmakī girdled with merits, goes out to the calm Buddha plane adorned with the realm of space. He should offer to the gods excrement, urine, semen, and blood. In that way, the Complete Buddhas and the renowned Bodhisattvas are pleased. (Yoga of the guhyasamājatantra p.303-304)
30. parisphuŧam tu vigyāya maņđalam cittamuttamam l
Translated: The performer who loves the ‘mother’, ‘sister’, and ‘daughter’ – achieves the extensive siddhi at the true nature of the Mahayāna summit. Loving the Mother of the Buddha, who is the pervading lord, one is not adhered to (by sin). Buddhahood is accomplished for that wise man, devoid of discursive thought. (Yoga of the guhyasamājatantra p. 305)
32. Refer to the word bodhicaryā. Caryā (caryalakśhaņam) or caryā carry the same meaning and connotation.
34. iyam sā dhamratā suddhā buddhānām sāragyāninām l
sāradharmārthasambhūtā esa bodhicaripadam ll 9 ll (guhyasamājatantra p.16)
Translated: This is the pure true nature of the Buddhas who know the essential (the nirvāņa of no fixed abode). That, having arisen from the nature of the essential (supreme truth) and the entity (conventional
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truth), is the plane of enlightenment-coursing (bodhicaripadam) (Mahāvajradhara). (Yoga of the guhyasamājatantra p.307)
This passage has a relevance to verse 7& 8, referred above, as Bodhisattvas portrayed astonishment by what was meant in those verses, and therefore The Lord pronounced the verse 9 to subdue their astonishment.
35. ākāśakāyasambhūta ākāśavākpravartaka l
ākāśacittadharmāgra caryāpada namoastu te ll 13 ll (guhyasamājatantra p.16)
38. Yoga of the guhyasamājatantra by Alex Wayman p. 244
39. Yoga of the guhyasamājatantra by Alex Wayman p. 246
40. Yoga of the Guhyasamājatantra by Alex Wayman p. 154
Arun Shrestha
Born April 24, 1947, with schooling and initial college years from Mumbai, Maharashtra Board and Bombay University, graduated from T.U. Kathmandu in Economics and English Literature.
Career spanned as a management personnel (Director/GM/MD) in the private sector of handicraft house (Kathmandu Travels), airlines (Nepal Airways), ground water management (NEDRILL) and consultancy (USAID) with addition of a contribution as a training and assistance personnel to Election Commission and Ministry of Tourism.
Two papers presented on Caryā and Caryānŗtya on the auspices of Department of Education and Sanskritik Sansthan, Kathmandu, Nepal.
Caryā: Dancing Away to Nirvāņā, a book based on study of ‘Ahorātra Pada Sādhana Vidhi’ ready for publication.
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Nativity of Buddha. 9th century CE. Stone. National Museum, Chhauni, Kathmandu.
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nepal’s Lumbini is more than a birth place of Gautama BuddhaDr. Binod P. Bista
abstract
Lumbini is so far unrecognized for its importance and significance by placing all attention to it as Siddhartha Gautam’s (Buddha) birth place. It is this very place where all three schools of Buddhism — Theravada, Mahayana, and Vajrayana come together. Buddha’s message of peace and harmony is practiced in daily life by the local inhabitants professing different religions such as Buddhism, Hinduism, and Islam. Ancient Kapilvastu covers such a wide area that it has become a goldmine for archaeologists for far and wide to have an opportunity to study civilizations and cultures which date back the pre Christian Era. United Nations Secretary General U Thant spearheaded the development of present Lumbini with help from an International Committee for the Development of Lumbini which he formed and saw that the task of a Master Plan for Lumbini was given to one uniquely qualified architect Kenzo Tange, a person with a vision. With many changes and adjustments from the original Master Plan, Lumbini is fast losing its luster by the construction of physical structures that hardly conform to the bylaws written during the approval of the Master Plan. Yet by the sheer strength of Buddha himself Lumbini retains its un-parallel beauty, serenity, tranquility, and universality. Lumbini has reached this stage of development amidst several unwarranted controversies and mismanagement, but not all is lost. Lumbini can offer three distinct services to humanity as Buddha would have wanted: Guide those who believe in Buddha as God as they can find the almighty in every inch of the Sacred Garden; Lessen the pains and sufferings of others who seek to have a beeter life through meditation and prayers; and create a congregation of peace lovers who are in search of peace for themselves, their communities, their countries and the whole world.
Background
Lumbini of Nepal has become so popular in recent days that some scholars have started equating this place with Vatican (for Christianity), Mecca Medina (for Islam) and it is increasing day by day. Lumbini, the birth place of Siddhartha Gautama—the principal Buddha among many Buddhas, is famous for followers of Buddhism as well as
other religious groups and even those non-believers of religion. No other place on earth emits such serenity, harmony, and peace than Lumbini, especially in today’s world engulfed in conflicts, miseries, pains and sufferings mostly caused by manmade misadventures. In Lumbini, all the vehicles of Buddhism—Theravada, Mahayana, and Vajrayana, come together to give this special place an added importance and immense
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value as stated by Rinpoche of Bhutan, Dzongsar Jamyang Khyentse (Dixit, 2019). Besides, within a very short distance from Lumbini, Buddha’s natal towns such as Kapilvastu, Tilaurakot, Kudan, Goihawa are located. A full understanding of Gautama Buddha’s early life would not be complete without a visit to these places. Additionally, other Buddhas, namely, Krakuchhanda Buddha, Kanakamuni Buddha belong to these very places.
The recent UNESCO publication (2019) entitled ‘The Sacred Garden of Lumbini’ traces its origins to Late Chalcolithic Lumbini (c.1300 to sixth century BCE)—investigations carried out by the Lumbini Development Trust, Durham University and Department of Archeology (Nepal government) between 2011-2013. Yet Early Historic Lumbini (6th-3rd Century BCE) as is known today, provided evidence that a tree grew at the center of the mound where Mayadevi temple occurred during the middle of Sixth Century BCE (Robin Cunningham, 2019).
These researchers, after careful and thorough scientific study, have provided a velar picture of Lumbini through the ages in nine parts (periods): (i) Late Chalcolithic Lumbini (c.1300-6th century BCE); (ii) Early Historic Lumbini (6th—3rd century BCE); (iii) Mauryan Lumbini (3rd—2nd century BCE); (iv) Sunga Lumbini (2nd-1st century BCE); (v) Kushan Lumbini (1st-2nd century CE); (vi) Gupta Lumbini (3rd-9th century CE); (vii) Medieval Lumbini 9th-14th century CE); (viii) Early Modern Lumbini 15th-19th century CE); and (ix) Modern Lumbini 19th -20th century CE).
They concluded that three major discoveries were made during that
project, and they are: the first scientific and archaeological evidence to contribute to the debate surrounding the dates of the Buddha’s life, the Identification of a Tree Shrine, and the identification of pre-Ashokan monumental Buddhist architecture.
The surrounding areas, some of which are directly associated with Buddha’s life, are called ‘Greater Lumbini Area’ comprise Lumbini (where Buddha was born), Tilaurakot-Kapilvastu (where Buddha spent 29 years of his life) and Ramagrama (where Buddha’s ashes are kept—nirvana). Besides, Dohani, Karma, Chatradehi, Niglihawa, Araurakot, Sagrahawa, Kudan, Gotihawa, Sisaniya are within the three districts of Rupandehi, Parasi and Kapilvastu of Western Terai of Nepal (Robin Cunningham, 2019).
While Ramagrama is about 32 km east of Lumbini proper, the rest including Tilaurakot lay on the western side of Lumbini sacred garden. Hari D. Rai of Lumbini Development Trust (LDT) states that the ancient Kapilvastu extended to the Himalayas in the North, Pava and Kushinagar in the South, Rohini river in the East and Rapti river to the West. Of the two sites first indicated in Tilaurakot (Nepal) and Piprahawa (Inida) and following one hundred years of intense discussions and archaeological works it was finally confirmed that Tilaurakot indeed is the ancient Kapilvastu where Siddhartha spent 29 years of his princely life (Rai, 2019).
Chinese pilgrim Huien Tsiang, during his visit in 629 AD described Buddhist sites in the following manner: Kapilvastu an area covering about 4 km (14-15 li) has ten deserted cities; Kudan (south of the
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city), about 1.5 km area where Buddha after enlightenment (Sakya Tathagata) met his father Shuddodana; Gotihawa (south east of the city) where Tathagata’s relics are placed in a stupa with a 30 feet high stone pillar with a carved lion atop; Niglihawa (north east of the city) of Krakuchhanda Buddha (about 8.64 km) houses a stupa where in the Bhadrakalpa era (when men lived for 40,000 years) Kanakmuni Buddha was born; Sagarhawa (north of Niglihawa), several hundreds and thousands of stupas indicating the spot where members of Sakya clan were slaughtered by Virudhaka-raja; Sarakupa (8 km south east of Sagarhawa) where arrow fountain (Sarakupa) exists where people’s health is restored simply by drinking this water; Lumbini (north east of Arrow Well and about 24 km) Lavani (lumbini) garden where Bodhisattva was born (Tsiang, 629 A.D.).
