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Rajasthan’s Cultural Heritage
The literal meaning of
the word ‘Rajasthan’ or ‘Rajisthan’ is ‘Rajdhani’
i.e. the capital. It was in 1829 that Col. James Tod
in his monumental work The Annals and Antiquities of
Rajasthan first extended the denotation of the term
to include the entire state. Before independence,
Rajasthan comprised twenty-one principalities and
two self governing feudal houses with Ajmer-Merwara
– a British domain situated in the Center. Among the
twenty-one States were Udaipur, Dungarpur, Banswara,
Pratapgarh, Shahpura, Bundi, Kota, Sirohi, Karoli,
Jaisalmer, Jaipur, Alwar, Jodhpur, Bikaner,
Kishangarh, Jhalawar, Datan, Bharatpur, Dholpur,
Tonk and Palanpur. The feudal houses were Kushalgarh
and Lava, of these, Datan and Palanpur were
amalgamated in Gujarat while the rest formed the
modern state of Rajasthan.
The geographical features of the state have affected
the people making tem not only hardy but also
tenacious and chivalrous. Rajasthan is the land of
warriors and heroes, saints and holy men patriots
and martyrs. It was only with the amalgamation of
the states in 1947 the note was taken of the arts
and crafts that had been nurtured under the
patronage of the princes and feudal lords. These, it
was realized, were specimens of a distinctive
culture. Modern Rajasthan cherishes these rich
traditions that are still alive in the works of art
and literature.
Architecture
It is apparent from the archaeological remains at
Kalibanga, Ganeshwar, Ahar, Noha, etc., that planned
lay-out of towns and construction of buildings had
started from the time of the Indus Valley
Civilization (in nearly 3,000 B.C.). Architectural
ruins of the Epic age and the subsequent Maurya,
Gupta and Rapt eras are found scattered in many
places. It is remarkable that from the 12th century
works on architecture came to be written. Among
these is the renowned Apraitoricha. Architecture
further gained in originality and beauty through the
renowned architect, Shilpi Mandan, who wrote
extensively about this sphere of art in his works,
Prasad Mandan, Rajvallabh, Debmurti Prakran and
Vastu Mandan. The tradition was carried on by his
brother Natha who wrote Vastu Manjiri and by his
son, Govind, the writer of Kala Niddhi and Dwar
Dipika.
Forts and Palaces
The forts of Rajasthan are amongst the foremost in
the country, incorporating the special features
elaborated in ancient texts on construction of
forts. Thus there are the ‘Kavsees’ and ‘Jeev rakha’
that have the advantages of both sentinel towers or
bases and embrasures. Noteworthy among the rock
fortresses, ‘Giri Durg’ of Rajasthan is Chittorgarh,
Kumbhalgarh, Ranthambore, Siwana, Jalore, Mehrangarh
(Jodhpur), Taragarh, Aamer, Rajgarh, Dausa and
Kuchaman. Outstanding among the ‘Jal Durgs’ (i.e.
forts erected in water) is Gagron fort near Jhalawar,
built on the confluence of the rivers Ahu and Kali
Singh. Besides these, there are some well-known
forts constructed in level plains, like the forts of
Jaisalmer, Junagarh (Bikaner), Nagaur and Chomu. It
is not only the architecture beauty, the imposing
structure and reputed invincibility of the forts,
but also the legends of chivalry associated with
them that attract the tourist.
Fergusson, a lover of art, marveled at the beauty of
the many palaces of Rajasthan. While the palaces
built by the Rajputs have small rooms and a simple
design, the influence of Mughal art and architecture
led to the construction of richly decorated large
edifices, with Diwan-i-aam, jharokas (decorative
windows) and gardens with fountains and ponds. With
the advent of the British, palaces that were built
within the ramparts of the fort came out of this
enclosure. While almost every palace has its own
unique beauty, there are some that stand out for the
enduring beauty of their murals, frescoes, fine
stone carvings and their ornamentation.
