9. Sept 2014

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ART ‘Lord Arjun’ – a detail from the wall painting at Lagan Tole, Kathmandu- residence of Prime minister Bhimsen Thapa. PHOTO: RAJENDRA CHITRAKAR elements like ‘Asta Mangala’ – eight auspicious symbols and depictions of extra human elements or animals like monkeys as devotees were also added in the overall composition. In the interior walls too, images of above stated deities and Goddess Green Tara or Arya Tara are found in some of the earlier Bahis. Although today, in many of the ‘Bahis,’ earlier murals have now mostly vanished – either due to being plastered all over with cement layers and whatever have survived are too in mortal threat. That is, it all remains in abject dilapidated condition. Nonetheless, they bear witness to its importance in the annals of Nepali Painting. But what has remained more interesting and amazing is the fact that as time passed by, the religious murals as practiced by Nepali Buddhists earlier, continued to be followed in Tibet. One may note the active practice to paint the interior walls of Tibetan Gumbas or the monasteries even today. In the recent narratives, attempts are being made to attribute a work of painting, ‘Arya Tara’ found in Tibet, as painted by legendary Newar artist Aniko (commonly spelled in Nepal as Arniko) dating thirteenth century. Although ‘Visworup’- the deity embodying the entire Universe, is the centerpiece of the fresco painting in the famed wall of 55 Window Palace at the Bhaktapur Palace Complex. Please note the human looking facial features of the deity. It reveals the desire of King Bhupatindra Malla, 17th century, to personify himself as the deity while his queen is sought to represent the consort of the Lord. PHOTO:BIJAYA MAHARJAN Part of ‘Five Dhyani Buddhas or Celestial Buddha’ – Details from a medieval wall painting, 14th – 15th century circa, found in the façade of the ‘Bahi’ of Jhwaa Bahal, Kathmandu –very near the tourist hub of Thamel. (Pease note the state of sheer disregard and the utter ignorance of the historic heritage.) PHOTO:BIJAYA MAHARJAN 60 / SPACESNEPAL.COM
ART An entrance to a medieval Buddhist Vihar - very near the famous Bhaktapur Durbar Square. Here, while there are two Buddhist Guardian deities in the side walls, Asta Mangala- the eight auspicious symbols are painted at the top. PHOTO: RAJENDRA CHITRAKAR stylistically, the cited work bears many of the characteristics of the then prevailing Pala School, it is hard to attribute with certainty its origins to the stated artist for various reasons. Firstly, Aniko who led a guild like artisans’ delegation was said to be in late teens when he made a journey to Tibet: and so, is not likely to be an accomplished artist in any specialized genre at that tender age. Moreover, the described time is so early and sketchy it is hard to describe whether Aniko was a painter, an architect or a sculptor! It is practically impossible for a young man of his age gain skills of all the three genres of art – unless blessed by a divine miracle: and produce a work of the quality as is seen! Therefore, the cited ‘Arya Tara’ may’ve been painted at much later date than stated. WALL PAINTING REACHES ITS ZENITH But what remained true is Mural art reached a new height during the late Malla period. By then the earlier glory and influence of Buddhism had reasonably waned and had had been well displaced by Shakta cult as the state religion. The milieu of painters organized as a caste by king Jaysthithi Malla had had become thorough painters adept in creating divinities from all the prevailing faiths then. To them then, Shakta imageries were the popular elements in the religious art – including the Murals. Between 17 th and 18 th century, Palace Complexes in Bhaktapur and Hanumandhoka Durbar Square in Kathmandu began to witness an unspoken contest in creating the best of the paintings within their palaces. Unfortunately, only a small section of these historic works are partly preserved and can be viewed. Famous 55 Window Palace Complex in Bhaktapur remains one of the glaring examples of our glorious past in this regard. Although at its heyday the entire palace was replete with exquisite wall art, many of the wall paintings have been totally destroyed and are scantily visible. Today only the front chamber within the 55 Windows, there is the majestic presence of exquisite frescoes – filled in the entire wall spaces. Executed in typical Newar Paubha School, the centerpiece of the entire mural is ‘Visworup’- an episode from the great Hindu epic Mahabharata. Unlike in the epic, the deity as the emanation of Lord Bishnu however, here the all powerful deity endowed with unlimited attributes- personalized in an anthropomorphic form with multiple heads and hands with emblems is an incarnate of Lord Shiva - in embrace with his consort. The rest of the imageries narrate the story of the epic – divided in panels and in sequential order. To top of all, the most interesting feature of this unique fresco painting is the desire of the king Bhupatindra Malla who commissioned the work, to personify his own facial image in the divine form and his queen as the divine consort. The name of the king ‘Bhuptindra’ scribbled in Newari script can be clearly eligible in the coiffure of the spouse of the Lord or the queen. Nearer to the modern times – during early 19th century too, Nepali Painting continued to witness the continual desire and profound love for serious Mural art. Regardless of the changing times and the ruling dynasties, the ruling elites continued to display profound love and fascinations for wall art. The changing times did not diminish the earlier popularity to get the walls of the prayer rooms and the antechambers painted with divine imageries. A series of unique wall paintings found in the private residence of Prime Minister Bhimsen Thapa stands a vivid testimony of this continual love and desire. It is about two hundred years after the frescoes in 55 Window palace in Bhaktapur, again divine imageries – especially depiction of episodes in Mahabharata in general and image of ‘Visworup’ in particular are found here. Although the central theme of ‘Visworup’- a glimpse of the universe, has had remained the same, a striking difference is the depiction of the Lord as an emanation of Lord Vishnu; and he is not sought as the personification of the devotee or a client. Rather, here he is seen in an angrier look – flanked by the donor or the client. Stylistically, the frescoes from both the sites may vary in many respects as a result of changing times and growing external influences, what remains more important in our context is the continued importance of the genre in the overall history of Nepali Painting. Moreover, at the popular level too, fresco art has had long remained an integral part of Newar social life of Kathmandu Valley since the hoary times. Very few may be aware of a fact that to decorate the main entrance of a household where a wedding is taking place, with certain motifs like five ‘Panchayan’ deities from Buddhist or Hindu faiths along with the auspicious symbols in either side. This practice is still being observed obediently right till this moment. It reflects the importance of wall painting in Nepali context. SEPTEMBER <strong>2014</strong> / 61
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September 2014 - Vol 10 N o. 09 ART
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Page 19 and 20: REVIEWS Ashley Products at FURNITUR
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Page 23 and 24: INTO THE HISTORY Structural details
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9. Sept 2014

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