A slightly expanded version of ancient Kapilvastu and Devadaha is described in a publication named “Nepal-China Relation LUMBINI” by Prof. Gitu Giri whereby Prof. Giri has covered Chetradei (2 km north-east of Tilaurakot—Vajracharya, VS 2029:39) a flat rectangular site has yielded potsherds, human and animal figurines of terracotta, bangles fragments; Rehara mound, about 160 m to the south-west of Tilaurakot, is supposed to be the Royal precinct of Kapilvastu involved in metalworks; Sivagadha, west to the western gateway of Tilaurakot, is a habitational site; Lohasaudia Mound, about 250 m south-west from eastern gateway of Tilaurakot complex, indicates that this site might have been used for iron smelting and casting; Dhamnihawa, around 377 m. to the north of Tilaurakot, having two stupas known as ‘commemoration stupas of Suddhodhan
and Mayadevi (parents of Siddhartha Gautam); Araurakot, about 1.5 km on the south-east of Nihalisagar and about 8 km from Tailihawa bazar, is supposed to be the natal site of Kanakamuni Buddha; Jahadi, about 1.5 km from Nigali sagar and 5 km northeast of Taulihawa bazar, this site being very important to locate the original place for Nigalisagar Asokan pillar; Sisnahaniyakot, about 12 km south east of Tilaurakot—between Piprahawa (India) and Taulihawa, an ancient town of the region dating back to Sunga period immediately following the Christian Era (Giri, 2017).
Development of modern Lumbini took place with the visit of United Nations Secretary General U Thant of Myanmar (formerly Burma) in April 14, 1967.
True to the principles and purposes of the United Nations—a global organization set up for securing international peace and security for succeeding generations and founded after the devastating World War II, several missions to Lumbini were carried out from UNESCO and UN resident representative in Kathmandu prior to Secretary General U Thant commissioning a team of experts for Lumbini. Through the auspices of United Nations Development Program (UNDP) Frank Raymond Allchin (lecturer on Indian studies at Cambridge University, England) and Kazuyuki Matsushita (an architect and planner with firm Tange and URTEC, Tokyo) were selected to begin work on Lumbini (1969). The conceptual framework worked out by Allchin-Matsushita report formed the initial basis of the Master Plan that incorporated much of the elements and features outlined therein (Yukio Nishimura, 2019).
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Allchin and Matsushita report clearly stated that “the essence of Sacred Garden must be to create tranquility, universality and extreme clarity consistent with the idea of the birth of Buddhism” and therefore of the ‘highest quality of design, reflecting as it were the whole spirit of man, rather than any sectarian or national bias’ (Frank Raymond Allchin, 1969). In 1970, Secretary General U Thant formed an International Committee for the Development of Lumbini (ICDL) under the chairmanship of Nepal’s Permanent Representative to UN with initial 13 members (Afghanistan, Myanmar, Cambodia, India, Indonesia, Japan, Laos, Malaysia, Nepal, Pakistan, Singapore, Sri Lanka, and Thailand) later joined by Bangladesh, Bhutan and Republic of Korea making it to a 16-nation body.
A brochure named “Lumbini. The Birthplace of Buddha” was prepared by ICDL which not only reiterated the essence of Lumbini development but also outlined the necessity of maintaining The Green Areas, The Pilgrim Village, The Monastic Enclave, and The Sacred Garden. Following the conceptual Master Plan Design prepared by Kenzo Tange and his study team in 1971 and subsequent comments and review of the Plan, final outline design for Lumbini was adopted in 1972.
The geometric interpretation of the Master Plan is based on religious symbolism with 5x5 miles taken as a Mandala and Sacred Garden at focal point at the center. Kenzo Tange recommended integrating Master Plan into the wider economic context to have a positive impact not just through tourism but also service facilities such as high school, medical center and cultural facilities. Much remains to be done even today.
Lumbini is for peace, peace and peace
Lumbini, Nepal itself is a sacred place where Buddhists, Hindus and Muslims live side by side in harmony and look forward to its timely development. Excuses galore, and even after 38 years of preparation of detailed architectural drawings, the site lacks the ambience, serenity, and tranquility from the man-made structures. If not for the blessed one, the Buddha, and his moral strength and invisible presence, Lumbini might have been shelved in the annals of history.
Nepalese are fortunate to have found U Thant, Secretary General of the
Kenzo Tange Master Plan development over the years.(source: UNESCO record/presentation of key concepts by Yukio Nishimura)
1 mile x 3 mile project area(from UNESCO website)
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UN, at the right time who not only floated the idea of a modern Lumbini but also put it into motion by forming the International Committee for the Development of Lumbini under Nepal’s own stewardship. What else could he have done. It was another good fortune to
have distinguished architect Kenzo Tange who not only was available at the time to prepare a Master Plan for Lumbini but he went many steps ahead by offering his farsighted vision as a token of his deep reverence to Tathagata—the Buddha.
Although Nepal as well as others around are rushing to turn this place of peace, wisdom and tranquility into a tourist hub, whether pilgrimage or otherwise, it would not be appropriate to disturb the tranquility and serenity of the sacred garden and Mayadevi temple.
Earlier, policy makers and visionaries including U Thant referred to also adopt tourism not for the sake of making this place a resort or something of that sort for
Lumbini today in pictures
Maya Devi Temple with Asoka Pillar and the pond (from Government of Nepal website)
Lumbini West Monastic Zone (from LDT website
Mayadevi Temple at Night (from LDT files)
Lumbini Cultural Center (from LDT website)
Lumbini East Monastic Zone (from LDT website)
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promoting tourism but for its self-sustainability. It was seen clearly by all involved in the development of Lumbini that Nepal, an impoverished nation still struggling to make ends meet of its people, would have hardly any surplus resources to develop and maintain the sanctity of Lumbini thus the element of tourism.
Architect Kenzo Tange wanted the government of Nepal to integrate Lumbini Master Plan into wider economic context and regional development plan of Gandaki-Lumbini area. He wanted development of educational, health and cultural facilities, having good access from regional artery, the Taulihawa-Bhairahawa Highway. It is never too late to start a good thing for the welfare of the people, and obviously by serving the people you serve the great Buddha.
For all that counts, Lumbini is destined to serve the entire humanity and without any bias. It is a unique place that can satisfy the needs of three distinct categories: Those who believe in Buddha as god are welcome to have a face to face with the Tathagata in every inch of the lumbini garden; Others who come to learn Buddha’s ways of getting rid of life pains
and sufferings through meditation and prayers would find the right environment in Lumbini; and yet others who search for peace in themselves, their societies, countries and globally would find scores of like-minded persons from all over the world.
What it needs now is to develop the right institutions, facilities and trained manpower to support the needs of the needy. Lumbini Buddhist University can be developed, besides the present teaching, into a place for peace discourses hosting regular seminars and conferences for peace at all levels; National, regional and global. The United Nations, with its present Secretary General Antonio Guterres, can set up a peace center at Lumbini in collaboration with Lumbini Buddhist University and Lumbini Development Trust. Nepal’s and other research centers around Lumbini (India, Sri Lanka, Japan, Thailand, Korea etc.) can join in a new endeavor of better understanding of Buddha’s message of lessening sufferings and pains from human beings through various means including meditation.
Nepal’s 'Lumbini Research Center for Understanding and Peace' is hosting an international conference in December 2019
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Dr. Binod P. Bista
Of about 46 years of professional experience in the fields of development, education, corporate governance and international relations, Dr. Binod P. Bista has given focus on bilateral, regional and international affairs in past 29 years. In addition to serving in the capacity of Deputy Permanent Representative of Nepal to the United Nations (NY) in the latter part of 1990, he spent five years in China as Director of Research and Chief Economist of Boao Forum for Asia (BFA/2002-2007). Earlier, Dr. Bista served in the office of Nepal’s Prime Minister as foreign policy specialist (1995). Currently, he is a convener of ‘Immediate Neighborhood and Neighborhood Relations Committee’ of Nepal Council of World Affairs, and a visiting faculty of Institute of Crisis Management Studies (Tribhuvan University, Nepal). He serves as Secretary General to Nepal based Lumbini Research Center for Understanding and Peace. He is also a Vice Chairperson of Clean Perspectives, a Nepal based think tank engaged in advancing Nepal’s relations with its closest neighbors, India and China. Dr. Bista is a regular participant of Education Forum for Asia. Dr. Bista has obtained a Bachelor of Architecture degree (Mumbai, India), Masters of Business Administration (Atlanta, US), and a Ph.D. (Management with Peace Research Study from BHU, India).
for an extensive discussion on peace as a humble start for creating awareness of the worth of Lumbini’s Third Eye.
symbolism behind Art and colour denoted on the Buddhist Prayer FlagsDr. Poonam R. L. Rana
abstract
Sacred Prayer Flags of different colours and symbols are not just decorative pieces. Symbols have more deeper meaning and the attached intangible beliefs than their mere outer creativity. Each and every colour and objects symbolizes good fortune, health, happiness, protection. The prayer flags are very sacred, because they contain texts from the holy sutras termed as 'mantras' and symbols that should be respected. Hence the painted or printed objects and colours are of great values to humanity.
Key words : Sacred prayer Flags, Symbols, Colours
introduction
Merriam Webster Dictionary defines symbolism as an art of practice of using symbols that expresses the intangible aspects. Art is a part of life an activity that has meaning and can be expressed in various ways. All aspects of religion have symbolic values. Buddhist religion is no exception.
Buddhist prayers flags
The sacred prayer flags are not just a pretty coloured piece of cloths that have strange writings. Prayer flags are considered auspicious device that is said to mingle with the energy of the wind, and harmonize the surrounding environment. It is believed to bring about happiness and good fortune among all living beings.
Encyclopedia Britannia views, "When people settled and gathered together for
common purpose, they probably began to use some objects as a symbol denoting common sentiments as a medium of common force."
