Bundelkhand Paintings (Orchha, Chhatarpur & Gwalior)

About the Book The present work is a valuable record of research done on the rare wall paintings of Bundelkhand region. The study conducted under the table guidance of internationally recognized late Padmashree Dr. V.S. Wakankar depicts the intricacies of the paintings of Orchha, Jaina temples of Chhattarpur, Datia and Gwalior.

The paintings containing a rich treasure of Jain Tirthankaras and Hindu deities speak a lot about the whole-hearted love and affection of Jain and Hindu communities and their influence on general public. As the book is the result of thorough research, the material incorporated in it has much valuable information for the scholars and students in this field.

The book is copiously illustrated with color plates, and line drawings making it the most comprehensive coverage of the Bundelkhand art and its times.

About the Author Dr. Madhu Saxena completed her PhD from Bhopal University. Apart from writing in renowned magazines and daily newspapers like Dainik Jagran and Nai Duniya, Bhopal, she has to her credit Painting Exhibitions at Raipur, Indore and Bhopal. Presently she is engaged as an artist for designing of cloth paintings.

Preface "There is no knowledge without enguiseteness. There is no happiness without sadness.

There is bound to be dilemma and soul searching eminence in the desirous mind."

The essence of these words of Mahatma Gandhi is that knowledge cannot be gained without acquisitiveness. As the real happiness comes after hearing sadness in the same way I received the imputes to do this research work from my Guru Dr. Wakankar's immense affection and untiring labor that I could complete my work.

Any work of art reaches its completion, only after it traverses through difficult path.

The characteristics of the work of art reach its completeness after passing through difficult paths. No man can make a claim that whatever he is searching for throughout his life it is the most authentic. A research has an end; any other person can go beyond it and search.

Other research students can find other materials, the lack of research materials of the research work did not bother me, I used to get necessary books of my choice. The entire credit goes to my preceptor (Late) Padamshree Dr. Vishnu Sridhar Wakankar without his successfully directing this work I am whole heartedly grateful to him from my heart for his great support towards this work.

My father and mother always supported me and gave directions to me for this research work. They always stood beside me in my difficulties, and encouraged me and gave all kinds of support. I am also-grateful to them.

To do this research work I surveyed the Temples of Chattarpur, I had to travel to many places for this, and I visited Orchha, Datia, Gwalior, and Jhansi. Tekamah etc. places for surveying. In the present research work I have tried to explain the geographical and historical Bundelkhand, Paintings in Bundelkhand, the wall paintings of the Big Jain Temple of Chattarpur, the wall paintings of the New Digambar Jain Temple and the frescoes of the Chowdhary Temple, according to me. I have tried to explain the stylized practipractist, and the local influence of the-frescoes keeping in minds the photographs and drawings.

By the able direction and grace of Dr. Wakankar that this work could take the shape of a book. The kind advices, statements, and helps by other scholars by lending me books for this work reflect their kind hearted dispositions. Along with this, I am also indebted to photographer Sri Ahmed (Shiva Studio-Chattarpur) Sri Kuldeep Singh (Moni Studio- Bhopal) Smt. Urmila Bhanot, Superintending Librarian, Oriental House Library and Superintendent of Old Secretariat, Srimati Rizoi - Library Superintendent of Maharani Laksmibai Girls' College and Sri Tiwari - Library Superintendent of Hamidia College, and to Shri Shush eel Jain, and cloth merchant Sri Ratan Chand Jain, and the missionaries of the Jain Temple of Bhopal- Sri Pawaiya and Dr. Arun Kumar Jain, who had helped me to understand and gain knowledge about the Jain religion, I 'am also immensely grateful to Sri Hari Singh Sisodia of Chattarpur - who had extended all possible helps to me.

Shri Rajesh Shrivastava, Assistant Manager, Urja Vikas Nigam Ltd. M.P., Bhopal for all his labors he has done in typing word.

In the end, I express my gratitude to all of the well-wishers, relatives, friends who had given their support, and full cooperation, as a result of which the work is at your hands in a book form.

