Painting of Assam
Painting of Assam, the art of manuscript painting in the Assam region developed through the movement of Vaishnavism. Vaishnava saints were primarily responsible for the establishment of manuscript painting tradition in Assam. A large number of manuscript paintings were done and copied during the 16th to 19th centuries. Assam has a very long history of visual art from the pre-historic age up to the end of Ahom rule in 1826 A.D. Among the earliest reference of Assam painting, the account of Chinese traveller Xuanzang records that King Bhaskaravarman of Kamarupa who was a friend of King Harsa of Kanauj presented the king “Carved boxes of panels for painting with brushes and gourds."[1]
The tradition of manuscript painting in Assam was developed in direct response to the Neo-Vaisnavism introduced by the great leader, social reformer, Vaisnava saint
Styles of Art
(Dasgupta, 1972) refers to 6 streams or styles of different schools of Assamese painting such as; Tai–Ahom School, Sattriya School, Darrang School and Garhgaon School (court style). But according to other scholars like e.g. Neog, Kalita and Saikia these styles come to three to four excluding or including the Tai-Ahom style. For them the styles are mainly three; Satriya, Court (Garhgaon, Provincial Mughal, Style akin to Garhgaon merged) and Darrang, if and when Tai-Ahom is excluded. (Saikia, 2016), according to him the painting styles of Assam could be divided into three branches or styles; Sattriya style, Rajghariya Style and Decoration only. The third style denotes the manuscripts with border decoration not illustrations. (Saikia, 2016) ignores Tai–Ahom style because of its ''primitivity, lack of vigour, dominance and continuity. '' (Kalita, 2014) also only refers to two styles of Assamese manuscript paintings: Sattriya style (
Tai-Ahom style
The Ahoms when coming from Upper Burma to Upper Assam, bring with them their cultural heritage and skill. Phung Chin manuscript illustrated in Ahom language dated to 1473 A.D, it is considered among the earliest extant manuscript illustrations of Assam now preserved at, DHAS (Department of Historical and Antiquarian Studies, Guwahati). Suktanta Kympong is another illustrated manuscript in Ahom script dated to around 1523 A.D. Both manuscripts were made on handmade paper (Tula-pat). In both manuscripts the depiction of the Buddha image is common. Some other Tai-Ahom manuscripts are: Phe-Ban (Omen & Divination), Kukura-Theng (Chicken bone Divination), Phura-long (Jataka Story), etc. These individual manuscripts contain some figurative line drawings and sketches which are may not truly be considered under the category of painting.[3]
Sattriya Style
With the influence of Bhakti movement of
Other illustrated manuscripts of the Sattriya style includes: Bhakti Ratnavali 1605 Saka (1683 A.D), Bhagavata Purana, Book X (Adi Dasama/Chitra Bhagavata), Bar Kirtan, Bhagavata-Purana, Book XI (1697 A.D). According to Kalita, “The best of the pictures in the repertory of Assamese painting belonging to the Sattriya idiom has been rendered in late 17th century A.D.” (Kalita, 2009) But we have other manuscripts of the style such as Vanamali Devar Charita of Ramakanta Dwija; Sri Bhagavata Matsya Charita of Nitananda Kayastha, A.D 1644–50; Gita Govinda, translated by Kaviraj Chakravarti, A.D. 1644- 50; Lava Kushar Yudha of Harivar Vipra, A.D 1714 -1744; Ananda Lahari of Ananta Acharya Dwija, A.D 1714–44; Ramayana (Sundara Kanda) A.D. 1715; Sankara Charita; and Ramayana (Lanka Kanda) 1791–1806 A.D.[7]
Court Style
Court style, Rajghariya style or Garhgoan style (as being the capital of the Ahom kingdom later Rangpur) of painting was mainly developed by the court artists of the Ahom Kingdom.
It was continued under the reign of his successor
Darrang Style
During the time of peace in the middle early part of 18th century Sattriya pictorial idiom moved for the first time to Darrang . But the artisans there were not as talented as their Majuli counterparts. Some of the illustrations of Darrang style are: Kaumudi, Anadi Patana (1782 A.D) and the Bhagavata – Purana Book VIII (1804 A.D). The most important example of the later Darrang manuscript miniatures is the Darrang Raj Vamsavali. This style comes to an end with the de-thronement of Krishnanaryana in 1805.[11]
Decline
The Manuscript painting culture declined after the Moamoria rebellion due to the devastation caused by it, followed by Burmese invasions of Assam. After the collapse of Ahom government and lack of patronization called for the ways of its decline.[11]
Gallery
-
Bhagwat illustration of Bengenaati Satra
-
Hastividyarnava
-
Illustrated Ramayan
-
Katha-Bhagawat illustration, made under Garhgoan style
-
Illustrated Parijat Haran
-
Illustrated manuscript
-
Hastividyarnava Illustration
-
Hastividyarnava Illustration
Notes
- ^ Boruah, Porishmita (2009). "The Illustrated Manuscripts Of Assam: A Brief Study". 5: 2885.
{{cite journal}}
: Cite journal requires|journal=
(help) - ^ "Manuscript paintings from Assam |". Hindu Scriptures | Vedic lifestyle, Scriptures, Vedas, Upanishads, Itihaas, Smrutis, Sanskrit. 2017-12-27. Retrieved 2023-02-05.
- ^ Tradition of manuscript paintings in Assam, Bikramjit Sarkar (2021), Tripura University. p. 49.
- ^ Boruah, Porishmita (2019). "The Illustrated Manuscripts Of Assam: A Brief Study". 5: 2886.
{{cite journal}}
: Cite journal requires|journal=
(help) - ^ Boruah, Porushmita. "The Illustrated Manuscripts Of Assam: A Brief Study". 5: 887.
{{cite journal}}
: Cite journal requires|journal=
(help) - ^ "Manuscript Painting of Assam: Historical and Contemporary Perspectives". Sahapedia. Retrieved 2023-02-05.
- ^ a b Raj Kumar Mazinder (April 2020). "Manuscript painting Tradition in Assam: A Concise Overview".
- ^ Tradition of manuscript paintings in Assam, Bikramjit Sarkar (2021), Tripura University. p. 52.
- ^ Manuscript Paintings of Assam and Odisha A Comparative Study, Amritanand Nayak (2019), Assam University. p. 114.
- ^ Gupta, Rajatananda Das (1972). Eastern Indian Manuscript Painting. D. B. Taraporevala Sons.
- ^ a b Manuscript Paintings of Assam and Odisha A Comparative Study, Amritanand Nayak (2019), Assam University.