History of the intangible beliefs associated with the prayer flags
An interview with Vikshu Ugesen (White Monastery, Baudha) was of the opinion that the history of the prayer flags dates back to thousands of year. Its origin started during the pre-Buddhist era. The intangible beliefs exist that the Shamanistic Bonpo priests during pre-Buddhist era, used either plain or coloured cloth flags with symbols for the purpose of healing while conducting ritual oriented ceremonies.
The Buddhist religions of Tibet were oral traditions; writing was apparently limited to government bookkeeping. On the other hand the very word “Bonpo” means — “one who recites magical formulas.” Even
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if no writing was added to the plain strips of cloth it is likely that the Bonpos painted sacred symbols on them. (Dian 2003 )Some symbols seen on Buddhist prayer flags today undoubtedly have Bonpo origins, their meaning now enhanced with the deep significance of Vajrayana Buddhist philosophy.
Local belief exists that the Nepali sutras were written on cloth termed as banners and were spread to other areas as ' prayer flags' ( Baker, Prayer Flags, p 13)
There are stories now termed as myths relate that Lord Gautam Buddha's teachings were written on the banners and then carried to different regions, and it reached Tibet and developed as flags by 1040 CE ( Common Era) and its printing on cloths began by Atisha 1054 and spread to Tibet and Nepal.
There are tales that the monks carried banners of Buddha's teachings while they travelled, to show that they believed in 'ahimsa'.
Another interesting legend is that in order to pacify the free flowing aggressive spirits the King of Tibet invited Guru Padmasmbava who was able to control majority spirits but few still remained semi-controlled. It is said some of the mantras on these flags were composed by Guru Padmasmbava himself to pacify the spirits form doing evil. (Wise, 2002)
Text on the Buddhist prayer flags
In the 7th century King Stron Tsen Gampo sent his ministers to learn Sanskrit and the Tibetan script. The text inscribed or written on it are of three categories: Mantra, Sutras and Prayers.
Mantras are power laden syllabus that
can affect the cosmos while Sutras are directly obtained from Buddha in course of discourse. One short form of Sutra is Dharani (powerful magical formulas). Example praises to the twenty-one Taras. The long life flag and the white umbrella are based on sutra. While prayers comprises of all other texts written on the flags.
Symbolic art on Buddhist prayer flags
Symbols have deeper meaning and attached intangible beliefs, than their mere outer creativity. Buddhist religion and the associated prayer flags are no exception. The painted or printed flags are not only pretty piece of coloured cloths. It has interesting intangible beliefs attached to it.
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the eight auspicious artistic symbols and others portrayed on the flags Umbrella/Parasol/Chattra: made on the prayer flags and it symbolizes as the protector from all evils.
treasure Vase: symbolizes the fulfillment of spiritual and material wishes.
Golden fish: brings about happiness and being saved from the sea of suffering.
Lotus: denotes symbol of purity and spiritual enfoldments.
Conch Shell: depicts or symbolizes enlightened teachings of Lord Buddha.
Endless Knot: symbolizes meditative mind and knowledge.
Victory Banner: denotes victory of wisdom over ignorance and overcoming of obstacles.
Dharma wheels/Dharma Chakra: denotes the eight fold paths of Buddha.
Beside the eight auspicious symbols one can see other symbols such as:
Dhvaja: symbolizes victory of Buddha's teachings
Deer: symbolizes the first preaching of Buddha held in the deer park at Saranath.
Naga: symbolizes pre-Buddhist fertility rituals and it is regarded as the protector of Buddha and Dharma.
triratna: denotes Buddha, Dharma and Samgha.
Stupa: symbolizes the universe, and grave where the relics of the holy one are placed, and therefore, from 'Chita' emerged the Chaitya. (Clark)
The other symbols painted or printed on the flags and the Intangible aspects attached are :
– The Wind Horse (Lung-ta)– The Eight Auspicious Symbols (Tashi Targye)– The Vajra (Dorje)– The Four Dignities– The Union of Opposites (Mithun Gyulgyal) – Deities and Enlightened Beings
the Wind Horse (Lung-ta)
The wind horse is a mythical creature, from pre-Buddhist era, that could fly faster than the wind. Lung-ta is uplifting life force (energy). The wind horse is painted or printed on the centre of the flag. The outside corners of the flag are guarded by four animals Garuda, Dragon, Tiger and Snow Lion. This is the most favorite of the prayer flags. This flag denotes 'wish fulfilling jewel of enlightenment'. It symbolizes good fortune. The intangible belief exists that if the Lung-ta is good then good
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opportunities comes one's way, but if Lung-ta is low then one has to face many obstacles. The belief persists that the wind Horse carries away the obstacles and brings good fortune no-wonder it is regarded as the 'Wish-Fulfilling Jewel. It is further believed that the speed of the wind and the strength of the mythical horse helps to carry the prayers from earth to heaven.
the eight auspicious symbols (tashi targye)The eight auspicious symbols comprise of umbrella/parasol/chattra, treasure vase, golden fish, conch shell, endless knot, lotus, victory banner, and dharma chakra. These eight symbols are of great value to the Buddhists and Tibetans. These eight symbols have been mentioned in the ancient Pali sutra and other religious Buddhist texts. These eight symbols signify good fortune and protect us from evil.
to it as the 'true reality'. It is believed to be the essence of everything. that exists. The Buddhists believe that this pure emptiness is imperishable.
the four dignities: The four dignities on the four corners of the prayer flags are Garudas, Tiger, Dragon and the Snow Lion.with the Wind Horse on the center. The Buddhist sutra view that these dignities signify qualities like awarness, vision, confidence, joy, humality and power that are necessary for enlightenment.
Garuda represents the elements of fire and it symbolizes strength and it is a protector against negative forces of the Naga spirits that may cause disease.
the Vajra (Dorje): Vajra is another auspicious symbol of the Buddhism that is painted or printed on the prayer flags. In the Buddhist religious sutra Vajra symbolizes indestructibility. Sutras refer
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Dragon on the flag save-guards people from slander and helps to improve their reputation.
Snow Lion is painted or printed towards the East corner of the flag,It is said to represent joy and happiness and free mind.
Tiger is depicted on the southern corner of the flag and it symbolizes, confidence , discipline and modesty.
the union of opposites (Mithun Gyulgyal)
The union of two opposite's shows Garuda and Snow Lion who were mortal enemies were joined with Snow Lions body and Garuda's head and wings. This was a symbol to harmonize the environment. These unions of opposites are depicted on the victory banner to remove disharmony and disagreement.
Deities and enlightened beings
In the Buddhist religious texts it has been mentioned that in Vajrayani Buddhism deities are not gods but are represented as aspects of enlightened mind. The enlightened mind is based on the three aspects compassion, wisdom and power basically represented by Avaloketshwor, Vajrapani and Manjushree. Beside these the sacred Buddhist flags may have paintings or prints denoting Gautama.
Buddha, Padmasambava and Milerpa. The enlightened beings on the flags spread good feelings, peace and harmony. (Wise, 20020)
Symbolic colours on Buddhist prayer flags
The coloured Buddhist Prayer flags of red, blue, yellow, green and white are not
just pretty adornments but are of great symbolic values.
The five colours are associated with five elements earth, sky, fire, water and air. The red colour denotes fire, blue represents sky and space, green water , yellow earth and white symbolizes air, wind and cloud.
Blue signifies loving kindness, peace and universal kindness. Yellow denotes the middle path, avoiding the extremes, and emptiness. Red represents blessings of practices, achievements, fortune, wisdom and dignity. White denotes dharma and purity and orange colour signifies teachings of Buddha and wisdom.
The Buddhist texts also associates these colours with "Pancha Dhyani Buddha" — Vairochana, Akshobhaya, Amitabha, Ratnasambhava, Amoghasiddhi.
Virochana denotes space and is depicted in white colour and occupies the center place
Amoghashiddhi represents air and is shown in green colour and occupies the
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northern niche of the stupa.
Amitabha symbolizes fire and is depicted in red colour and has placement on the western niche of the stupa.
Ratnasambahva denotes earth and is depicted in gold or yellow colour and occupies the southern niche of the stupa.
Akshoybhaya represents water and is depicted in blue colour and occupies the eastern niche of the stupa. (Clark, 2008)
Blue with red border prayer flag: The blue and red border prayer flag has its own symbolic value. It denotes good health and long life (Tsa La Nam Sum). This prayer flag portrays the deities of long life: Amitayus (Buddha of limitless life), White Tara (peaceful health), and Vijaya (victorious protection). The text on it has many prayers and mantras for health. This appears on the blue vertical print flags
White with blue border prayer flag: White with blue border prayer flag raises good fortune by purifying negative karma. It has Vajrasattva and consort in the center with the Four Dignities in the corners.
There are prayers dedicated to the five Buddha Families, Vajrasattva, Manjushri, Avalokiteshvara, Vajrapani, Tara, and Guru Rinpoche. It also has repetitions of Vajrasattva's hundred syllable mantra. This is dedicated to Vajrasattva and is said to purify one's karma.
Red with yellow border prayer flag: Sampa Lhundrup — Wish Fulfillment Flag. In the center sits Guru Rinpoche showing the gesture that subdues negative forces. The text is the short version of Padmasambhava's Prayer of
Spontaneous accomplishment for quick wish fulfillment.
Green with yellow border prayer flag: Green and yellow border prayer flag is praise to the twenty-one Taras — Compassion, with Green Tara, in the center that represents the active energy of compassion she is considered as a mother who offers aid and protection. The texts are the invocation to the twenty-one Taras - each portraying a different aspect of compassion.
