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 .

'SANKH-EY SANKH-EY MANGAL GAAO ...'

We know of the high position that conch shells have enjoyed in ancient India , starting from their use as war trumpet or in religious rituals . But what many people do not know is that a fantastic genre of art called shankha shilpa turned these dead sea molluscs into artistic wonders . 

We now know that the use of Conch shell as ornaments dated back to the times of Indus civilization . Who can forget the bangle covered hand of the bronze dancing girl at Harappa ?! The tradition still survives in the area of erstwhile Indus civilization ... most notably in the hands of Rajashthani women .

But it is undoubtedly the Bengalis who have upheld the true glory of Sankha through the ages ... through the prolific use of conch in almost all rituals ( be it marriage , upanayan , annaprasana or puja ) .... through the daily blowing at Bengali homes every evening .... or through conch shell jewelry .

Pala era carved ritual conch

The Pala empire saw production of outstanding pieces of conch shell carving more than one thousand years ago . The tradition later died down in its land of birth , but  was exported to the northern states along with buddhism and still continues in Tibet , Nepal and other Himalayan kingdoms .
Bengal even had a seperate caste , the 'Sankhaarees' whose work was to craft conch shells . Today it is another dying art . The exiquisite craftsmanship of Pala times is extinct . Whatever survives is mainly due to a demand of shaankaa - conch bangles that Bengali ladies wear as symbols of marital bliss .

Pala conch art showing Vishnu on Garuda

A conch sculptor or 'Saankhaaree' . By Solvyns , 18th century

And many Bengalis would know of the tale of the great mother goddess begging her husband Shiva to buy her a pair of 'saankhaa' bangles . The story has been told and retold over generations through numerous Mangal-kavyas and local folklores . Apart from its religious significance it also reflects the medieval era popularity of conch jewelry amongst womenfolk . The goddess begs for not gold or silver .. but mere carved shell bangles ! And when you take a look into the works of saankhaarees , you know why ... 

Antique 'saankhaa' bangles . Carved conch and red lac

MANNERS FROM THE PAST


If you were to travel back in time in India before coming of Islam you would possibly be shocked . You were likely to see women walking around with breasts completely exposed . You might see a few women using veils , but those were more as a dressing item than to cover their faces . Do not expect them to shy away or cover their faces seeing you , an unknown man . That is a post islamic trait . What might really amaze you is the wonderful hairdos of women , especially those belonging to nobility . Each of them must have taken hours to finish and adorn !  Expect to see stunning artworks done with sandalwood paste and saffron over the exposed breasts of  the ladies and on foreheads of both the sexes . 
Widespread use of garlands would have been extremely common, both as an ornament to the body and a perfumery . If you at all come across a girl wearing a stiched tunic or upper garment , understand that she is from a lower strata in society , either a public women , dancing girl or servants . Women of repute would never do something as low as to cover their breasts ! 
And how do you possibly identify a girl of noble birth ? By colour of the skin ofcourse . The darker and more tanned she is , expect her to be of a higher birth . You would possibly see men ogling at dark women while fair skinned ones would turn out to be mostly servants and slaves.

The dark princess ... at Ajanta

Common men was likely to be found in short lower clothings and bare bodied .  But both the sexes generously covered in gold jewelry and precious stones , testifying to the immense richness and prosperity of the land . Almost everyone's mouth stained red with chewing of Paan leaves and unabashed spitting everywhere ( as testifed by a persian traveller ) . A rather loud application of kohl 'Kajal' on their eyes might remind you of a parallel culture - Egypt . 

 

A dancer wearing a stiched upper garment with suprisingly

modern looks .. sleeves in different colour !

Balinese women

Balinese women

The buildings would be very different from what you can imagine with modern sensibilities . Small but neat brick houses for commoners . Palaces for the royality would be spread out over a large area with gardens . Gardens would be full of fruiting trees and creepers and flowering plants . They are more likely to resemble a natural forest than organised landscaping what we see today . Organised landscaping , arrangement of plants and fountains was an Islamic import . The construction would have been done largely in wood .. carved with exceptional skills and gilted or painted . Use of stones would be reserved for temples usually . 

If you are walking past big metropolises like Mathura , Pataliputra or Tanjore , it likely that you will spot a cosmopolitan ethnicity . Greeks and Romans in their traditional dress chatting away in street corners . Do not be surprised if you see a white european worshipping Vishnu and speaking in chaste vernacular tongues ! They have had stayed in this land for over three generations now , much like your marwari neighbour . 
African slaves working in streets . Persian traders Bargaining for a good price ...so on and so forth . 
And those who think 'english liquor' is new to India , think again . India traded spices and fabric with the west in return of Roman wines ! So , expect to see finest Mediterranean wines being served out to Indian men and women in banquets !

Surprising ? Not a bit ....

Although we Indians continually sing the glories of continuity of culture in our civilization , we tend to overlook how much we have changed in the last thousand years . So when you piece together a complete image of what ancient Indian society might have been like , you might think it to be rather alien !
The oldest debate was if women kept their breasts uncovered . There have been numerous societies where breasts have been kept uncovered . The numerous paintings and sculptures , flattering descriptions of bosoms , tales of 'shringaar' on them .. all point to exposure of breasts . More solid proof can be gathered from the practices in Kerala and south east Asian countries like Bali and Thailand in the recent past . We know that S.E.Asia was Indian colony and that the culture of the land is still predominantly Indian . Until coming of the British , when it had to be stopped with legislation , the ladies of these places kept their breasts uncovered . In a country of tropics , where temperatures reach upto 45 degrees , it is quite natural that the need or necessity to cover body was not felt . Stiched garments like overcoat was not unknown , but not popular amongst people . They were viewed as a foreign culture and respectable families never resorted to adopting such 'degrading' foreign practices .
The most shocking of all changes must be the perceptions beauty . In ancient India , black was beautiful . We can still see this mentality in the depictions of our beloved gods and goddesses . Krishna is dark .... many of the goddesses are dark . In the ancient murals at Ajanta , the ladies of nobility and beauty are all dark skinned . Fair skin was frowned upon . The modern way of perceiving fair as beautiful is post Islamic and more specifically a product of British rule .

The third great change is in use of jewelry . India traded with west in exchange of Gold and silver . The hunger of Gold was as great as it is now . In a rich nation like India both men and women wore gold . Anklets , waist , heads , ears .... no part of the body was spared ! But in changing times , men seems to have done away with it completely , thanks to british morals . The last of the Indian men to generously don gold was the fabled maharajahs of colonial times . Today it is all a woman's game .

Each invasion and time has left its tell tale mark on our old land . But a thread of continuity has run unbroken all along . So inspite of these changes , we are still the oldest surviving civilization on earth !

They arent greaco roman art . They are Indian ! Gandhara art flourished under a east west synthesis after Alexander's invasion

When the black goddess becomes the black cowherd boy !