Bihar- where history was and is!

-
Ah! The prosperous rice lands of Bihar,
Fed by the Ganga, Kosi and Gandak,
Oh the lotus laden ponds and the bountiful trees,
Inspire an art that seeks truth in its everyday!

The land-locked state of Bihar, derived from the word ‘Vihara’ meaning ‘monastery’, is as old as the Indian subcontinent. The socio-religious life in Bihar is informed by many influences- rivers and their tributaries, harvest seasons and their festivals, a rich tribal culture, Buddhism, Jainism and Puranas, that boast of a magnificent cultural past.

Bihar is full of history, in its various personages: Sita was the daughter of Mithila; the Buddha attained enlightenment in Bodh Gaya; Mahavira merged with the eternal at Pawapuri, and Guru Gobind Singh was born at Patna. Empires and Emperors- Mauryas and Guptas, Khiljis, Sher Shah Suri, the Mughals, the Bengal Nawabs and the British, have left their marks on this land. The Champaran Satyagraha of 1916, inspired by Mahatma Gandhi, was the first of its kind and laid the foundation of non-violent freedom struggle in India.

Bihar’s modernity lies in the formation of the first seeds of democracy- a government of elected representatives, in the kingdoms of Magadha and Lichhavi. Amrapali, a courtesan in the kingdom of the Lichhavis, attained and wielded enormous power. The university at Nalanda, one of the first universities in the world, promoted scientific learning and modern thinking. Another modern idea, that of non-violence or Ahimsa, was taught and practiced here. Likewise, Vidyapati’s Bhakti songs in Maithili language, are as modern in their longing and pain to find the truth.

This forms the wellspring of many a craft tradition in Bihar. While Kohbar Mithila painting evolved as a ‘fertility’ craft, where walls were painted with fertility motifs for the honeymoon house, Sujani embroidery and khatwa or appliqué work were purely utilitarian in nature, in its reuse of clothes for various purposes. The products made in Sikki grass, bamboo or Mridbhar, vessels in terracotta, were meant for everyday use. 

Crafts, like the Kasht and Mrinmurti sculptures, were also employed for religious purposes- votives, sculptures and temples looked as aesthetically appealing as spiritual solaces to seek truths. Tikuli painting was primarily used in temples meant for women. Baawanbuti, a weaving style, was used to make sarees meant to be given in marriages. Silver jewellery, with its many interesting motifs, were important for both decorative and material value. Paper Mache, a relatively recent craft, has also found expression in Bihar, in the merging of Mithila painting and 3D format.

These art forms belong to all people of Bihar, across castes, classes, religions, beliefs, and stress on diversity and celebrate their multiplicity. Their motifs, inspired by nature, flora, fauna, geometry and symbolism, express their love for their local and regional gods, folklore, or simply a celebration of everyday life. In their explicit skills, the artisans of Bihar have mastered themselves on each and every material- stone, wood, clay, textile- weaving and embroidery, natural fibre and metal.   

The crafts of Bihar are an outlook of an imagination, both individual and collective: fluent, expressive, very contemporary yet ancient. While some of these gems remain completely untouched by the vagaries of modernisation, some have evolved to become more mainstream. Mithila Painting, Sikki Grass Craft, Sujani Embroidery and others have made Bihar very famous in their acts of renewal and progress, to rediscover their place in today’s world. Modern and contemporary painters and artists today have created their own individual styles and motifs, to create a new dialogue in the domain of arts in Bihar.

The crafts of Bihar are, therefore, a source of transmission of knowledge and wisdom. Not only that, they are also a perennial source of adventure, discovery and fresh perspectives. They are not just a way of making objects, but a result of the structures, values, history and identity of the communities of Bihar. They are the living links to the past and a means of preserving cultural meaning into the future.  

Comments

Post a Comment

Popular posts from this blog

Bombay Novels: Some Insights in Spatial Criticism A review by N Chandra published in Muse India

-
  Evolution of a city across different periods Bombay Novels: Some Insights in Spatial Criticism  by Mamta Mantri attempts to recreate the spaces of the metropolitan Mumbai city through literary representations which include both past and present. It also explores the motif of how Mumbai is a confluence of ‘imaginary geography’ and ‘literary images’. Select literary texts are used by the author to cull out and comprehend the influence of social, economic, and material factors in refashioning spatial history: “The metropolis of today is the chameleon, changing shape and size. Margins evolve into the center; centers turn into frontiers and regions become cities.” (60) By employing an interdisciplinary approach, the author has attempted to trace the history of Mumbai chronologically from the 11 th  century AD. Significant events inclusive of the impacts of 1905 Bengal partition and the riots during 1920-22 Non-Cooperation movement are recorded. Mamta Mantri ably chronicles t...
Read more

In the drapes and yards_My saree collection

-
Image
  My sarees are an expression of my feminism, where I don't have to wear certain kind of clothing to prove myself. I think I can express myself better in the long drapes of the saree. The rich textile traditions of the country inspire me. I have a varied collection, which include Jamdani, Paithani, Geecha Silk, Doria, Cottons, Block Prints, et al. Geecha Silk Handwoven Bhagalpur Silk Saree  cotton black weaves with golden border paired with an ikat blouse Block printed Bagh, Madhya Pradesh the subtle brown color of the block prints are a perfect contrast to the pink base Block Print cotton Saree Purple cotton saree with ikat and other color stripes Cotton Saree in my marwari colors of yellow and red The classic Ikat Cotton Teliya Jamdani Bengal, reds and oranges contrast with the grey backgorund Kota Doria in brown  Machine made ilkal saree  Handwoven Ilkal purple and orange crating a Raja Ravi Verma Pa...
Read more

ज़िम्मेदार

-
 एक बार फ़िर मौक़ा मिला ज़िम्मेदारी उठाने का। एक बार फ़िर मैं भाग गई। हा, तुमने सोचा होगा, तुम तो हो ही ऐसी। अगर ज़िम्मेदार होती तो शादी करती, बच्चे पैदा करती, एक जगह नौकरी करती, एक जगह टिकी रहती। हा, मैंने फ़िर से तुम्हें निराश नहीं किया, मैं भाग आयी। अब मेरा पीछा छोड़ दो थोड़ी देर के लिए, मुझे कहने दे अपने मन की बात, या फ़िर निकालने दे अपनी भड़ास। ये तो पता है की ज़िममेदारी किसी को भी नहीं पसंद, और ये हमेशा थोपी जाती है, फ़िर लोगों को मज़ा आने लगता है, ज़िम्मेदारी उठाने में। ज़िन्दगी यूं ही निकल जाती है। मुझे भी अच्छा लगता है अब। इन बच्चों की ज़िम्मेदारी ज़िम्मेदारी नहीं लगती है, वो तो प्यार है।  पर ज़िम्मेदारी का भी तो एक संदर्भ होता होगा, कुछ नियम, कानून, इंसेंटिव होता होगा। एक दिन ऐसे ही कोई उठ कर बोल सकता है कि ज़िम्मेदारी ले लो। पहले इतनी बार मिन्नते की कि दो दिन और रहने दो इनको मेरे पास, लेकिन तुम ट्स से मस न हुए। मुझे भाग कर निश्चित समय पर ले कर आना पड़ा तुम्हारे पास।  इस बार भी तुमने ऐसी ही किसी दुविधा में डाल दिया। मैंने मना तो कर दिया है तुम्हे की मैं नहीं ध...
Read more