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RAJASTHAN
STATE - CULTURE
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PAINTING
Rajasthan is known
for its rich gentry of artists. From th handwork found on vessels
and clothes to the most exquisite paintings in the palaces of the
state.
From the 16th century
onwards there flourished different schools of paintings like the
Mewar school, the Bundi-Kota Kalam, the Jaipur, Bikaner, Kishengarh
and Marwar schools. Maharaja Ganga Singhji, Bikaner. Each school
of painting had its distinctive features. Influenced by the surroundings,
these medieval paintings have their own unique styles - the hills
and valleys, deserts, places and forts, gardens, court scenes, religious
processions and those highlighting scenes from the life of Lord
Krishna were the recurrent themes of these paintings.
The Raagamala paintings and
those based on Goeta Govinda are treasures of Rajasthan. It is widely
believed that the miniature artists of Rajasthan were practising
and perfecting their art as early as the beginning of the 16th century
and were later employed by the Mughal courts, specially by the Great
Mughal emperor Akbar.
In palaces of Kota-Bundi are
displayed the paintings depicting hunting scenes and animal fights.
Other than nature, the figures of women are graceful, with wellproportioined
bodies and sharp features. Colours used are mainly bright, with
red prominently appearing in the background. Areas in the vicinity
of this region, like Uniara, Indergarh and Sarola were also influenced
by the Kota and Bundi Kalam.
Miniature paintings, Kota
The rulers of Ajmer -
Jaipur were closest to the Mughals and had maintained political
and social links with them which resulted in a strong Mughal influence
in the paintings found in this royal state. This is reflected in
their paintings in the palaces of Ajmer, Bairat and Toda Rai Singh
and much later in Samod, Achrol, Shahpura, Alwar and Tonk.
The Kishengarh school
is best known for its Bani Thani paintings. A totally different
style with highly exaggerated features - long necks, large, almondshaped
eyes, long fingers and the use of subdued colours. The originality
of style can be credited to its royal patron - Raja Sawant Singh,
better known as Nagari Das. The usual court scenes have also been
painted here but it was Nagari Das and his love for the singer-poet
Bani Thani which gave this tiny state the most refined and delicate
paintings.
Jodhpur has a very strong
folk tradition and here the figures are mainly robust warriors and
dainty women. Paintings of the legendary lovers like Dhola-Maru
on camelback, hunting scenes which included innumerable horses and
elephants dominate the paintings of the Marwar region.
Bikaner too had strong
Mughal influences and developed a style which was a combination
of both the local as well as borrowed styles. The colours used were
made using minerals, vegetables, precious stones, indigo, conch
shells, pure gold and silver. The preparing and mixing of colour
was an elaborate process and it took weeks, sometimes months, to
get the desired resuIts.
Very fine, specially created
brushes were made for different kinds of paintings. The landscape
changed, the colours used were varied, paintings were done on paper
and palm leaf to illustrate manuscripts, and on walls of palaces
and the inner chambers of forts, havelies (the painted havelies
of Shekhawati are well-known), and paintings were done on cloth.
But the importance of miniatures
has never diminished -even after all these years. Pure Rajput paintings
and those influenced by the Mughal court provide an interesting
insight into the lifestyle of the centuries and continue to fascinate
scholars to this day. Artists in Jaipur, Nathdwara and Kishengarh
, still work on miniatures and some of them produce excellent work.
There have been several new developments but on the whole, the magical
quaility of the miniature continuous to live on.
Frescos, Samode Palace
In a different class but with
several similarities are the cloth paintings of Rajasthan which
include the phads - scroll paintings used by the Bhopas and the
pichwais - cloth hangings used behind the deity in Vaishnava temples.
Done in bright colours with bold outlines, these paintings have
very strong religious traditions. And the artist who works on them
considers himself to be a servant of the Lord and puts in shraddha
or devotion on each pichwai or phad that he paints. This art form
is also done for commercial use.
MUSIC & POETRY
Rajasthan has a great
tradition of popular poetry, which is written under the rival banners
of Turru and Kalangi. This is a sung in groups in Jikri, Kanhaiyya
or Geet(of the Meenas), Hele-ke-Khyal and Bam Rasiya of Eastern
Rajasthan. Group singing of classical bandish, called the Dangal
or taalbandi is also unique to this region. Bhopas are singing priests
of various deities or warrior saints. The Bhopas of Mataji wear
costumes and play the Mashak.
