one manuscript book of Assam
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Explanation:
Sānchi Puthi—The Assamese Manuscripts
A Manuscript from one of Madhabdeva's WorksIn Assam the word 'manuscript' is almost inextricably bound up with Sankaradeva and his Neo Vaisnavite Movement. The manuscripts were the vehicle for the transmission of the tenets and ideals of this religio - cultural Movement and it was primarily due to Sankaradeva and his successors that the manuscripts of this land could attain the status of such an vibrant, effective and prestigious media.
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Explanation:
Visual arts in India have existed evolved over many centuries and are characterized by diverse styles. In Assam, the art of painting developed around the culture of manuscript illustration in line and colour (Kalita 2009). There is historical reference to the art of painting in Assam in the Harsha Charita, with mention of gifts in the form of panels for painting on Agaru bark (Aquilaria Agalocha) along with brushes and colour pots (Boruah 2010), from the Assamese king Bhaskaravarman (seventh century CE) to Emperor Harsha. On the other hand, the earliest extant (emphasis mine) example of manuscript illustration in Assam is from the Phung Chin manuscript, dated 1473 CE and Suktanta Kyempong in Ahom language and script. These illustrations have been drawn in the Burmese style and have their origin in South East Asia and not in Assam (Choudhury n.d.).
In order to understand the development and current status of manuscript painting in Assam, the article is divided into two sections. The first section outlines the historical development of manuscript painting in Assam. It provides information about different styles of painting, artists involved, materials utilized, various influences and decline of this form of painting. The second section throws light on the current status of manuscript painting in Assam. It provides insights into the development and changes that are taking places among a few existing artists of manuscript painting in Assam.
Section 1
Historical development of manuscript painting in Assam
According to Choudhury (n.d), the art of painting flourished in Assam from the 16th century onwards. The bhakti movement, which spread in the medieval period through the work of Sankaradeva (1449-1569) helped to give birth to a vigorous culture of literature and art. According to Boruah (2010), in the Katha-Guru-Charita, the prose biographies of the Vaishnava saints of Assam, it is stated that Shankaradeva painted sat-vaikuntha (seven celestial worlds) on pressed cotton paper for the theatrical performance, the Chinha-Yatra. Sankaradeva was also responsible for creation of many literary works and his followers later pursued this tradition. Many scholars illustrate that one significant aspect of the movement is that it recognized the worship of sacred scriptures instead of any formal idol made of stone, wood or any other substance. The movement initiated by Sankaradeva laid stress on moral and spiritual development of its a. In this pursuit, the movement introduced among people development of different branches of art such as painting, drama, songs, dance and playing of musical instruments. The religious movement also resulted in the foundation and proliferation of institutions or Vaishnava monasteries known as satras. Establishment of satras was a great boost for the promotion and continuation of literary activities and art in society (Kalita 2009).
Future developments saw proliferation of copying and illustration of manuscripts in countless numbers. One of the earliest dated manuscript that comes from Satra, is a copy of the Bhagavata-purana, Book 6. It is a transcript of the book written by Sankaradeva and was prepared in 1678 for illustration work (Kalita 2009).
Artists involved in manuscript painting
The craftsmen responsible for creation of paintings and penmanship were known as khanikars. Satras patronized and supported them. These craftsmen were traditional carvers primarily associated with woodcrafts and also worked as make-up men during bhaonas or one of the traditional forms of drama in Assam. Their familiarity with colour and form of traditional theatre inspired them to create parallel pictorial forms in the folios of manuscripts. That is why many figural forms appear to dance in pictorial space (Kalita 2009). Although khanikars were responsible for creation of beautiful paintings on manuscripts, there is very little information about them. The artists of the satras mostly believed it to be sacrilegious to inscribe their names in a literary work written by their guru. Khanikars were clerics of the satras and their primary duty was to render religious services regularly. They cultivated different art activities to supplement their normal clerical functions. Their devotion to the movement led them to render many paintings in a single manuscript.
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