The ‘havelis’ (mansions) at Jaipur, Jaisalmer,
Karoli, Bharatpur, Kota, Ramgarh, Navalgarh,
Fatehpur, Mukundgarh, Mandawa, Pilani, Sardarsahar,
Ratangarh, etc. are examples of architectural
excellence. While some are admirable for the
exquisite stone latticework, others are of interest
for their murals or the harmony of design.
Temples
Rajasthan shares the composite culture of ancient
India. Both near the Chittor and at Bairath near
Jaipur there are ruins of the Buddhist period. And
it was here again that the temple of Vishnu was
built when the country came under the sway of the
Vaishnav cult. Even in its ruins that stand today,
on the banks of the river Bedach, can be seen that
wonder which was the first Vaishnav temple of India.
Rajasthan nurtured almost all the leading religions
of India. Here were established large center of
Buddhism, Jainsm, Vaishnavism and Shaivism. And
while these have disappeared without a trace in
other states, Rajasthan has preserved the legacy of
these artistic creations that are an expression of
the faith of the devotees of various religions. And
therefore, several temples built from the Gupta age
to the 19th century can be found here today.
One of the earliest temples on which the date of its
construction is inscribed is the temple of
Sheetleshwar Mahadeo at Jhalarapatan. The major part
of the temple was constructed in 689 A.D. from the
8th to the 10th century, temples in the Gurjar –
Pratihara style were built at Lamba, Buchkala,
Mandore, Abhaneri, etc. The Sachiyaya Mata temple at
Osian is an excellent example of this style of
architecture. Subsequently, the Chouhans built
magnificent temples at Kaikeend, Harshnath, Nadol
etc. In the south-eastern region, the temples at
Badol, Ramgarh, Menal and Kansua need special
mention.
In Rajasthan there are numerous Jain temples. Among
the principal ones are Mahavir Mandir at Ghanerao,
Parshavanath Mandir at Sadri, Navlakha Mandir at
Pali and Adinath Mandir at Narlai. Others are found
at Nadola, Abu and Ranakpur. The Adinath temple at
Dilwara built in 1031 A.D. by Vimal Shah is
considered unparalleled for its ornate pillars,
finely carved marble roof and the lincaments and
forms of the statues ingeniously chiseled to express
a wide range of emotions. It has, therefore, been
considered an exquisite architectural achievement.
Challenging comparison is the Jain temple at
Ranakpur which is called by various names like
Choumukha Mandir, Trailokya Deepak, Chaturbhuj Vihar,
etc. It is said that the piety of Rajasthan may be
seen enshrined in stone in the Surya Mandir of this
temple.
Sculpture
The tradition in the art of sculpture in Rajasthan
can be traced back to the Kalibanga civilization
that flourished 4000 years ago. Many earthern
statues were discovered in kalibanga, Ahad and
Gilund. From time to time there are several other
statues, (eastern, stone and metal) of ancient
times, that have been excavated in different parts
of Rajasthan. Most of these relate to the Puranic or
Jain religions. One of these is the beautiful forty
– two inch statue of Yaksh of the pre-Gupta era.
Equally significant are the finds in Raid, Bairath
and Nagar.
One of the marvels of ancient sculpture is the
statue of Mahishasurmardini. The statues of the
pre-Gupta era are either in the Gandhara or the
Mathura style. But there are also those of the Gupta
period that have been found in excavations at
Mukundara, Krishnavilas, Bhinmala, Mandore and Pali.
The Vishnu, Krishna and Balarama pieces at Kama and
the Goverdhandhari Krishna at Mandore are considered
invaluable pieces of art. Also inimitable are the
Shiv-Parvati at Rang Mahal, Sambhar, the Shiva
statues at Kalyanpur and the Durga at Naliyasara.
This art developed finesse after the Gupta period.
The statues at Bharatpur, Karoli, Mainala, Dabok and
Dholpur being expressions of varied emotions and
states of mind, the rasas. The statues at Kiradu
have been widely appreciated for the portrayal of
‘Sringar’ (adornment), and love and for their
ornamentation. The statues are embodiments not only
of beauty of form but also of spirit. These in the
temple of Dilwara at Abu and also the ones at
Jodhpur, Lordrava and Jaisalmer have been highly
commended for their exquisite craftsmanship.
