This set consists of 3 titles:
This scholarly work throws light on the artistic, military and medicinal history of Orchha in Bundelkhand. The whole area is rich in antiquarian wealth and presents the glimpses of cultural advancements of this region in the shape of monuments, sculptures, paintings inscriptions etc. The monuments and wall paintings of Orchha are worth mentioning. The symmetry of the Cenotaphs, the majestic Jahangir Mahal, Octagonal flower beds, gardens are extra ordinary, to say the least.
Dr Neeta Yadav, Lecturer (History), Bundelkhand University Jhansi, NET & Ph.D. in Ancient History Culture & Archaeology from University of Allahabad. She has to her credit many seminar presentations and attended National and International conferences. She is life member of Indian History Congress, Indian History and Culture Society, U.P. History congress. Dr Yadav is deeply involved in History and Culture of Bundelkhand and temple art and architecture, pertaining to different regions of India.
The grandeur and beauty of Orchha heritage cannot be precisely described by words but can only be experienced. Though a small town, Orchha occupied an important place in the history of Bundelkhand. The cultural heritage of Bundelkhand area is well preserved and provides a good experience to people visiting from other areas. Bundelas are better known for their heroism and bravery, art and architecture and age old traditions and customs. Being Rajput, they maintained their traditional values in the form of art, literature, paintings and monuments. Orchha is innovated by Bundelas and they made it a strategic and military destination to defend their country. The present work consist of seven chapters on Orchha. First chapter is a brief introduction of Bundelkhand region, followed by second chapter introducing the history of Bundelas. Earlier the Bundelas were the feudatories of Chandela rulers. of Kalinjar and some of the ancestors of Bundelas ruled from Kalingar. Later due to quarrels among the family and the Muslim invasions they shifted to safer places and one such line of Bundelas came to Garh Kundar, which became their first capital till 1501AD. In search of strategic positions Bundelas shifted their capital to Orchha and this is how Orchha came into prominence. Third chapter is based on art & architecture of Orchha, which present the rich cultural heritage of Bundela rulers. Many Palatial buildings, Temples and cenotaphs were made during the rule of mighty Bundelas.
This volume, a visual journey, through its meticulous deliberations on the wall paintings and miniature painting of Bundelkhand makes us reminisce the footfalls of valiant Bundella kings, ankle bells of elegant court-dancers, evocative poetry of mabakavi Kesvadas and the brillint artistic skills of mural painters and many other historical events. These find their excellent expressions beyond the palaces of Orchha and Datia, and in amny jagirs and thikanas such as Rehali, Madanpur, Chhatarpur, Marsingharh, Ajayagarh, Todi Fatehpur, Samthar, Jhansi and Rannod as well. Aglimpse of Malwa painting is a value-add.
The murals, a living art, more democratic and decidedly popular, were the artistic idiom of Bundelkaand. It was art for the raja and the praja, depicting not only Puranic stories, but also regal affairs and the day-to-day life of ordinary people.
Despite the fact that time, the vicissitudes of weather and vandalism have taken their tool on the murals, a cultivated aesthete can restore life in them. The book candidly reminds us a truth: The paintings of Bundelkhand are half remembered, half forgotten and amny yet to be discovered.
Thus, this book should inspire art connoisseurs, art historians, art students, and laymen alike, paving the way for further researches and studies on the forgotten legacies of Bundelkhand.
Born in Harda on the banks of the holy river Narmada and presently based at Indore, Narmada Prasad Upadhyaya is a noted scholar of Hindi literature and Indian painting. He writes with grace and eloquence and his books, 25 in number, are an important part of the bibliography of Hindi literature, Indian art and aesthetics. Among his books are Bhartiya Chitrankan Prampara, paar Roop Ke, Jain Chitrankan Parampara, Kanheri Gita Govinda, The Concept of Portrait and The Colours Fragrance. He has extensively worked on Raghogargh and Jhalawad painting traditions.
Hie special interest is in the painting of central India including Malwa, Bundelkhand, Baghelkhand, Vidarbha and Khandesh. He has worked with the noted scholar Dr Vidhya Niwas Mishra on the projects of Ramayana and Gita Govinda. He has lectured in England, Australia and Switzerland, and has won several awards including the prestigious Kala Bhushan in 2003.in 2002 he was given the British Council fellowship and in 2008 a German fellowship for his projects on the painting traditions of central India.
At present he is working on the interdisciplinary relationship between multiple dimensions of Indian paintings and the different disciplines of Indian literature. The visual heritage of the tradition is a subject of great interest to him. His current project is on the paintings of Bhaktamar, a Jaina composition. He is also working on a project of Gayer Anderson collection of Indian paintings preserved in Victoria and Albert Museum, London, Ashmolean Museum, Oxford, National Gallery of Australia, Canberra, and other museums of the world.