Yellow with green border Prayer flag: The yellow with green border prayer flag denotes Gyaltsan Semo ~ Victory over Obstacles. The texts on the flags are associated with mantra or invocations for Victory. There are also mantras for Padmasambhava, and Tara - ending with 12 year symbols (a complete cycle), so as to make the Victorious energy cyclic. In the center flies the Wind Horse of good fortune with the corners protected by the uplifting energy of the 'Four Dignities'.
Beside all this there are pole flags also termed as 'tall flags' (Dar-Cho). The flags come in the traditional five colors with borders and "tongues" (streamers). All the pole flags and their tongues are hemmed for durability.
In conclusion it can be said that when raising prayer flags one must have pure, good feelings and proper motivation. If an individual tries to put up the flag with an ego-centered attitude such as “I will benefit from doing this” then the benefits obtained will be small . If the attitude is “May all beings everywhere receive benefit and find happiness,” the virtue generated will increases the power of the prayers.
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Dr. Poonam Rajya Laxmi Rana
Dr. Poonam Rajya Laxmi Rana is an Associate Professor in the Department of Nepalese History, Culture and Archaeology, Tribhuvan University, Kirtipur, Kathmandu, Nepal.
She holds Masters Degree in Sociology and Environment and Ecology and Doctorate in Nepalese History Culture and Archaeology.
She has participated in various National and International Seminars and Conferences.
Both Buddhist including Tibetan considers prayer flags to be very sacred, because they contain texts from the holy sutras termed as 'mantras' and symbols that should be respected. The prayer flags should not be placed on the ground or thrown away as trash. An interview with Vikshu Ugensen said that while disposing of old a prayer flag, it must be burnt; so that the smoke may carry their blessings to the heaven. Thus it can be concluded that there is symbolism of art and colour within the painted and printed sacred flag.
References
Bernard, Theos, 1939/2007, Penthouse of Gods, a Pilgramage into the Heart of Tibet & Sacred City of Lhasa, NY Publishing House.
Barker, Dian (2003). Tibetan Prayer Flags.London, Connections Book Publishing House
Timothy, Clark, 2008, Radient Heart, The Prayer Flag Tradition, NY, Prayer flag.com.
Tad Wise, 2002, Blessings on the Winds, Mystery & Meaning of Tibetan Prayers Flag, San Francisco, CA.
www.sacred flags.com
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King Rana Bahadur Shah listening attentively the music - presented by musicians from Mugal emperor Akbar's court.Picture courtesy: Narottam Das Indira Shrestha Guthi, Kathmandu.
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classical Music in the shah and Rana era: 1768 - 1951 A.D.Dr. ramesh pokharel
abstract
The tradition of classical music was more justified during the Shah and Rana Dynasty’s ruling. During the time the cultural import from neighboring India and the wide appreciation of music by kings and the Royal Palace of Nepal show the influence of Classical music among the Shah and Rana families. Some Rana Prime Ministers wanted to promote classical music but in practice most music was limited to the Royal palace and Rana family. Music Education, as well as all kinds of formal education were banned for the citizens of Nepal during the Rana regime. Those who were close to the Rana family and the palace were supposed to learn classical music from the patronized Ustaad /Pundit of the Palace and private teachers as well. This paper attempts to discuss the overall developing trends of classical music during Shah and Rana periods of Nepal in relation to development, extension and its practices in Nepalese society. All evidences have been taken from several documentaries. Whatever we practice as classical music today has taken the step of development in those periods. The evidence shows that especially raga based different Music genres were practiced and flourished in those periods.
Key Words
Gawaiya: Singer of Hindustani classical music at the court of Shahs and Ranas
Gharana: Gharanas are also called styles. These schools or Gharanas have their basis in the traditional mode of musical training and education.
Guthi: A house where musicians play instruments. A kind of ‘trust’ founded for musical activities.
Kaswi: Female dancer or musician of folk or semi classical music.
Kathak: A story teller. A caste of professional musician and dancers in eastern Uttar Pradesh; also, the main form of north Indian Classical Dance.
Khyal: Imagination; elaboration of a raaga with lyrical composition consisting of two stanzas.
Patar: A clan whose profession is music and prostitution as well
Raaga: Modal scale, a musical structure of five or more notes with an identity and mood.
Ustaad: Guru, honorary title given to a learned musician. An expert of classical music addressed to both Hindu and Muslim Musicians in Nepal.
introduction
Being the universal language of emotion of artistic souls’ music can’t be confined in a limited geographical boundary,
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however, it varies from place to place, culture to culture and generation to generation. For centuries the people of the South Asia have always studied for truth, mysteries and nature.
Music in this sub-continent is said to be one of the oldest unbroken traditions. The origin of this system goes back to the Vedas. Many popular legends have grown up concerning the origins and development classical music in the continent though specific reference of music has been given in Vedic Scriptures.
Nepal has a history since the time of the Lichhavi period. The classical music was able to grow, develop and improve during the Lichchavi, Malla and Shah eras as well as Rana Period. The Lichhavi (185A.D.-733A.D.) kings placed education as “optional” not “requisite” and so as with the musical education. General education and music were limited to some aristocratic people at the “gurukul” or with the private tutors (Sharma, 1990, p. 1). During the Malla period (1382-1769A.D.) the kings were more liberal than the Lichhavi time. the education system followed the same as the Lichhavi period. The system was managed by the private and public institutions like Guthi, Vihaar, Math, Gurukul and some of them were supported by the King. This was the golden period of music and arts and music was widely accepted by the kings and upper class of people.
History shows that despite abundance of reports relating to the Hindu classical music found in Malla period Nepalese music was said to have reached its height of development. Numerous Jatras (festivals), dramas observed in Kathmandu valley, colourful dances, varities of musical instruments
played in temples and shrines and the commencement of Bhajan mandali (hymn singers) were originated in the Malla period. The tradition of classical music was more justified during the Shah Dynasty’s ruling. Cultural exchange from the neighboring nations like India were widely appreciated by kings and the Royal Palace and goes to show the influence of classical music amongst the Shah families. The tradition of classical music and oral education system started from the Royal Palace of Shah Dynasty (1769-1950 A.D).
North Indian Classical Music began to flourish in Nepal around 1800s, when the ruling Rana family imported Indian musicians to perform in their court. Kathmandu was known as an important center for classical Music cultivating frequent exchange with similar centers in the Indian subcontinent (Moisala, 2000, p. 697).
After the rise of Rana rulers in Nepal some of them like Bir Shamsher, Chandra Shamsher, Bhim Shamsher, Juddha Shamsher wanted to promote classical music but in practice, all sorts of music was allocated in the Royal palace and Rana family. Music as well as all kinds of formal education was banned for the citizens of Nepal during the Rana regime (1846-1951A.D.). Those who were close to the Rana families and the palace were allowed to learn classical music from the private teachers of the palace.
Shah Period (1768aD-1951aD)
The tradition of classical music was more justified during Shah Dynasty’s rule. Cultural exchange from the neighboring countries like India, and a wide appreciation of music and its
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professionals by kings and the Royal Palace show the influence of classical music.
The tradition of classical music and oral education system started from the Royal Palace of Shah Dynasty. The Year 1769 marks the beginning of modern Nepalese history, ending the Malla rule in Kathmandu valley and installing the Shah Dynasty with the invasion of Kathmandu valley by Gorkha King Prithivi Narayan Shah. The Shah Dynasty initially ruled the kingdom of Gorkha.
To begin with the reign of the king Ram Shah, Gorkha state flourished in art and culture. It is said that, the great Indian Musician Niyamat Khan (around 1750 A.D.) had come to Gorkha and spent time spanning over one and half years. At that time he used to perform there. Once, he also presented a composition “Raga kaushi ki kanhada” in the Gorkha palace and impressed the king and the courtiers with his arts (Regmi, 2003, p.186).
This evidence suggests that the foreign scholars and classical musicians had already been in the Gorkha Palace before the unification of Nepal. In a divine sermon, King Prithvi Narayan Shah advised the people if they sought entertainment, they might enjoy music and dance of the Newars (an ethnic community) of the Kathmandu valley. According to Babu Ram Acharya, an eminent historian, there used to be Indian dancers and singers in the palaces of the Malla kings. On the contrary, Prithivi Narayan Shah gave priority to Nepali songs and dances because he feared that the presence of foreign musicians in the Royal court heighten the possibility of leakage of state secrets (Acharya, 1965, p.139).
Prithivi Narayan Shah had the vision of a nation builder who wanted to unite all the races and fractions scattered in the Himalayan region. Therefore, his first act after settling himself in the splendid Malla palace in Kathmandu was to assure safety to the important administrators and traders of the valley. He engaged master craftsmen for three principal cities (Kathmandu, Bhaktapur, Lalitpur) and also of Kirtipur to build separate blocks of building attached to the Nasal Chowk Durbar of the Malla kings. Similarly he invited dancers and musicians to the palace and encouraged Nepalese arts and crafts (Rana, 1995, p.81).
The Gorkha Kings at Kathmandu engaged themselves in building some scattered temples, bringing Tibetan bronze images of considerable size in to the valley, patronizing Newari dances and dramas, folk dances from the hills and performing elaborate religious rituals in their Durbar by incorporating practices prevalent among different sects and tribes in Nepal for the growth and development of cultural activities.