The advent of the Vallabh community in Rajasthan
gave a new direction to sculpture. Amongst the
creations that show their influence are Srinathji (Natdwara),
Dwarkadeeshji (Kankroli), Mathureshji (Kota),
Govindadevji (Jaipur), Ratnabihariji and Dauji
(Bikaner) etc. A distinctive feature of the culture
of Rajasthan is that its legacy in sculpture is a
composite of various religions : Buddhism, Jainsm,
Shaivism and the Vaishnav.
It is sculpture of a very high caliber like Sri
Maliram Gulabchand, T.P. Misra, Gopichand Misra,
Ramratan Mishra, Rajendra Misra, Mukutbihari Natta,
Omprakash Natta, Anandilal Verma, Ayyaz Mohd.,
Gangaram, Usha Rani Hooja, Haridutt Gupta, Devi
Singh Rathore to whom Rajasthan owes its place of
pride in the field of this art.
Fourteen miles to the north of Udaipur, on the road
to Nathdwara stands the temple of Lord Sri Eklingji
built by Bappa Raval. It has stood through the
centuries in its beauty and splendid isolation a
witness to momentous historical events.
Painting
Art critics like Anand Coomaraswamy, Percy Brown and
N.C. Mehta have considered Rajasthan’s contribution
in the sphere of painting as significant. The
earliest specimens of paintings in this states are
found in the caves of the Chambal Valley, and the
excavations/ruins of Kalibanga and Ahad. These
include lines deciphered on pots, utensils and
seals. Complete pictures and paintings are no longer
in existence as, compared to other forms of
ornamentation these perish faster with the passage
of times.
There are, however other sources that help to trace
the progress of this art. The Buddhist Lama,
Taranath in ‘Buddha Dharma’ indicates that there
were accomplished painters in this desert region.
The art of painting had developed in Gujarat and
this arid land ‘the Maru Desh’ prior to the 13th
century. An evidence of this is the exposition of
the ‘Kalpsutra’ style in the Jain literature of the
time.
Different styles of painting developed under the
patronage of the rulers in the princely states of
Rajasthan. Noteworthy among these are the styles of
painting evolved in Jodhpur, Bikaner, Alwar, Jaipur,
Kishangarh, Mewar and Bundi. The styles are
identified by the difference in the use of color and
border, portrayal of birds and animals, the human
form and features, the shape of the eyes and
ornaments. For instance, in the paintings of Jodhpur
and Bikaner, the predominant color is a bright
yellow, in Jaipur green, in Udaipur red, which in
Kishangarh, bright saffron in Bundi and bright green
in Alwar. For the scenic setting, the Jodhpur and
Bikaner artists chose a mango tree, the crow the
kite and the camel, Jaipur and Alwar a peepul trees
and the peacock, Kota and Bundi, a palm tree, the
deer and the lion. The smooth flowing lines of the
eye in Jodhpur paintings give it an almond like
shape, in Jaipur it is elongated like a fish, in
Udaipur large and liquid like the eye of a deer,
arched like the bow in Kishangarh, like a mango leaf
in Bundi and like the little khanjan bird in the
Bikaner style of painting.
Initially, the influence of the Ajanta style is
noticeable in the paintings but after the 17th
century the influence of the Mughal style is
evident. Later there was an admixture of the Punjabi
style and when, subsequently, the Rapt rulers joined
forces with the Mughals in their military
expeditions to southern India, the influence of the
South too crept in. the styles in Rajasthan
undoubtedly had some basic similarities. Originally,
the Mewar painters drew a round face with a pointed
nose and ‘deer eyes’ or ‘meenadkshi – like eyes’.
The Marwar School while retaining these facial
features gave the forms vestments and ornaments in
the Mughal style. Both in Nathdwara and Bundi, the
facial features and forms were drawn in the Mewar
style, with Bundi painters giving the background of
mountains, streams and trees.
The exquisite Kishangarh paintings have a clearly
distinguishable style. The art developed in the time
of Samand Singh who was also known as Nagridas.
Nagridas was greatly influenced by the Vaishnav sect
and the women popularly known by the name ‘Banithani’.