Dance is often part of the
musical tradition and the Theories or Nayaks who are Pabu Bhopas,
have a female accompanist; together they recite the phad (painted
ballad). The phad itself is an elaborately painted work of art and
deeply venerated. The Chipas or Joshis are famous phad painters.
The Jogis were well-known
for their recitation of the great ballad Nihalde Sultan, Shivji-ka-byawala
and songs about Gopi Chand and Bhartrihari. Most of these musical
communities live in a rural base and function as wandering minstrels
travelling from village to village.
There are many other
artists in different art forms who use music as an accompaniment.
The Dholies, also known as Mirasis, Dhadhies, Manganiyarv and Langas
are known for their distinct musical styles. State and royal patronage
elevated some of these musicians into Kalawants in royal courts.
Their music reflected sophistication that was absent from the rustic
tones of others. The famous Maand of Rajasthan, which represents
a unique style of singing and a core melody, is their creation.
The Maand speaks of love, separation, chivalry and revelry. Ballads
are an integral part of the professional repertoire and Dhola Maru,
Moomal-Mahendra, Doongji-Jawarji, Galaleng, Jala-Boobna, Nagji-Nagwatnti
are the most popular ones.
The Mahabharat and the
Ramayan are popular themes for ballads and the Mirasis and Jogis
of Mewat have a delightful folk version of the former, while Hadoti
has the Ramayan of Dhai kadi. Folk opera is another field which
has been made immensely popular by the professionals, often in association
with amateurs.
The Chairawi and Kuchamani
Khyals, Maach of Chittaurgarh area, Tamayha of Jaipur and Rammat
of Bikaner are famous. The Nautanki and Rasleela are also seen in
western Uttar Pradesh, but sadly, the Alibakshi Khyal, the original
Bhawai plays (which still have a strong presence in Gujarat) and
the musical traditions of the Rasadharies and Rawals are now extinct.
The State Government has provided patronage and opportunities for
self employment for folk artists by organising festivals and cultural
programs. It has also aroused and directed the interest of the local
people towards our rich cultural heritage. Folk Musicians Recital
of Pabuji's Phad Karna Bhil playing the Nad.
JEWELLERY
Rajasthan has always
been a royal state full of palaces, festivities, good food and classic
artists. In the olden days, most people in Rajasthan were dressed
in heavy jewellery. And due to constant Muslim influence, the jewellery
can be seen as a fine blend of the two cultures.
The Mughals brought sophisticated
design & technical know-how of the Persians with them. The common
link was the inherently decorative nature of the Muslim and Hindu
Art. The synthesis of the two cultures resulted in a period of grandeur
and brilliance that dazzled the eyes of foreigners and has passed
into legend. The jewellers of Rajasthan specialised in the setting
of precious stories into gold and the enamelling of gold.
Jaipur, and to some extent
Alwar, emerged as the enamelling centres par excellence in the eighteenth
and nineteenth century. Enamelling was introduced by Maharaja Man
Singh who had cordial relations with Akbar. The enamelled gold staff
of the Maharaja is unsurpassed even today for its brilliant colours.
For enamelling, the
piece to be worked on is fixed on a stick of lac and delicate designs
of flowers, birds and fishes etched on it. A wall is made to hold
the colours, while engravings are made in the grooves to heighten
the interplay of the transparent shades, thus enhancing the beauty
of the jewel. The surface is fully burnished by agate; then the
enamel colours are filled in painstakingly as in a miniature painting.
The article is then left in the oven on a mica plate to keep it
off the fire. Colours are applied in order of their hardness; those
requiring more heat first, those requiring less, later. When set,
it is rubbed gently with the file and cleaned with lemon or tamarind.
The craftsmen in Jaipur are
believed to have originally come from Lahore. In Jaipur the traditional
Mughal colours of red, green and white are most commonly used in
enamelling. A quintessentially Indian technique and a speciality
of Rajasthan is the setting of stones by means of Kundan, the jewellery
in which stones are set, is rarely solid gold, it has a core of
lac, a natural resin.
