How
Kashmiri Pandits Preserved Painting
By
P.N. Kachroo
The
Kashmiri painters, in their heyday of estab lished movements had chiseled and
garnished a style based on the traditions of Harvan formalism and Baroque of
Wushkar school and contented with their philosophic thought. The chromatically
decorative element composed with spatially organised figurative symbols
constituted the great Kashmir
murals, of which the majestic but lingering appearance still stands in the
monasteries of Alchi in Ladakh, waiting pathetically for its demise. Further,
the style was subtly and sensitively ornamented with the linear sensibilities
observed in Mathura and Pala schools while their seasonal sojourns and
pilgrimages.
Hordes of
such aesthetes and creators went out in the company of eminent and propagating
Kashmiri scholars under numerous leading painters like Hasuraj and lead their
artistic movement as far as into Tibet, while contributing to the establishment
of themes of Buddhistic Mahayana-Vajrayana in Central Asian regions.
The
barbaric and devastative onslaught of Islamic iconoclasm, ushered in early
thirteenth century, which vandalized, ignited and razed to ground all the
monumental edifices and temples of national sanctity along with the invaluable
and creative wall frescoes, murals and gold gilt paintings. The examples are
still lingering over the mud walls of monasteries of Alchi. Consequent to this
the Kashmiri painter suffered a deep cultural shock and a grievous starvation
for means and methods of expression. But, as always like a typical Pandit he not
only survived the shock but came up with an alternative equipment that did not
only bring forth but strengthened and energized the Kashmir miniaturist
movement. Thus the base for expression shifted from monumental areas and
structures to portable areas of Burjapatras and home made papers. This
altnerative means for expression did not only safeguard the continuance of his
creativity secretly, but also made it easy for him to carry his masterpieces in
case of his migration to seek shelter for his life. This physical fanning out
widened the field of diffusion for the Kashmir style, leaving behind the pieces
of master--expression not only in neighbouring Himachal principalities but in
places of pilgrimage like Kurukshetra, Vrindavan, Haridwar and in as far away
places as Sangam and Varanasi.
During
the transitory periods of peace in the Valley the customary pilgrimages,
particularly in winters, had taken the shape of an intensified yatra of
Sthanapatis (Thanapti) from numerous religio-cultural centers like Jeshtheswara,
Martand (Matan) and Vijeyashwra (Vejabror). This would compensate their
prevailing penury through annual visitations to their Jajmans living in various
Indian principalities. These hordes of migratory Brahmins were joined by
numerous painters, calligraphers and scribes who, in their search for economic
survival, would move from village to village, particularly in neighbouring outer
Himalayas
and
Punjab.
The numerous groups of scribes and painters would drop themselves in a nearby
Sarai of a town at its outskirts and then fan out in the alleys of township and
would hawk and call Muratgarh! Chitragarh! Likhari! In later periods of Indian
Muslim rule their calls changed into Mussavir, Katib, Mussavir-mi-Katib, the
painter and scribe together.
In
absence of printing technology the profession of a scribe and book illuminator
proved to be an indispensable profession that kept the starving Brahmin and
painter wedded to his staunch faith and philosopy. He would hawk in the various
lanes of Indian settlements and would transcribe and illumine the various
tattering Pothis and manuscripts. It has become customary for every household to
provide these pundits free quantities of oil, besides their wages, so that they
could finish their job by burning the midnight oil. The wandering Pandits would
pack up their bundles the moment their job would finish, and would move to
another Sarai and seek out their job for transcription and illumination. At the
advent of spring time, in case the situation permitted, these groups would
return to the Valley to spend their summer time with their kin and families.
Various
collectors and research scholars, particularly Swiss, German and American teams
and organisations have collected a sizable number of such manuscripts and Pothis
from various Indian townships, scribed and painted by these wandering pilgrims
of culture who have fanned out the aesthetic elements of Kashmir school to wider
areas of the subcontinent. Recently, one of the most creative collections of a
high aesthetic order lying now in the Museum Reitburg, Zurich from Alice Boner
collection of Switzerland,
has been published by these authorities. This is one of the finest collections
of Kashmir school, depicting the various forms of Shakti as interpreted through
the creative forms of Kashmir Miniaturist movement.
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