King Pratap Singh Shah, son of Prithivi Narayan Shah was also a great music lover and himself a good singer. He initiated a custom of installing the wooden pole at Hanumandhoka palace for Indrajatra instead of Nuwakot Palace. All the courtiers had to be present for a week to celebrate the festival amid fireworks and other ceremonies and shows. A special type of singing and dancing marked the ceremony. It is said that the festive tradition continued till 1951 and even till today it is exist in some forms.
King Rana Bahadur Shah, son of Pratap Singh Shah was a good musician and
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music lover too. He enjoyed music by bringing foreign musicians and dancers. He also became expert in playing sitar. It is also said that Rana Bahadur Shah learnt music from Indian artist Nirmal Khan and Jafar Khan.
Scholar Dilip Kumar Mukhopadhyaya has mentioned that Karim Sen, the descendent of Tansen, also lived in Nepal in his later days and King Rana Bahadur appointed him as a court musician. He was in Nepal for about six years before his retirement. He had presented a special Tanpura known as Tansen’s Tanpura to Rana Bahadur Shah (Regmi, 2003, p.192). After Rana Bahadur Shah, the period of King Girvana Yuddha Bir Bikram Shah and Rajendra Bir Bikram Shah, many musicians were appointed at the palace as
the superintendents for musical activities like Kathaks named Prabhu Dayal, Shiva Patar and singer Panjabi Saraudi on a monthly salary of Rs. 25 and Rs.125 to singer respectively (Regmi, 2003, p.194).
Even at the time of King Surendra Bir Bikram Shah, a group of Muslim singers and dancers from India used to come in the palace for entertaining the king. Laxmandas, the son of Harihar Mishra was born in Nepal and lived in Kaski but he stayed in India for a long time. He was called for by king Surendra and employed as an entertainer and tutor for the trainees. It is said that a drama Named ‘Lalhira’ in Hindi was played to entertain Queen Rajya Laxmi Devi. And this drama is still famous as a ‘lalhira’ dance in Patan which was copy of the
Goddess Saraswoti singing in the royal court - a painting during king Rana Bahadur Shah's time.Note the artist's effort to depict and imagine the ambience inside the famed Hanuman Dhoka Palace Courtyard.
Picture courtesy: Narottam Das Indira Shrestha Guthi, Kathmandu.
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Indian drama (Upadhyaya, 1998, p.363). Similarly in the period of King Prithvi Bir Bikram Shah, many musicians and artists from neighbouring country India like Nanak Mishra, Kunj Bihari, Nuruddin and Manikman lived with king’s palace in Narayanhiti (Thapa, 1997, p. 47).
The first Mishra musician from Banaras to stay in the palace was Ayodhya Prasad Mishra. His son Nanak Prasad, grandson Jhumak Prasad and great grandson have hugely contributed to the Nepal’s history of music. The special feature of this gharana is that they were well known for all kinds of music, dance, vocal and tabala playing (Regmi, 2003, p.192).
It is said that music as well as classical music were appreciated during the period of Shah Regime. The musical environment was created in Shah King’s palaces and courts. Most musicians came from India and they were fully patronized by the then kings. Even some kings were also musicians and they loved music very much.
On the basis of the available documents it is understood that Nepali traditional music was greatly supported and promoted by the Shah Kings. In their palaces, the maids were trained for singing traditional mangal dhun. The Guthi (trust) system supported music in temples and ensured that the religious aspects of music flourished in a similar way of Malla period.
The Shah Kings encouraged music in traditional festivals such as Holi and in the temple’s daily pooja and aarati. This traditional music, played as it was in temples and other public places, was accessible to all, not just those inside the Palace. The use of music in
religious occasions during Shah Period can be drawn from various religious performances conducted by the Shah Kings. The kings used to appoint instrument players and offered musical instruments on special occasions.
Rana Period (1846–1951)
Rana period is the time when the control of the government was laid in the hands of the Rana family. Jung Bahadur (born in 1817 A.D.) came into power in 1846 and appointed himself as the permanent prime minister. He was given the hereditary title of Rana. Under the Ranas, Nepal maintained good relation with the British. When the British withdrew from India in 1947, the Rana family was exposed to new dangers. They faced a revolution in 1950, and in 1951, under the pressure from India, Nepal’s King Tribhuvan took the throne with restored sovereignty.
After the rise of Rana ruler in Nepal some of them like Bir Shamsher, Chandra Shamsher, Bhim Shamsher, Juddha Shamsher wanted to promote classical music. The primary purpose of music in Jung Bahadur’s life was entertainment. He enriched the musical climate greatly in Nepal by not only supporting indigenous Nepalese music, but by bringing in many musicians from India.
As these Indian musicians were predominantly classical and semi-classical musicians, a flourishing classical music community began to form during Janga Bahadur’s rule. There are various expositions that show that with the political emergence of Jung Bahadur, Indian music instructors (Ustaad) melodist (gawaiya), dancers (nartaki) began to pour in to Nepal and until 1868 A.D. he even hired music
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and dance troupes. With the advent of Jung Bahadur’s regime, Indian Ustaad, Gawaiya, dancers, Kaswi, Bai, Najari etc. began sheltering in Nepal. Jung Bahadur also employed performing artists like Gawaiya, Sarangi player, Tawalchi (Tabla player) until around 1868 AD. It is believed that with the fall of Nawab of Lucknow, the artists were brought in to Kathmandu by Jung Bahadur who offered them Patronage. In his time period many classical musicians were appointed in a monthly salary basis.
On his return from England in 1851 Jung Bahadur brought English instruments. The use of piano, silvered instruments, and orchestral instruments were introduced in Nepal after his famous visit. A dance and music training centre had already been opened in Jung Bahadur’s Thapathali palace by 1848. A record of 1851, says that Jung Bahadur had made necessary provisions for a training institute at his palace. The record has a mention of names of 22 women and their respective remuneration (ranging from Rs. 27 to 37).
Similarly, the names of 23 women receiving singing training and their wages (Rs.26) are also mentioned there (Bhattarai, 1987, p. 214). After the death of Jung Bahadur, his brother Rannodip Singh (1877-1885) became the Prime Minister of Nepal.
During this time, the renowned musician Laxmandas, a descendant in Tansen’s maternal lineage was a music expert in Nepal. His disciples of stature were experts of Dhrupad, Khayal, and Prabandha. Thuli Hasina and Sangramsur Bista, both good singers were also appointed in the court of Rannodip (Mukhopadhyaya, 1970). Rannodip
himself was also a good music lover. After the assassination of Prime Minister Rannodip Singh, Bir Shamsher became the Prime Minister of Nepal. He followed the footsteps of Jung Bahadur as a music lover and seems to have been even more interested in classical music.
It was Bir Shamsher who organized the historical Bagedi musical conference (Vasant, 1999, page 480) that continued till 1900 and brought many musicians from all over the Indian subcontinent into Nepal. In his time, Lucknow’s Nawab Wajid Ali Shah, Dunde Khan were renowned Tappa and Khayal singers, who sought refuge in Nepal in 1857. Likewise, Tansen’s descendant Taj Khan, a Dhrupad and Dhamar singer lived under the care and support of Bir Shamsher.
Bir Shamsher allowed a mosque to be built near his Palace and also allowed to make a graveyard near Swayabhunath area. In this graveyard, Taj khan and Dunde Khan were buried (Jabara, 1989, p.282). During this time, Inayat hussain Khan, a khyal singer from Bareli, Dhrupad and khyal singer Ram Sebak from Manohar family of Varanasi, Veena and Pakhawaj Player Binakar Bhatta from Dakshinatya, Kanthe Maharaj of Ram Sahaya family from Varanasi, Khyal singer Haider Khan, Classical singer and Kathak dancer Jagdeep Mishra from Varanasi, Veena player Bande Ali khan, Dhrupad singer Gulam Hussain, Nepali ustad Nandalal, were also employed in the Bir Shamsher’s palace.
Apart from these renowned Indian artists, some Nepalese musicians like Laxmandas, Pt. Birendra Keshari Pokharel, Pt. Dev Chandra Regmi were also employed in his Palace. (Regmi, 2003, p.219). After Bir Shamsher, Dev Shamsher
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became the Prime Minister of Nepal but he could not sustain himself in Power.
During the Rana Prime Minister Chandra Shamsher (1901-1929) Melwa Devi, a famous artist of Nepal and Bala Prasad, an Indian artist were employed in the Royal Palace. In 1927, an eminent Indian Musician Omkarnath Thakur and his elder brother Ram Chandra also visited Nepal with a letter of recommendation from Baroda’s Deewan Sir Manubhai Mehta.
It is said that Prime Minister Chandra Shamsher had welcomed them like Royal guests and also offered handsome amount as a reward at the end of their exceptional musical presentation (Thakur, 1995, p.427). After Chandra Shamsher, Bhim Shamsher (1929-1932) became the Prime Minister of Nepal. It is known that Pt. Bishnu Digamber Paluskar also visited Nepal during this period with the purpose of getting donation for promoting institutionalized music education in India. Pt. Omkarnath Thakur was again invited in Nepal in 1930-31 to perform classical music at the wedding ceremony of the daughter of Mohan Shumsher with Charkari Maharaja of India (Regmi, 2003).