Nagridas and Ban thani were painted together like
Radha Krishna. But it is ‘Nihal Chand’s potrait of
Bani thani that is generally considered to be a
masterpiece of Rajastani painting. In the opinion of
connoisseurs of art if stands comparison with the
world famous Mona Lisa.
Along with divergences, and touches of originality
and paintings in Rajasthan share certain common
features. These are the use of bright colors and the
choice of themes like the Ragas, the seasons and
scenes from the Bhagwat Gita, the Ramayana and the
Geet Govinda. All the styles initially were
influenced by the Ajanta paintings and later by
Mughal ones.
The art has been modernized through the efforts and
creations of artists like Master Kundan Lal Mistry,
Muller (a German artist), Bhattu Lal, Bhoor Singh
Shekhawat, Nandlal Verma, Shivnarain ‘Chaugan’,
Ramgopal Vijayvargeya, Devakinandan Sharma,
Vishnudutt Sharma, Gopal Ghosh, Dwarka Prasad
Sharma, Sakhalkar, Parmanand Choyal, V.C. Girl,
Jyoti Swaroop Mohan Verma, Premcand Goswami, Vidhya
Sagar Upadhyaya, Sumahendra, Radhavallab Suresh
Sharma, Shail Choyal and others.
Music
In his famous work the History of Persia Malcolm the
well known historian recounts that in the 5th
century the Emperor Bahram Ghor of Iran attacked
India and carried away with him twelve thousand
musicians. He further notes that it could only have
been Rajasthan and Gujarat that could have survived
such devastation.
In Rajasthan, the royal houses accorded a place of
honour to musicians. Rajasthan also has he
distinction of having produced several treatises on
music, e.g. Hamir’s ‘Shringarhaar’, Kumbha’s ‘Sangeetraj’.
Pundrik Vithali ‘Raagmala’, Ustad Chand Khan’s ‘Swasagar’,
Pandit Bhavbhatt’s ‘Murli Prakash’, Dwarka Prasad’s
Bhatt’s ‘Raag Chandrika’, Radha Krishna’s ‘Raag
Ratnakar’, Krishnanand Vyas ‘Raag Kallpadrum’.
In the temples of Nathdwara, Kankroli, Jaipur, Kota,
etc. ‘haveli sangeet’ with all its traditional
distinctive features is still alive. The couplets
and verses of Mira, Daadu, Charandas and other poet
devotees have been set to music in the different
ragas. The contribution of Rajasthan singers in the
‘Dhrupad’ style cannot be ignored. Through the
encouragement of the court musician Bahram Khan, the
Daagar Gharana (school of music) in ‘Dhrupad Dhamas’
came into existence and flourished in the time of
Maharaja Swai Man Singh. The famous singer of old,
Manrang is considered to be the fonder of the Khayal
style of the Jaipur gharana. The art prospered
through the dedicated efforts and innovative
variations of several gharanas of music like the
Allahdiyan Khan gharana, Soniya gharana, Bikaner
gharana, Agra gharana, Qawal Bachhon gharana and
others. The melodious ‘Maand Raga’ is also a
creation of Rajasthan. In our time, Allahjillai Bai
of Bikaner and Gavri Devi of Jodhpur have each added
the charm of a freshness and individuality in their
exposition of monad.
In Rajasthan, Dholi, Mirasi, Langa, Dhadhi, Kalawant,
Bhaat, Rao, Jogi, Kanad, Vairagi, Gandharva, Bhopa,
Bhavai, Rana, Kalbelia, etc. are castes of
professional musicians and singers.
Folk instruments devised on simple principles of
sound reveal the ingenuity of the creators. The wide
varieties of the instruments provide music suitable
for all occasions and festivals.
The main folk instruments are Sarang, Jantar, Ravana
– hatha, Ektara, Apang, Kamayacha, Bansuri, Algoja,
Pungi, Shehnai, Satara, Mashq, Nad, Morchang, Tota,
Bankiya, Shankh, Singi, Mridang, Dholak, Dhol,
Nagada, Narpat, Maadal, Chang, Khanjari, Matka, Daph,
Damru, Taasa, Manjira, Jhangh, Thali and Khartal. |
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