The pieces which make up the finished
object are first shaped by specialised craftsmen (and soldered together
if the shape is complicated) and left in separate hollow halves.
Holes are cut for the stones, any engraving or chasing is carried
out, and the pieces are enamelled. When the stones are to be set,
lac is inserted in the back, and is then visible in the front through
the holes. Highly refined gold, the kundan, is then used to cover
the lac and the stone is pushed into the kundan. More kundan is
applied around the edges to strengthen the setting and give it a
neat appearance. This was the only form of setting for stones in
gold until claw settings were introduced under the influence of
western jewellery in the nineteenth century. More than one craftsman
was often involved in the making of a single piece of jewellery.
The chiterias made the design, the
ghaarias the engraving, the meenakari as the enameller and the sunar
was the goldsmith. These craftsmen received patronage from the nobles
and the kings, and therefore, they did not have to compromise their
art for the sake of popular taste. They could take as long as they
liked over a piece of jewellery. Many of the oId styles remain unchanged
to this day.
In Pratapgarh a special type of
quasi-enamelling is done in which extremely fine work on gold is
daintily carried out on green enamel which forms the base. In Nathdwara
a good deal of enamel work, on silver and other metals is done nowadays
as a futherance to this famous age old craft. The State Government
of Rajasthan is committed to the revival of traditional crafts of
Rajasthan and providing of employment opportunities for aspiring
artisans.
The Masculine Jewellery :
Vanity, a love of opulence
and deep aesthetic sense gave the Rajas and Ranas of Rajasthan a
great fondness for jewellery. The men were as elaborately and dazzlingly
dressed as the women, with jewellery that often rivalled that of
their wives. It was a status symbol and a portable display of wealth,
and consequently, power. Turban jewellery was the prerogative of
the king, his close family or the members of his entourage (including
his horse). The turban it-self would be heavily encrusted with jewels
and fastened with a gem set kalangi or aigrette. Men also wore necklaces
of pearls and precious stones, carring jewelled sashes around their
waists and several rings on every finger. The ornament worn in front
on the turban is called a sarpech. It was often extended into a
golden band set with emeralds, rubies, diamonds. Pearls were greatly
valued by the Maharajas and they often wore double or triple strings
of pearls with pendants of precious stones round their necks. The
sashes round their waists were heavily jewelled as were the clasps
or buckles of their sword belts. Masculine jewellery was not confined
to articles worn on the body alone. The Rajasthani princes had gold
epulets, gem encrusted sword hilts, dagger sheaths, sword scabbards
and hookah mouthpieces. The commoner of Rajasthan has traditionally
worn jewellery too, though what he wears is made from more modest
metals like silver, and gems are substituted by coloured glass.
Earrings, armlets and anklets of silver are still commonly seen
adoming the rural Rajasthani male. Males also wear necklaces, earrings
and lucky charms which are considered to ward off evil. Sarpech-Turban
Ornament Tiger claw necklace-lucky charm
THE FEMININE JEWELLERY
Feminine jewellery is more complex
than masculine jewellery. Jewellery in India is worn as a complete
ensemble, and not as an accessory. It is thus quite acceptable to
wear more than one necklace around the neck, also in the ears, on
the arms and the ankles, rings on the toes and fingers, ornaments
on the forehead, in the hair, and so on, any number to be worn at
the same time. So it is not surprising that the royal ladies of
Rajasthan were bedecked from head toe in jewels, so much so that
it sometimes was a mystery as to how they could carry the weight
of all the jewellery worn.
ORNAMENTATION FOR THE HEAD
The ladies of the royal family of
Rajasthan wore atleast half a dozen kinds of hair jewellery at one
time, each with its own name and specific function. The most common
head jewel is the bindi, which has a central pendant hanging from
a string of fine pearls and is worn down the parting of the hair
with the pendant resting in the middle of the forehead A variant
of this is called the borla in which the central pendant is semi-spherical
and set with precious stones and a fringe of fine pearls. Chains
of gold, shaped like the lotus and other flowers are worn across
the length of the plait. There are flower-shaped hair pins and hair
combs beautifully enamelled and set with stones.
ORNAMENTATION FOR THE NOSE
The nath is a nose ornament which,
when worn, is considered to bring good fortune. It is often a ring
of fine gold with a pearl threaded between two rubies in its central
part. There are many other kinds of nose rings as well.