It is also said that Pt. Thakur received the title of “Sangeet Mahamahopadhyaya” by Prime Minister Bhim Shumsher during the reign of King Tribhuvan Bir Bikram Shah (Thakur, 1995, p.436). It is said that Bhim Shamsher didn’t have much interest for music but most of family members like sons and grandsons were deeply interested in classical music especially in Sitar. Most of them used to take Sitar lessons from Nepali renowned musician Pt. Krishna Chandra Regmi, Dev Chandra Regmi, Purna Chandra Regmi and Satish
Chandra Regmi. After Bhim Shumsher, Juddha Shamsher (1932-1945) became the Prime minister of Nepal. He also started to promote the Nepalese musicians in his Palace and other music activities.
During this time, the number of Nepalese musicians and ustaad was seen to have increased and were being venerated and rewarded in the place of foreign musicians and ustaad. While visiting India Juddha Shumsher donated 20-25 thousand Rupees to Rabindra Nath Tagore at Biswa Bharati foundation (Regmi, 2003, p. 234).
After his renunciation of premiership in 1945, his successors Padma Shumsher Rana(1945-1948A.D.) and Mohan Shumsher (1948-1950A.D.) could not do much substantial things for music during their short and unstable rule.
Some Indian notable Ustaads and pundits who were patronized by the Shah and Ranas were Bala Prasad, Ayodhya Prasad Mishra, Nanak Prasad Mishra, Jhummak Lal Mishra, Bade Ram Das, Mustaq Hussain Khan, Goolam Rasool Khan, Kanthe Maharaj, Bal Krishna Buwa Ichalakaranjikar, Pratap Maharaj, Prasiddhu Manohar, Baladev Sahaya, Raja Bali Khaan, Alladiya Khan, Ram Krishna Buwa Baje, Shiva Pashupati, Fida Hussain Khan, Khem Chandra Prakash, Bindadin Maharaj, Mohan Prasad Shivadhar, Ali Mohammad Khan, Nanku Miyan, Beeru mishra, Inayat Hussain Khan, Goolam Mohammad Hussain Khan, Dunde Khan, Taj Khan etc.
Some notable Nepalese classical musicians who also got the height by learning and doing musical accompaniment with Indian ustaad and Pandits are, Ustaad Nandalal, Bikram Raj Panday,
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Ustaad Bhagat Krishna, Ustaad Badri Shrestha, pt. Ganga Dutta Parajuli, Ek Raj Shumsher,Yajya Raj Sharma, Dwarika Bhakta Mathema, Ram Bahadur Tandukar, Laxman Shumsher Ja. Ba. Ra., Melva Devi, Ram Nath Tandukar, Rana Hari Babu, Ram Prasad Raya Tharu, Master Mitra Sen, Master Ratna Das Prakash, pt. Dev Chandra Regmi, Suchet singh Kanchha Ustad, Ustaad Govinda Nepali, Ustaad Suchet Man Amatya, Tirtha Raj Manandhar, Bakhat Bir Budhapirthi, Manpriya Ditthini, Debendra Shumsher, Trailokya Shumsher Rana etc. (Regmi, 2003).
Some more renowned artists were Indra Gurung, Dr. A. M. Pathan, Karna Jung Sijapati, Kali Prasad Sharma, Kali Bhakta Panta, Kanchha Buddha Bajracharya, Krishna Chandra Regmi, Khaje Dura, Khushbu and Sulabha, Keshar Man Tuladhar, Gangi Kaswi, Gunna Kaji, Chet Nath Sharma, Jaya Dev Ditiya, Jaya Prithibi Bahadur Singh, Jhangal Gurung, T.N. Rana, Dev Chandra Regmi, Dharmananda Rajopadhyaya, Narayan Prasad Shrestha, Pushpa Shumsher Rana, Bakhat Bir Budha pirti, Bajir Man, Bahadur Singh Baral, Buddhi Man Chaudhari, Bekha Maharjan, Bej Lal Chaudhari, Bhedi Kharke Sahila, Bhairab Bahadur Thapa, Manju Bajra Bajracharya, Moti Ram Bhatta, Ram Bahadur Tandukar etc. (Mukarung, 2014).
Conclusion
During the Shah and Rana periods of Nepal Classical music climbed the ultimate height of progress strengthening its root very strong. Many top most ustaads and pundits from neighboring country India visited Nepal and some of them lived permanently in Nepal patronized by Shah Kings and Rana
Prime Ministers which also developed the classical music tradition of Nepal. Between 18th and 20th century massive political changes were taking place in India when and new rulers were coming from Europe.
Most of the Indian states fell under the British rule. The British rulers had no taste for classical music. The adverse situation worsened the status of Indian classical musicians. Due to that they desperately sought safe kingdoms where their talent could be honored and appreciated. It was in pursuit of honor and security that Indian musicians poured into Nepal. They not only performed and entertained in the Rana and Royal Palaces but also taught music to the kings and Rana family members as well as some interested Nepalese music lovers who were closed to Shah and Rana family.
References
Acharya, B. R. (1965). Brief Descriptions of Nepal Part-I. Kathmandu: Pramod Shamsher and Nirbikram pyasi.
Bhattarai, S. C. S. (1987). Some Contexts Depicting the Situation of Music and Dance During Jung Bahadur’s period. Nepali Literature. Kathmandu: Royal Nepal Academy.
JBR, P. S. (1989). The Descriptive Facts of Rana Prime Minister. Kathmandu: Parambir Shamsher.
Moisala, P. (2000). Nepal, South Asia: The Indian Subcontinent, The Garland Encyclopedia of World Music (Vol. 5). New York and London: Garland Publishing, Inc.
Mukarung, B. (2014). Nepali sangeet ko abhilekh. Kathmandu: Palpa Books.
Mukhopadhyaya, D. (1970). Musician in the Nepalese Palaces. Sangeet Sarita-1 (Translater Haribhakta Katuwal). Kathmandu
Rana, J. (1995). Nepal: a Concise History of the Cultural Scenario of the Himalayan kingdom. New Delhi: Nirala Publications.
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Dr. Ramesh Pokharel
Dr. Ramesh Pokharel is an Associate Professor of Tribhuvan University. He has completed his Bachelor of Law from Tribhuvan University, Nepal and B.Mus. M.Mus. & Ph. D. in Vocal Music from Banaras Hindu University, India. He is a good performer of classical, semi-classical and light vocal music. At present he is Campus-Chief of Lalitkala Camus, Ttibhuvan University.
Regmi, D. C. (2003). The History of Music in Nepal with Special Reference to Classical Music during the Rana Period (1846-1950 A.D.). (Ph.D. unpublished thesis), Delhi University.
Sharma, Gopi Nath (1990). The Impact of Education during the Rana Period in Nepal: Himalaya, the Journal of the association for Nepal and Himalayan Studies: Vol-10, issue-2, Article 6. 3-7 Retrieved on September 6, 2015, from http://digitalcommons.macalester.edu/ himalaya
Upadhyaya, K. (1998). Drama Dictionary of Nepalese Literature. Kathmandu: Royal Nepal Academy.
Thapa, H. (1997). Nepali Natya Parampara. Prajna. Kathmandu: Royal Nepal Academy.
Thakur, J. D. S. (1995). Indian Music. Culcatta: Research Academy
This write up aims to understand the relationship between the ancient and the modern art in relation to the foundation of the unbound state of mind that has been flowing from primitive time in Nepal. State of mind is generally defined as the mental state or mood of a person at a particular time. But in this context, time is an extended and stretched playground for artists where they have sometimes connected and at times disconnected from their primitive native continuity of individual aesthetics and collective social beliefs. And this connection and disconnection from what appears as the ancient state of mind is rather the elementary characteristics of our society that has merged with western propagated modernity in terms of arts as well as science; we have local modern art façade which got fueled around the mid 19th century in Nepal and combusted in the mid 20th century here. When one enters into this creative façade, one can still feel the unbound state of mind that emanates mystic, relaxed and harmonious qualities in some of the artworks by local artists. When these qualities unify with popular styles of expressions in Nepal, we coincide with the Nepaliness in a work of art of recent times.
“I think I’ve had a permanent affair with the art of the past and it goes hot and cold… The truth is, the art of the past is living; the art of the past that has died is not around.”
— David Hockney, (1976 A.D.)
The date is some day of 1995 A.D. when I was in front of a Krishna Manandhar; at Sirjana Contemporary Art Gallery; these pieces of vivid canvases that dated 1970s A.D. were catalysts in introducing and encouraging the modern art in Nepal. The paintings by Manandhar depicted a landscape of the green earth from an aerial view with daubs of yellows, reds and bit of browns as well.
His style was genuinely authentic as he painted though the accumulated personal experiences that none other could have brought together in a way he did. Even
though he was depicting landscape, the emotion and the intellect he scattered in projecting the image and colors were derived from his internalization of the external reality. Thus, this piece by the artist was riveting and captivating.
Landscape paintings in abstract approach have been depicted by various artists in the past. In that sense, Manandhar’s concept in art cannot be considered original. But it sure is genuine because the visual is not only a combination of colors and forms; it is his emotion, the intellectualization of his experiences blending with his mature creative senses
David Hockney mentions in the opening of this text that nothing can completely disassociate from the past. Hence, no art can be considered original in its content as there are always several components influencing and inspiring it.
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Therefore, art can be a great example to make us understand that things including art can be genuine but not original in its content or concept.
According to the Longman dictionary, Originality is when something is completely new and different from anything that anyone has thought of before. However, the same dictionary says genuine is an authentic feeling, desire etc. is one that you really feel, not one you pretend to feel. Setting in mind these definitions, nothing is original as everything, in one way or the other relates to the past. However, things can be
genuine or authentic when you are true to yourself and your experiences when you engage in some activities. And these definitions fit in a work of art and artists also.
