By Avantika Sharma
“It became chic in New York’s high society to own Indian miniatures, and American art dealers started traveling to India to acquire material.”
Curious, are we?
Indian art forms, sculptures, and paintings have been described as ‘unknown’ by some; others have referred to Indian statues of Gods as ‘monstrous’; while most have only glorified them.
Art has been endemic to the nation since times immemorial.
It would not be wrong to say that, in fact, it is art and culture that have kept India going, attracting hundreds of lakhs of visitors from across the world. One among the lot is Konrad Seitz, a former German ambassador to India, whose fascination with painting forms and miniatures touched him to such an extent… that he decided to share his learnings with the world, through a book.
Seitz, along with his wife Eva, not only collected various paintings, Indian and Mughal miniatures, but studied, in depth, art forms, their origins and precursors.
The first of three volumes, Konrad Seitz’s Origins of Orchha Painting: Orchha, Datia, Panna: Miniatures from the Royal Courts of Bundelkhand (1590–1850), is an improved and expanded edition of the author’s German-language book. And, it takes one back to the oldest times.
It all began in 1634, the origin of art being Malwa (Madhya Pradesh).
Research into paintings by anonymous artists came into light much after. Following the discovery of the paintings, it was certain – Malwa should have been the home of a great school of painting. However, Orchha provided important details too, raising another question. Orchha – origin of Bundela schools?
Interestingly, no proof hinting a painting school in Malwa, whatsoever, was found.
Paintings have mostly been known to be produced through the Bundeli language and the Ragamala series. Rasikapriyas, a traditional art form of Rajasthan, dates to those times – one could only imagine how.
In his book, the author is certain that the first painting originated in one Narsyanga town. The book, thus, is based on recollections from May, 1968.
Rather unfortunately, the kings in the past, and Indians who came across the paintings initially had no interest for them. Meanwhile, Americans and Europeans, discovered the paintings eventually and word of their beauty spread worldwide.
Indian art, in the late 1950s, gained their due recognition and began to be displayed across the globe.
The book talks in length of the subject matter, mostly based on Hinduism – among them, Rama, including excerpts and stories from the Ramayana; and Krishna, his raas lila leaving gopis in Vrindavan mesmerised.
Seitz, through various stories, suggests that the paintings can either be observed as a rasika or spectator, or as a bhakta/bhakti-rasika or a devotee.
Various excerpts and stories ascertain the fact that only devotees can decode the paintings and understand the notion behind them. Paintings in the book trace the legendary and much celebrated love story of Radha and Krishna. The book seems to draw inspiration from the Bhagavad Gita as well.
Moving further, he sheds light on the history of Jaina paintings, Sultanate paintings, Indo-Persian paintings, Jaunpur paintings, and the rise of kings and fall of their kingdoms, to name a few.
Interestingly, beauty, in Indian art, has been described as an ornament… a recurring motif here as well.
While Buddhist manuscripts died at one point of time, Jainist and Jaina paintings survived.
Seitz has also mentioned that Gujarati painting workshops are the birthplace of Indian Book paintings, with palm leaves playing the role of a canvas.
The Bundelkhand school of painting saw a downfall after the demise of Chattrasal in 1731. The British suzerainty in the 19th century, however, brought forth an Indian summer of art at the court of Datia.
Following the lead of the book, we also discover the importance of Muslim Sultanate wherein the manuscripts were Persian, Iranian, based on Timurid style and Inju model.
The miniatures, more or less, are elaborate and mostly the same. Only an expert eye could tell the difference. For instance, plain red field, big figures, blue clouds symbolise a tense situation, while women with big breasts and transparent veils, kings with crowns, green shades for nature and flowers to display affection.
However, till date, some important questions await the minds of the scholars and authors who have held the paintings and their respective researches in their hands, wondering whose hands would have held them for the first time – the hands behind the beautiful details, the miniature inscriptions and the brilliant ideas.
When Malwa was a Mughal province, who would have drawn the paintings with Hindu Gods and subjects? How did most paintings include Krishna and Rama in them? How was it possible? Researches might be underway, but one cannot ignore the details Origins of Orchha Painting provides, let alone visit the places bearing beautiful names – Orchha, Datia, Bundelkhand, Panna.
Given the diversity in the Indian subcontinent, not only does the plurality of cultures add to its grace but the nation boasts appreciable artistic endeavours. This book is a visual treat for it also takes us beyond the usual history textbooks and endless saga of violence; rather, we see how assimilation of different cultures sought to express itself on an otherwise, empty canvass.