ORNAMENTATION FOR THE EARS
The kinds of earrings worn are too
many to enumerate, but the main styles are the karanphool jhumka,
literally the flower of the ear, shaped like a star. The phool jhumka
is like a bell shaped flower, toti is the image of a parrot, lathan
is the image of a grape, papal patti is shaped like a pipal leaf.
A special type of earring is one which runs along the entire shape
of the outer ear with an ear top and jhoomka attached to the lower
half. Sometimes, strings of fine pearls run from the earring into
the hair, and pearls are also threaded through the hair.
ORNAMENTATION FOR THE FOOT
The foot ornaments are of two types-
the toe rings and the anklets. The toe rings for the big toe are
and are called amvat. The rings for the other toes are modelled
in the shapes of fish, flowers, or just circles of granules on the
surface. There are also double toe rings which cover the entire
toe. There is a great exuberance in the designs of the anklets.
ORNAMENTATION FOR THE WAIST
The women also wear girdles and belts
around their waists. These are usually made of gold and set with
rubies emeralds and diamonds. Belts are usually broad bands of flattened,
twisted metal in silver or gold, encrusted with gems, and embossed
with exquisite designs. They are usually finished off with clusters
of beads at the rims. The Kardhani is made of various chains, each
a little longer than the previous one and all held together with
metalbands.
ORNAMENTATION FOR THE ARM
There is an enormous range in armlets
and the most common ones are gold bands with precious stones. The
wearing of ornainentv, on the wrists and forearm follows a special
pattern. The smallest bangle to fit the wrist is the kada, which
is a thick rounded bangle with various decorations on it. The two
ends are usually carved with replicas of the heads of animals and
birds like elephants, lions or parrots. Then come bangles, any number
of them in various shapes and designs. Here may be the chuda which
is sometimes made of ivory inlaid W1ith gold. The last item is the
pail, which is a plain bangle that highlights the ostentation of
therest of the ornaments that go before it. The hathphool is a bangle
with rings connected to it by chains that lie over the back of the
hand. There is a central flower which connects it all together.
The rings are of a great variety. A quaint & charming ring is the
arsi , with a tiny mirror and worn on the ring finger.
ORNAMENTATION FOR THE NECK
Jewellery for the neck is one of
the most important items of jewellery and there is a bewildering
range strings, sometimes with rubies and emeralds strung with them
or with gem studded pendants, are worn double and triple strings.
There is the chandan haar (a necklace gold sequins), the mohanmala
( anecklace of beads resembling melon seeds), champakali (a string
of flowers stylised in the shape of the champa), the mohurn, the
jugnu, the hansli(a gold collar or ring, thick in the middle and
tapering towards the ends).
DANCE
An expression
of human feelings and emotions, dance- particularly in Rajasthan
where the style of dance is simple and unsophisticated. here is
a list of some of the dance styles in Rajasthan.
The
Charkala dance of Braj is an
elaborate lampstand replacing the single lamp. The famous Ghoomar,
Rajasthan's popular dance gets its name from ghoomna, the pirouetting
which displays spectacular colours of the flowing ghagra, the long
skirt worn by Rajasthani women. Men have a range of their own more
vigourous dances. the Gair of Mewar have inner and outer circles
of dancers who move diagonally or loop in and out. It is intricate
and fascinating.
The
Gair of Jodhpur is performed in a single file and
the dancers wear martial costumes for effect. The Geendad
of Shekhawati is similar. Sticks or swords are often used by male
dancers, and the Shekhawati dance has the daf accompanying it. Free
dancing full of zest, with rows of dancers waving colorful pennants,
makes the Bam rasiya of the Braj region spectecular. It is performed
at holi.
The
Kucchhi Ghodhi or Dummy Horse dance is performed on festive
ocassions. The Terahtali is
a tantalising dance performed by women while sitting. The women
have manjeeras (little brass discs) tied with long strings to their
wrists, elbows, waists, arms and a pair in their hands as well.
Their male co-performers sing and play the tandoora while the women,
with fine movemments, create a strong rhythm with manjeeras. For
added effect, they may hold a sword between their teeth or balance
pots or lighted lamps on their heads.