The date is 2002 A.D. Manuj Babu Mishra is seated on the floor surrounded with his paintings, sketch pads and books. A scholar in his own right, his passion for art is matched by a will to interact with the visitors at Hermitage, his studio. The artist, disassociated from the world yet aware of his own connectedness with his surroundings, emphasizes the clarity before and after he engages in a work of
Krishna Manadhar. Rocks. 1975. Oil on canvas.
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Madan Chitrakar. Origin of species. 2008. Acrylics on canvas. 99 cm x 91 cm.
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art. He believes that nothing is original; everything is a sequential outcome of something: be it living things, the nonliving or emotions, situations etc.
Amongst some specific subjects, he also usually painted anthropomorphic figures or animal human hybrids to express his friction with the world situations. Many artists from ancient times till modern have painted such figures; yet the way Mishra dealt with these animal-human hybrid visuals had a very personal story to it. He always appealed not to seek for originality but understand the uniqueness in which the art and humans in general have born and brought up. He further clarified that in order to live the present, one has to understand the past; there is no sound without an echo.
“Painting is the intermediate somewhat between a thought and a thing.”
— Samuel Taylor Coleridge, Table Talk, 1827 A.D.
Perhaps it is the intermediate that makes the thing and these thoughts genuine.
It is 2008 A.D. and I am amidst silent yet very much expressive paintings by Madan Chitrakar at Siddhartha Art Gallery. The title of the exhibition by this veteran artist was The Unspoken where the artist depicted the friction between the past and the present. In relaying across his theme, he chose the traditional practices of Nepal and how they are transforming in today’s time and age. The artist comes from a great lineage of Chitrakars who were associated with a task of painting in the medieval times in Nepal.
Besides being a painter, Madan Chitrakar is a researcher and a writer, passionate about excavating the past art of Nepal. And when he says that instead of searching for originality in a work of art, one should try to seek and see the authenticity in it; this very much affirms that art is a special expression that happens due to the integration of various human experiences.
This was evident at one incident when he was explaining how the Chitrakar caste system came into being. According to him, Chitrakars were monks who were skilled in making illustration in the ancient religious scriptures.
After years of practicing this art for the scriptures, the then authoritarian figures recognized them as skilled painters or Chitrakars. Even this clip of history suggests that the evolution of the Chitrakars is connected with various incidents in the past and thus cannot
Manuj Babu Mishra. Self portrait. Oil on canvas.
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Saroj Bajracharya
Saroj Bajracharya is an artist, writer and curator. He has been active in art for more than two decades. He has been actively involved in many facets of art that include painting, writing, teaching, curating, organizing and coordinating art events and exhibitions.
Various solo exhibitions, group shows and two books titled Future of History and A Concise Introduction to Nepali Modern Sculpture are to his credit.
be considered original. However, this historical information and the task they carried from centuries are undoubtedly genuine and authentic.
Once an artist reaches to the understanding of the self through rigorous practicing of art s/he will know the connectedness of the self with the surroundings. When that happens, art becomes the process of emptying the self from the conditioning of the world. This is a moment when one feels rejuvenated, unbothered of originality or imitativeness. One is inspired by everything and vice versa. An artist simply realizes the self.
“Painting is a way of being.” - Jackson Pollock, interview with Selden Rodman, 1956 A.D.
References
Dictionary of Art Quotations, Ian Crofton
Art Evolves: Nepali Modern Art, Saroj Bajracharya
Interviews with Mr. Krishna Manandhar, Mr. Manuj Babu Mishra and Mr. Madan Chitrakar
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Chandra Man Singh Maskey. A Newar lady. c.1940. Oil on canvas.Picture courtesy: Prof. Dr. Santosh Man Maskey, Kathmandu.
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abstract
The article explores the multiplicity of contemporary Nepali paintings in terms of Nepali tradition and contemporary experiments. Globalization enhanced the creative flow of ideas and events in the domain of art. Th condition of cultural encounter and ambivalence appear in the context of Nepali art as the effects of globalization. We can trace the native images, symbols, icons and forms interacting with western techniques in the artworks. The paintings depict the representation of cultural self and cultural other. Using the techniques of irony and parody, the visual texts respond and accommodate the alien forms. We can see how heterogeneous images, genres and cultures are criss-crossed within the paintings in the context of pervasive semiotic flow. The artworks present the dialogue of vision and textuality, tradition and modernity along with continuity and change making the work open-ended and plural having multiple significances.
Dynamics of contemporary nepali Paintings Dr. Yam Prasad Sharma
Keywords: cultural encounter, ambivalence, appropriation, plurality, alienation, inter-art
Background
A tentative borderline of contemporaneousness of Nepali arts can be considered from post-1950s. Nepali paintings until the mid-twentieth century are referential in religio-realistic mode and also everyday worldly ideas and events. They represent the objects, characters and events of the Hindu and Buddhist mythologies. These referential artworks can be classified in two types: religious paintings and the paintings of worldly objects and events. Religious paintings represent the characters and events of the religious texts. They are narrative, mystical and didactic. These paintings have been
created mainly for religious purpose like worshipping, praying and meditating. The artworks are found in the form of manuscript illumination, paubha, pata and mural. The artists were guided by the religious iconography. Next types of early paintings attempt to represent the object and events of the world in realistic mode. They are found in the form of portrait, landscape and still life. Both types of paintings are referential and representational although there are differences in subject matters and their presentation.
After the mid-twentieth century, we can see changes in Nepali art in terms of contents and forms ((Singh 211). Nepali artists have been exposed to various western art forms and techniques due to the crossflow of people. The western influence can be found intense after
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the end of Rana rule in 1950s. Nepali artists directly encountered western art forms because of traveling possibilities and mass communication. The artists have been exposed to various western art techniques like impressionism’s fragmented colors, lines, and rough texture, cubism’s geometric shapes, expressionism’s distorted images and colors, abstractionism’s plural forms, surrealism’s dreamlike images, abstract expressionism’s spontaneity and stress on the process of creation, and installation and performance art’s intermingling of painting with other genres of arts like sculpture, photography and literature (Malla 16-17).
Native Contents and Western art forms
Western art forms facilitated Nepali artists to break away from referential representations providing the opportunity to express their personal feelings and imagination in the process of creation. Traditional Nepali artworks also influenced the contemporary artists. As a result, referential native artworks and plural western art forms have interacted and coexisted in contemporary Nepali paintings. The artists like Lain Singh Bangdel, Ramandana Joshi, Uttam Nepali, Manuj Babu Mishra, Shashi Shah, Batsa Gopal Vaidya, Krishna Manandhar, Pramila Giri, Shyam Lal Shrestha, Madan Chitrakar, Govinda Dangol, Shashi Kala Tiwari and K K Karmacharya along with other contemporary Nepali artists have assimilated native themes and modern techniques in their paintings. Manuj Babu Mishra points out the changes in the art scenario of Nepal after 1950: The political environment for the development of art gradually turned out gNepali artists appropriated the western techniques with their own native art forms. Sanjeev Uprety
writes about this situation: In some cases, the forms of western modernity were imitated or copied, in some other instances they were rejected as the non-western societies sought to protect the forms of their own indigenous traditions. In addition to these two cultural responses of mimicry and indigenization, a third alternative was also possible. This consisted in a selective appropriation of the forms of both western modernity and native traditions in a production of what might be called hybrid forms in the areas of music, economy, painting and literature. (22)
Contemporary Nepali artists created their own mode of expression exploiting native motifs and western techniques. They used western techniques to respond native subject matters. Contemporary Nepali artists are attracted toward plural western art forms. But they are aware not to lose their own native tradition. Abhi Subedi writes about contemporary Nepali paintings: Modern Nepali paintings do not necessarily depict the event and times of the transitional Nepali society. But they are certainly the expressions of the modern Nepali artists' response to the changing times, the changing values and norms. The imagery is drowned into the abstract form. . . . The colored shapes and the brush strokes give the painting a pattern. The colors themselves, not the images, spring to the eyes of the viewers and influence the mind (124-125).The distorted images, symbols and colors are more significant than mimetic figures. They express the artist's feeling and experiences. The forms and techniques become more important than subject matters. The artworks are subjective expressions of artist themselves rather than objective representations of the
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tej Bahadur Chitrakar. Portrait study. 1927. Oil on canvas.Picture courtesy: Madan Chitrakar, Kathmandu.
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external world. Some paintings present only colors, lines and abstract shapes. The art form stands for its own sake. Nepali artists did not copy western forms and techniques blindly but selected them to suit their purpose for their personal expression. They have attempted to carve native identity in contemporary Nepali paintings. Art critic Ram Kumar Pandey remarks: Some of the contemporary artists
are successful in evolving their styles by a selection of symbols and abstract forms. . . As such very few artists influenced by western styles and colours are successful in giving Nepalese touch and identity in their works while most of artists share the same features. (41)
The influence of western art techniques brought confusion in Nepali artists in
Batsa Gopal Vaidya. Ganesh. 1989. Oil on canvas.
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the beginning. But gradually, the artists used western techniques appropriately to present native themes. Nepali artists not only used the western art techniques but also "sought the representation of their own culture, society and life " (Shrestha 29).The artworks are different from the traditional Nepali paintings because
they are subjective and non-referential. They are not objective representations of the culture, myths and objects of the external world. However, they attempted to present their own culture, nature and society in distorted and expressive mode. About contemporary Nepali paintings, Manuj Babu Mishra again remarks:"Contemporary art of Nepal today is
Krishna Manandhar. Mountain series. 2018. Acrylics on canvas.
