NAAZIR BABU'S RATH -- extinction of an art 

Like many other states of India , Bengal's religious chariots were modeled on its own style of temple architecture . The Jagannath rathas of Bengal did not look like the ones from Puri . They resembled the ratna mandirs of Bengal . Ekratna ( single spire on the top ) was the simplest and Navaratna(9 spires) or pancharatna(5 spires) was the most popular . Traditionally Bengal's rathas have been carved in wood and painted lavishly with pictures of gods and goddesses . As time progressed the old paintings faded away and new artists were employed to redo it . Rathas built in different eras bear on them different styles of painting which was vogue in that corresponding era . But wood is a perishable stuff easily destroyed by elements and burnt by fire . When people realized the impermanence of wood, they resorted to building rathas in brass , silver or iron . Not many wooden rathas of antiquity survive till this date . Nazir babu's Ratha in Chetla is one such wooden ratha which is still standing . But it is not the ratha itself but its paintings ( Rathachitra ) which really is the topic of this discussion .

Naazir babu's rath

Horses .. one of them has his hooves broken

Nazir family's fortunes dwindled and enthusiasm waned over time . The ratha procession stopped long time back . Consequently no attempts were made to repaint or upgrade it . That has actually proved to be a boon by preserving the originality of the old paintings . The paintings themselves are of great importance because they were painted in early years of 1900s , at a time when Kalighat pata style was going extinct and lithographs were steadily replacing the void . One look on the rathachitras would be sufficient to tell that they are handiwork of Kalighat artists . The pictures has the basics of Kalighat genre , the elaborate detailings of Dutch Bengal school and influence of emerging lithograph prints . Painted at a crucial juncture in history , they tell a lot about the last days of Kalighat painting and art scenario in colonial Calcutta . And therein lies the importance of Nazir babu's ratha !





A closer look to the pigments of the paint reveals cracks , suggesting some sort of oil based medium might have been used . In early 20th century Oil painting was specially popular in all walks of life . The paintings are unmistakably Kalighat and yet borrows heavily from lithographs of the time . It is understood that by the time they were painted , simplistic Kalighat pats has lost its appeal amongst masses and that the artists were resorting to new styles to lure people . What drew my attention while examining the works is mention of the words G.K.D. underneath the paintings .

I was searching for more clue when i came across a full fledged name - Jibon Krishto Das and an address reading Krishna Bati , Howrah ! It was an amazing feeling to discover the name of a long lost forgotten artist . He was perhaps one of those who actually witnessed the extinction of Kalighat . And it is probable that he was reputed in the field of painting . His initials in english and signature in bengali bear testimony to his high literacy which could not be possible had he not been reputed as a patua .

" artist - Jiban Krishto Das . Address - Krishna bati , Howrah "

Question may be risen as to why would an artist of Kalighat mention Howrah as his address !? That isnt very surprising either . Because most patuas of Calcutta came from rural belts and re settled in the new emerging metropolis for better income . It is very likely that this individual maintained his ties with his native place and preferred identifying himself as from Howrah .  It is highly unlikely that a rich Baboo from Chetla would need to call an artist from as far as Howrah when he has Kalighat right next to his hand !

A Calcutta Baboo

However , the stoppage of the rituals had led to one great danger . Lack of even the basic maintainence has caused wood to chip away and break in places . The nine silver kalasha , amlaka and chakras that used to adorn the top of the spires are long stolen . The paintings have chipped off in places and faded out . The colour is almost gone now . At this stage , one can never be sure how long can this wonderful piece of history survive . I was having a talk with the members of the family on the importance of this rath and why it must be preserved . Thankfully I learnt that the family is planning some repairing works soon . I offered myself to help , if they need any related to restoring the paintings . Now we can only pray for the good .

As I was coming out of the gate I looked back once again to those fading pictures of gods and goddesses , singing songs from another time and era ..... brought to life by an unknown painter whom no one remembers today - Jibon Krishto Das .

Ramchandra Vanavas

Balaram

Jagaddhatri

The Kashmiri shawl and its embroidery on Raja Ramachandra's body is worth noticing

Raja Ramachandra durbar

'borshaa' is a technical name given to such motifs on the corners of the each floor of the rath . This pattern where tigers , elehpants , horses , riders all pile up one atop the other and each killing the other , is called mrityu lota - the chain of death in oconpgraphical terms . It is a popular motif on the edges of terracotta temple architecture .

'borshaa' is a technical name given to such motifs on the corners of the each floor of the rath . This pattern where tigers , elehpants , horses , riders all pile up one atop the other and each killing the other , is called mrityu lota - the chain of death in oconpgraphical terms . It is a popular motif on the edges of terracotta temple architecture .

Uma being brought to wedding mandap

Marriage of Mahadev

Ganga avataran - the descent of Ganges

Buddha ? Iconography of buddha was re discovered in 19th and 20th century under british archelogical finds . It is probable that the painter wasnt yet aqquainted with this iconography

Annapurna

Durga

Bheema Duryodhana fight ?

Kurma

Matsya

Kali

Sada bhuj Gauranga , the six armed manifestation of Chaitanya Mahaprabhu

Jhulan 

Kali

Hara Parvati

Varaha

Jugala

Sita ? The face shows the typical Kalighat style

Hara parvati

Jugala

Jagannath and Subhadra

Radha Gobinda

The wooden sarathi

Sita haran ? The abduction of Sita ?

Death of Sati

RATHAS NEAR MY HOME 

I discovered that there are at least 5 rathayatras in our neighbourhood that has been running for almost a century now . I don’t know how many more used to exist and is presently discontinued . Neverthless , the few rathas that exist defying changing rules of time still continue their journey every year on the month of Ashada , but without pomp and celebration . Wanted to document this vanishing tradition before its too late ...

Nazir bari wooden ratha ... deserves a seperate post . It is a fantastic surviving work of art

The original bigger ratha of Ramakrishna Mandap was resized and made smaller some years back

Thakur , Maa and Swamijee seated on ratha of Ramakrishna mandap .

Ratha of Ramakrishna mandap

Pancharatna ratha with brass tops of Dutta Bari . The ratha was discontinued after family's fortunes fell and have been re started a decade or so back after a gap of almost 40 years !

Chakra and dwaja atop Dutta bari Rath

Lone Kirtaniyas humming tunes before the rituals begin . At Dutta bari

Aadi Ganga was the main course of Ganges some 500 years ago . No wonder that numerous temples and shrines dot both its banks . Some distance away from where I live , this old ratha of a riverside temple .

Just the other day I was writing about Bengalis and their penchant for keeping exotic birds and how the practice was dwindled somewhat in recent times . But when I happened to chance across this modern tiny cafe 'chicklick' , a stones throw away from Lake Mall , I was proved wrong by seeing this very friendly Kakatua (Sulphur crested Cockatoo) happily perched on his stand .
There are still numerous bird enthusiasts hidden in nooks and corners of this old city ..... of whom we do not keep any notice .