Harsha V. Dehejia has a double doctorate, one in medicine and other in ancient Indian culture, both from Mumbai University. He is also a member of the from Mumbai University. He is also a member of the Royal Mumbai University. He is also a member of the Royal College of the Royal College of Physicians Of London, Glasgow and Canada all by examination. He is a practising Physician and Professor of Indian Studies at Carleton University in Ottawa, Canada. His main interest is in Indian aesthetics. His publications are:
1. The Advaita of Art (Motilal Banarsidass, 1996), 2. Parvatidarpana (The Mirror of Parvati) (Motilal Banarsidass, 1998), 3. Parvati, Goddess of Love (Mapin, 1999), 4. Despair and Modernity, Reflection on Modern Indian Painting (Motilal Banarsidass 2000), 5. The Lotus and Flute: Romantic Moments in Indian Poetry and Painting (Mapin, 2002), 6.A Celebration of Love: The Romantic Heroine in the Indian Arts (Roli Books, 2004), 7. Saundarya The Theory and Praxis of Beauty (Samvad, 2004), 8. Celebrating Krishna: Sensuous Images and Sacred Words (Mapin, 2005), 9. Leaves of the Pipal Tree: Aesthetic Reflections of Hindu Mytbs (Motial Banarsidass, 2005 ), 10. Gods Beyond Temples (Motilal Banarsidass, 2006), 11. A Festival of Krishna (Roli, 2007), 12. Mumbai Footpaths, Paths of Courage, Journeys of Hope (Vira, 2008), 13. Akriti to Sanskrit: A Journey of Indian Forms (Niyogi, 2010, 14. Krishna’s Forgotten Poets (Roli, 2010), 15. Pabari Paintings of Ancient Romance: The Story of Usha Aniruddha (D.K. Printworld, 2010), 16. Painted Words: Pahari Paintings of Matiram’s Rasraj (D.K. Printworld, 2011), 17. Enchanting Tales from India, Megha and the Magic Tree (Om Books, 2012), 18. Megha Meets Vishwakarma, the Journey of Indian Crafts (Niyogi Books, 2014), 19. Rasikapriya (D.K. Printworld, 2014), 20. The Love Songs of Vidyapati (D.K. Printworld, 2014), 21. The Love Songs of Narsinh Mehta (D.K. Printworld, 2015), 22. Parijata-harana: Krsna steals the Parijata (D.K. Printworld, 2015)
The paintings containing a rich treasure of Jain Tirthankaras and Hindu deities speak a lot about the whole-hearted love and affection of Jain and Hindu communities and their influence on general public. As the book is the result of thorough research, the material incorporated in it has much valuable information for the scholars and students in this field.
The book is copiously illustrated with color plates, and line drawings making it the most comprehensive coverage of the Bundelkhand art and its times.
There is bound to be dilemma and soul searching eminence in the desirous mind."
The essence of these words of Mahatma Gandhi is that knowledge cannot be gained without acquisitiveness. As the real happiness comes after hearing sadness in the same way I received the imputes to do this research work from my Guru Dr. Wakankar's immense affection and untiring labor that I could complete my work.
Any work of art reaches its completion, only after it traverses through difficult path.
The characteristics of the work of art reach its completeness after passing through difficult paths. No man can make a claim that whatever he is searching for throughout his life it is the most authentic. A research has an end; any other person can go beyond it and search.
Other research students can find other materials, the lack of research materials of the research work did not bother me, I used to get necessary books of my choice. The entire credit goes to my preceptor (Late) Padamshree Dr. Vishnu Sridhar Wakankar without his successfully directing this work I am whole heartedly grateful to him from my heart for his great support towards this work.
My father and mother always supported me and gave directions to me for this research work. They always stood beside me in my difficulties, and encouraged me and gave all kinds of support. I am also-grateful to them.
To do this research work I surveyed the Temples of Chattarpur, I had to travel to many places for this, and I visited Orchha, Datia, Gwalior, and Jhansi. Tekamah etc. places for surveying. In the present research work I have tried to explain the geographical and historical Bundelkhand, Paintings in Bundelkhand, the wall paintings of the Big Jain Temple of Chattarpur, the wall paintings of the New Digambar Jain Temple and the frescoes of the Chowdhary Temple, according to me. I have tried to explain the stylized practipractist, and the local influence of the-frescoes keeping in minds the photographs and drawings.
By the able direction and grace of Dr. Wakankar that this work could take the shape of a book. The kind advices, statements, and helps by other scholars by lending me books for this work reflect their kind hearted dispositions. Along with this, I am also indebted to photographer Sri Ahmed (Shiva Studio-Chattarpur) Sri Kuldeep Singh (Moni Studio- Bhopal) Smt. Urmila Bhanot, Superintending Librarian, Oriental House Library and Superintendent of Old Secretariat, Srimati Rizoi - Library Superintendent of Maharani Laksmibai Girls' College and Sri Tiwari - Library Superintendent of Hamidia College, and to Shri Shush eel Jain, and cloth merchant Sri Ratan Chand Jain, and the missionaries of the Jain Temple of Bhopal- Sri Pawaiya and Dr. Arun Kumar Jain, who had helped me to understand and gain knowledge about the Jain religion, I 'am also immensely grateful to Sri Hari Singh Sisodia of Chattarpur - who had extended all possible helps to me.