Dr. Om Prakash Misra of the State Archaeology & Museum, Bhopal has taken keen interest for this publication, for which I am grateful to him. Sri B.L. Bansal, Prop. Sharada Publishing House, New Delhi shown generosity and prompt action for this publication and also for the getup and good quality in a very short time for which I pay my regards to him. Last but not least my respected parents and members of my family.

Introduction Painting is an incomparable and ideal part of folk culture. Through the medium of paintings the world perceives the human truths. Jealousy, remorse, bravery, love etc. are expressed by the brush of the painter in influential style. India has its own important place in the field of paintings. Through it the outward glimpse is shown of the regional base. From time to time it rises. In the paintings of Bundelkhand also the expressions of the land have been drawn with various effects.

Late Shri Ambika Prasad Divya is of the opinion about the paintings of Bundelkhand - that the source of the traditional Bundeli paintings can be seen in the murals. Seeing all these evidences we have come to the conclusion that the birth of the paintings has started in the caves itself where the primitive humans lived. There are still such paintings available in Bundelkhand today that it would not be out of place to call them belonging to the primitive age. They have not changed a bit even with such change of civilization.

Some more paintings are' available which can hardly be attributed to have been born of human imaginations also it cannot be said since when it has come into being. For example the 'Surat' (the paintings of Sartar) it is numerated on the day of Deepavali. It is painted on the wall. First the wall is painted with mud and chalk, and then painted with turmeric and lime colors. Probably the idea is as old as our Deepavali is.

The second picture available is that of 'Kamyan tree'. On the second day of Deepavali the 'Chiraiya Gaur' puja is performed. The picture of a banyan tree is drawn and birds are drawn on it.

The third picture is that of 'Namai', available. Its puja is performed on the 'navami' (ninth day) in the month of Sravan (rain month). It is a picture of a woman; a square is drawn under it which denotes. clothes.

The fourth picture that is available is that of a parrot. This very idea is unique. There are several pictures in use in Bundelkhand and if they are called to belong to primitive age, it would be very difficult to identify the age. Those that have remained since then have been shuttered by religion. It does not at all mean that paintings began in Bundelkhand only, but this much is sure that paintings have been in practice in Bundelkhand since the primitive age. It also has developed along with the development of paintings and art in India.

Indian art and paintings have reached the Ajanta period after crossing over the primitive era. How the paintings have developed in Ajanta it is not necessary to repeat. It is an ideal example of Indian paintings even today. The paintings of Ajanta do not depict unnatural or imaginative things. These paintings not only give such ideal forms to human but also to every living thing and gave importance to emotive expression that they have acquired mysteriousness and have a special attractiveness that draw us towards some unearthly substance (body). The mind reaches to a world of imagination. The style is fantastic that they have become the ideals of painters and artists of today. Their color is bright and shiny. The lives are clear and deep like that of the palms. There are shades, but all the emotions have been drawn with the help of other lives.

Expressions of emotions are their main objective.

With the progress of time this very Ajanta style blossomed into various other forms of style like what we call today Rajput pen, Kangra pen, Mughal pen, Bundeli pen etc.

During the advent of Mughal period the art took a novel form. The pictures that were painted on walls from the times of Ajanta underwent a change.

Paintings on small papers were being made. Thus the beginning of miniature paintings took place. This new form of paintings was brought from Persia. Water colors were used on pieces of papers in this style. India did accept this new form of paintings but added its own style with it to bring forth another new form which was given the name of Indian miniature style of paintings. This style is narrated into two: Mughal Pen Rajput Pen The Bundeli pen is supposed to belong to the Rajput pen. These two styles are very thickly related to each other, so a detailed steady is essential. The Mughal pen is to be examined from many angles. There is more of Sufi influence in the earlier pictures of this style, but gradually this influence diminished and gave way to Indianans. European influence too was perceived in the end. Thus the Mughal period was a unique age of transition when influence. of different styles became visible. Before the advent of the Mughal a highly advanced state of Indian art was present in India.

In this Indian art form the Persian style was merged, and the Mughal gave the shapes according to their own likenesses. It had its influence in Europe also. Thus the Mughal Pen was created and brought up under the influence of four different schools of art.

Book's Contents and Sample Pages