The dance of the Kalbelia
women is vigorous and graceful. An authentic fire dance is performed
by the Jasnathis of Bikaner and Churu destricts. The accompanying
music rises in tempo as the dance progressess, ending with the performer
dancing on brightly glowing embers-a breathtaking and deeply impressive
sight.
MUSEUMS
A
museum represents a collection of the history and culture of a place
that represent the beautiful reminiscents of the history that has
given shape to the present of the place. One can take a look at
the following places:
Dolls
Museum (Jaipur)
Pretty dolls from various countries are on display in the compound
of the school for deaf and dumb children, near the Police Memorial.
Time 12.00 hrs to 19.00 hrs.
Jodhpur
Museum
This
museum situated in the middle of the Umaid public gardens, has a
rich collection of weapons, textiles, miniature portraits, local
crafts and images of Jain Tirthankars
Rao
Madho Singh Museum (Kota)
This
museum is situated in the old palace. It has on display weapons,
clothing, a superb collection of Rajput miniature paintings of the
Kota school, exquisite sculptures, and some of the best preserved
murals in the state. The museum also houses a rich collection of
artistic items used by the Kota rulers. This museum is open daily
from 11 a.m to 5 p.m.,it is closed on Friday
The
Government Museum (Kota)
This
museum is housed in the Brijvilas Palace near the Kishore Sagar.
The museum has on display a collection of stone idols,rich collection
of rare coins, manuscripts. Timings: 10.00 a.m to 5.00 p.m There
is some very minimum entry fee. Closed on every Friday and Government
holidays.
Bharatiya
Lok Kala Museum (Udaipur)
This
museums goal is preservation and promotion of local folk arts which
includes dresses, dolls, masks, musical instruments, paintings and
puppets, which are all kept here as exhibits. Another good museum
to see is the one which is in Sajjan Nivas Garden The turban of
Prince Khurram, insricptions of the first and second centuries B.C,
sculptures and images from Khumbhalgarh and a number of inscribed
Jain images are exhibited here. Attached to the museum is Saraswati
Sadan which contains valuable books.
Government
Museum (Alwar)
This
museum houses a lovely collection of Mughal and Rajput painting
dating back to the 18th and 19th centuries and some rare ancient
manuscripts in Persian, Arabic, Urdu and Sanskrit. ‘Gulistan’ (the
garden of roses), Waqiat-I-Babri (autobiography of Mughal emperor
Babar) and Bostan (the garden of spring) are some of the notable
ones amongst the collection. It also has the copy of the great epic
‘Mahabharata’ painted by the artists of the Alwar school. A rich
collection of the Indian armoury are among other exhibits of the
museum.
Open Between : 10.00 hrs. to 17.00 hrs.
(closed on Fridays and gazetted holidays, Free entry on Monday.)
Ganga
Golden Jubilee Museum (Bikaner)
This
small museum has a large collection of pre-Harappan, Gupta, Kushan
pottery. The rich collection of pottery, carpets, paintings, armoury
and coins make this museum one of the best in Rajasthan. The Bikaneri
miniatures which are displayed in a sepetrate section for local
arts, makes visit to the museum a must.
Government
Museum (Bharatpur)
A
rich collection of artefacts, exquisitely carved sculptures and
ancient inscriptions can be admired in the Government Museum located
in the Palaces. All these items speak volumes about the rich heritage,
art and crafts of the region.
Bramha
Kumaris Spiritual University and Museum
(Mt Abu)
The
Bramha Kumaris preach that all religions lead to God and so are
equally valid, and the principles of each should be studied. The
university aims at the establishment of universal peace through
'the importation of spiritual knowledge and training of easy raja
yoga meditation' There are over 4000 branches in 60 countries around
the world and followers come to Mt. Abu to attend courses at the
spiritual University. To attend one of these residential courses
you need to contact your local branch and arrange things in advance.
There is a museum in the town outlining the university’s teachings
and offering mediation sessions.
Museum
& art Gallery (Mt Abu)
Standing
opposite the GPO the museum has some items from archeological excavations
that date back to 8th to 12th centuries. It also has Jain Bronzes,
carvings, brasswork and local textiles. The museum is open daily
from 10 am to 4.30 pm.
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