Shri Rajesh Shrivastava, Assistant Manager, Urja Vikas Nigam Ltd. M.P., Bhopal for all his labors he has done in typing word.
In the end, I express my gratitude to all of the well-wishers, relatives, friends who had given their support, and full cooperation, as a result of which the work is at your hands in a book form.
Dr. Om Prakash Misra of the State Archaeology & Museum, Bhopal has taken keen interest for this publication, for which I am grateful to him. Sri B.L. Bansal, Prop. Sharada Publishing House, New Delhi shown generosity and prompt action for this publication and also for the getup and good quality in a very short time for which I pay my regards to him. Last but not least my respected parents and members of my family.
Late Shri Ambika Prasad Divya is of the opinion about the paintings of Bundelkhand - that the source of the traditional Bundeli paintings can be seen in the murals. Seeing all these evidences we have come to the conclusion that the birth of the paintings has started in the caves itself where the primitive humans lived. There are still such paintings available in Bundelkhand today that it would not be out of place to call them belonging to the primitive age. They have not changed a bit even with such change of civilization.
Some more paintings are' available which can hardly be attributed to have been born of human imaginations also it cannot be said since when it has come into being. For example the 'Surat' (the paintings of Sartar) it is numerated on the day of Deepavali. It is painted on the wall. First the wall is painted with mud and chalk, and then painted with turmeric and lime colors. Probably the idea is as old as our Deepavali is.
The second picture available is that of 'Kamyan tree'. On the second day of Deepavali the 'Chiraiya Gaur' puja is performed. The picture of a banyan tree is drawn and birds are drawn on it.
The third picture is that of 'Namai', available. Its puja is performed on the 'navami' (ninth day) in the month of Sravan (rain month). It is a picture of a woman; a square is drawn under it which denotes. clothes.
The fourth picture that is available is that of a parrot. This very idea is unique. There are several pictures in use in Bundelkhand and if they are called to belong to primitive age, it would be very difficult to identify the age. Those that have remained since then have been shuttered by religion. It does not at all mean that paintings began in Bundelkhand only, but this much is sure that paintings have been in practice in Bundelkhand since the primitive age. It also has developed along with the development of paintings and art in India.
Indian art and paintings have reached the Ajanta period after crossing over the primitive era. How the paintings have developed in Ajanta it is not necessary to repeat. It is an ideal example of Indian paintings even today. The paintings of Ajanta do not depict unnatural or imaginative things. These paintings not only give such ideal forms to human but also to every living thing and gave importance to emotive expression that they have acquired mysteriousness and have a special attractiveness that draw us towards some unearthly substance (body). The mind reaches to a world of imagination. The style is fantastic that they have become the ideals of painters and artists of today. Their color is bright and shiny. The lives are clear and deep like that of the palms. There are shades, but all the emotions have been drawn with the help of other lives.
Expressions of emotions are their main objective.
With the progress of time this very Ajanta style blossomed into various other forms of style like what we call today Rajput pen, Kangra pen, Mughal pen, Bundeli pen etc.
During the advent of Mughal period the art took a novel form. The pictures that were painted on walls from the times of Ajanta underwent a change.
Paintings on small papers were being made. Thus the beginning of miniature paintings took place. This new form of paintings was brought from Persia. Water colors were used on pieces of papers in this style. India did accept this new form of paintings but added its own style with it to bring forth another new form which was given the name of Indian miniature style of paintings. This style is narrated into two: Mughal Pen Rajput Pen The Bundeli pen is supposed to belong to the Rajput pen. These two styles are very thickly related to each other, so a detailed steady is essential. The Mughal pen is to be examined from many angles. There is more of Sufi influence in the earlier pictures of this style, but gradually this influence diminished and gave way to Indianans. European influence too was perceived in the end. Thus the Mughal period was a unique age of transition when influence. of different styles became visible. Before the advent of the Mughal a highly advanced state of Indian art was present in India.
In this Indian art form the Persian style was merged, and the Mughal gave the shapes according to their own likenesses. It had its influence in Europe also. Thus the Mughal Pen was created and brought up under the influence of four different schools of art.
Book's Contents and Sample Pages
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Hindu (875)
Agriculture (85)
Ancient (994)
Archaeology (567)
Architecture (526)
Art & Culture (848)
Biography (586)
Buddhist (540)
Cookery (160)
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Islam (234)
Jainism (271)
Literary (867)
Mahatma Gandhi (377)
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