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proceeding with various trends. Some artists are akin to reflect national identity in art, whereas others look interested to assimilate some prevailing trends from outside world to give out a unique creation" (22). Images of the Himalayan mountains and culture come together in the canvas. This situation in painting contributes for creating native identity in art. Contemporary Nepali paintings
combine native contents with western art techniques and forms to express their inner emotions and feelings.
integration of tradition
The structure of mandala, themes of meditation and concentration, two dimensional colours, decorative patterns and religious iconography, the features of
Uttam Nepali. The vision. 2003. Acrylics on canvas.
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manuscript illuminations and paubhas, reappear in unconventional and altered forms. Contemporary Nepali artists read anew the tradition of Nepali art forms in their artworks. They learned from the past and they are trying to develop Nepali art with the use of western forms of art. Julia Hegewald comments on contemporary Nepali artists: They consider tradition not as something static, but as a continuously changing and progressing movement, out of which they have emerged, and on the basis of which they are trying to elaborate. They are working on improving and progressively developing their ancient artistic heritage into 21st century, their main criterion for judging whether their art deserves to be called "Nepali" being that it be good. Only good art, influenced by new and foreign ideas but allegedly coming out of their own tradition, as they would have it, is considered to be true modern Nepali art. (100)
On the process of creativity, the influence of the other in the formation of the self- creativity is an important phenomenon. To be more specific, the structure of mandala, Shivalinga as icon, trident as symbol, and decorative pattern of Mithila folk art have been presented with expressionist and surrealist forms. Likewise, some artworks reinterpret the paubha of Nritesvara, the early Nepali art form depicting the union of Shiva and Shakti, Prakriti and Purusa, the male and the female principles, the self and the other, the individual self and the universal spirit. The age- old images revitalized forms.
The artworks also explore the issues of intertextuality presenting the interconnectedness of native visual and verbal texts with western forms.
Exploiting modern techniques, the artists present the images and symbols of manuscript illuminations and paubhas in altered forms. They recreate the traditional mandala in abstract form. Intertextuality in art gives a sense of sharedness and coexistence among heterogeneous cultures.
The visual arts explore the religio-cultural rituals and renew the art forms and viewer's perceptions. Some of the core ideas of Nepali culture can be perceived through the images, icons, and symbols in the artworks. The iconography brings up the discourse of the religious rituals related to the process of meditation. The artists incorporate the icons of gods and goddesses, and images of temples (Bibas, "Nepalese Contemporary" 134). Native culture is intertwined with western techniques through intercultural interaction. Such paintings represent cooperation and cultural harmony. Due to the coexistence of heterogeneous images, the paintings speak of the self and the other.
inter-art Relationship
Inter-art relation is another important feature contemporary Nepali paintings. Intergeneric art forms integrate not only painting but also sculpture, photography and poetry blurring the boundaries between various art genres (Sharma 4). The artworks break and redraw the boundaries among various art forms to give expression to the creative urge of the artists. They create a pastiche by assembling the heterogeneous art forms. Transgressing the boundary, one genre of art interpenetrates the other. About inter-art activities, Gallery Nine states in its prospectus: "Mixing high and low art forms, merging the traditional
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and modern with the postmodern and experimental, .. . It aims to enable artists and art lovers to open up to new ideas and new media, cross-pollinating their fields with others." The artists cross the traditional rules of creating painting. As a result, such paintings are experimental. The creation of inter-art relationship is not the contemporary phenomena but as old as Nepali culture. Cultural rituals in Nepal integrate various art forms like painting, sculpture, music, recitation of mantras, installation and performance art creating inter-art relationships. In such rituals, one can see the painted mandalas on the floor, installation of the images of divinities, prayer and devotional songs accompanied by dance and worshipping. Contemporary Nepali artists share the features of such rituals in different forms with different purposes. Presenting poems and paintings together, contemporary artworks give continuity to the early art traditions of manuscript illuminations despite the difference in the mode of expression. The artists juxtapose words and visual images on the canvas simultaneously. They go beyond defined rules and principals of art.
Exploration of alienation
Some contemporary Nepali paintings present melancholy and mental horror of contemporary Nepali youths through distorted images and colors. Lack of opportunities has brought complexities in Nepali society. The young people are suffering from mental torture. They lose the hope of bright future and become the victim of alienation. Sunil Sigdel comments on contemporary Nepali paintings: In such divided realities of
economical inefficiencies, religious prejudices and political incompetence, modern human is pressurized in such a way that his/her natural growth is unknowingly obstructed. Therefore, this exposure to mental and physical disorder has made human beings unnatural animals in many ways. And delving deep into the human psyche, the many symbols that we have created for various reasons also bear unnatural forms. ("Bonsai")The issues of fragmentation and degeneration are expressed exploiting western techniques of painting. The artworks create socio-political critical awareness in contemporary time depicting the existing contradictions and ironies in Nepali society. The authorities having responsibility to serve people turn out to be agents of darkness and brutality. The paintings present humor and satire toward political leadership through parody, pastiche and analogy.
Conclusion
Contemporary Nepali paintings go back to their cultural roots depicting the features of various early art forms, myths and rituals. The presented images, icons, symbols, colours, lines, textures and forms in contemporary Nepali paintings create the atmosphere and ambience of Nepali socio-cultural context. The artists respond contemporary complexities of the society using western techniques as tools to explore the native subject matters. The artworks also present the interconnectedness among other art genres and heterogeneous images that represent the cultural self and the cultural. The artworks show the potentiality of multiple interpretations since they are the creative plays of realism and abstractions, and deviations and distortions. Plurality,
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Dr. Yam Prasad Sharma
Dr. Yam Prasad Sharma earned his Ph.D. in English from Tribhuvan University (TU), Kathmandu, Nepal. He has been doing research in contemporary Nepali arts and critiquing the artworks. He has been teaching English, Art History and Aesthetics at Lilitkala Campus, TU. His articles on art have been published in various journals, magazines, exhibition catalogues and newspapers. Dr. Sharma is the author of the books, 'Nepali Painting: A Critical Analysis' and 'Contemporary Nepali Paintings: A Distinct Cluster'. He is also the co-author of the book, 'Alternative Art: Shifting Trends in Aesthetics'.
ambivalence, appropriation and inter-art are the dynamisms of contemporary Nepali paintings. The art of contemporary Nepal is the story of its culture in metaphoric mode.
Works Cited Bhattarai, Surendra. "Samasamaik Nepali Kala." Akriti. 1.2 (2000): 77-78.
Malla, Mukesh. "Samasamaik Nepali Kalama Dekhieka Attyadhunik Prabriti." Sirjana. Ed. Navindra Man Rajbhandari Kathmandu: Sirjana College of Fine Arts, 2006. 13-18.
Mishra, Manuj Babu. "Contemporary Art in Nepal." Kalakriti Asar 2045: 19-23.
Pandey, Ram Kumar. "Identification of the Nepalese Art." Kalakriti 25.14 (2046): 29-41.
Sharma, Yam Prasad. Nepali Painting: A Critical Analysis. Kathmandu: Nepal Academy of Fine Arts (NAFA), 2014.
Shrestha, Banshi. "In Praise of Creative Artists." Sirjana. Ed. Navindra Man Rajbhandari. Kathmandu: Sirjana College of Fine Arts, 2006. 27-30.
Sigdel, Sunil. "The Human Bonsai." Exhibition catalogue. The Art Shop, Kathmandu, 2007.
Singh, Narayan Bahadur. Samasamaik Nepali Chitrakalako Itihas. Kathmandu: Royal Nepal Academy, 1976.
Subedi, Abhi. "Nepali Art: Nepali Utopia." Contributions to Nepalese Studies 22.2 (1992): 113-130.
Uprety, Sanjeev. "Non-Western Studies: Some Ideas and Implications." The Himalayan Herald 3.2 (2007).
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Aryan, L. (1974). The art of Nepal. Kathmandu: Sahayogi Prakashan.
Banerjea, J. N. (1985). The Development of Hindu Iconography (4th ed.). New Delhi: Muns Hiram Manoharalal Publishers Pvt.ltd.
Pal, P. (1974). The Art of Nepal. Leiden: E. J. Brill, Leiden, Netherlands.
Pal, P. (n.d.). Vaisnava Iconology in Nepal. Calcutta: The Asiatic society.
Rao, T. G. (1914). Element of Hindu Iconography (Vol. I). Madras: Government of His Highness the Maharaja of Travancore.
Sharma, B. N. (1968, September-December). Visnu-Triviram in Literature, Art and Epigraphs. Istituto Italino per l'Africa e l'Oriente (IsIAO), 18(3/4), 323-334. Retrieved 03 04, 2019, from https://www.jstor.org/ stsble/297555341
In keeping with our promise, BFA SHOW-2019, a graduatoin exhibition, remained a moment of great joy and pride. On August 29, 2019, the show was inaugurated by Shri Sarbendra Khanal, Inspector General of Nepal Police amidst a gala ceremony.As usual, the show showcased an impressive of works created by our out-going graduate students. it represented all the courses of studies, we offer in our college and the works remained a composite collection, accumulated over one academic years. In additon to being a grand reflection of the creative strength of our students, present show also, sought to portray a new up and coming dimension of their education they recieved in our college.
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RaBiN LaL SHREStHa(November 16, 1969 – August 27, 2019)
(Tabala Maestro/Music Guru and Faculty Member of Sirjana College of Fine Arts)
May your soul ascend to the heavenly abode and always rest in peace.
