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THE ART OF THE WESTERN HIMALAYAS

By

Priyatosh Banerjee

The Himalaya is a region of profound interest for its distinct physical feature, climate and cultural diversity.  Abounding in nature's beauty, it has been looked upon by the yogis, pilgrims and devotees as an abode of light and peace.  Its atmosphere of tranquility has attracted seekers of truth from far and wide. It is the source of several sacred rivers, including the Ganga. Poets and devotes have described it as the embodiment of all divinity. Mount Kailasa in particular is the holy resort Shiva and Parvati and its sanctity has widely captured the imagination of the people.  Many temples and shrines in India and outside have been named after ii. Buddhists also look upon Kailasa with great veneration.

The Himachal regions have a variegated history The physical barriers of the Himalaya have not completely isolated it from the rest of the world. Through its narrow passes and pathways have taken place many cultural migrations.  Political intrusions and trade exchanges of far-reaching importance.  It was the meeting ground of various races and tribes and their admixture has left its imprint on its history and culture. The Himalaya has shared now and then, in large measure. Tie vibrations and vicissitudes of political and cultural upheavals and movements that took place on the Indian plains or on its northern borders.

Along the Himalaya there flourished an astounding range of arts and crafts.  Though the art of the Himalaya was largely influenced by the art traditions of the Indian plains, it also shows many a characteristic countries, especially Iran, Nepal and Tibet.  For example, the ruins of a stupa of the Graeco-Buddhist type can be seen at Ushkur, near Baramula (Srinagar.  Gandharan influence is evident in the terracottas of Akhnur near Jammu.  The statues of the Sun-god (Surya, many of which have been discovered in the Himalayan region, are dressed in a costume and crown of the Sassanian type.  Buddhist art of Central Asia, China, and Tibet shows a lot of Indian influences, especially from Kashmir and crown of the Sassanian type.  Buddhist art of Central Asia, China, and Tibet shows a lot of Indian influence, especially from Kashmir and to some extent from Ajanta and Eastern India.  However, in subsequent periods, at various stages and levels, certain Central Asian traditions as well as Tibetan Buddhism and Buddhist art did not fail to create an impact on the art of Indian, especially of Kashmir, Himachal and other adjacent regions.  The Himalaya, in common with other mountain ranges the world over, has served as the preserver of many old and varied art traditions.  Its isolation has helped these traditions to maintain their identity over long periods.

As in other parts of India, the art of the Himalaya can be divided into two broad divisions, the hieratic and popular, or the classical and folk.  The major surviving art productions in the region, as in other parts of India, bear the impress of many surviving art productions in the region, as in other parts of India, bear the impress of many religious movements and reforms and stand as testimony to the skill of the artists engaged in giving visual form to high and abstract speculations.  Fold art, on the other hand, having its origin in the soil and being timeless and continuous, though often influence by higher traditions, represents the beliefs and aspirations of the common man.

The earliest surviving art relics of the Western Himalaya come mostly from Kashmir and Himachal pradesh. Both regions have produced many crumples of fine art and craft; their schools share many traits because of their geographical proximity and because of their common inheritance from the art traditions of the Gupta and early medieval periods.

Kashmir was a great centre of learning. Many scholars and pilgrims from Central Asia and China came to Kashmir for learning and discussion. Kashmir also sent many a great scholar to Central Asia and other places to propagate Buddhism and to interpret Buddhist texts.  And here both plastic and pictorial art reached a high standard.  Traces of the style of Gandhara modelling together with the refinement and the restraint typical of the Gupta idiom characterise early Kashmiri art. 

Kashmir bronzes occupy a high place in Indian art. The Rajatarangini of Kalhana (c. 12th century) contains allusions to many marvellous bronzes of Kashmir.  The reputation of these bronzes was so high that the same style was very often followed also in Himachal and other neighbouring regions.  Kashmir is also known for its wood- carving and shawl and carpet-making.  Kashmiri shawls have gained a world-wide reputation.  The skill of the Kashmiri craftsmen in this line is yet to be rivalled.

It may be noted here that in Kashmir during the medieval period and oven earlier, Buddhism and Hinduism seem to have been equally popular, and the Kashmiri artists produced large numbers of images belonging to both religions.  But in Himachal Pradesh, where Buddhism was also introduced quite early, the number of Buddhist images are, strangely enough, very few compared to the vast number of images belonging to the Hindu pantheon produced over the years. The notable exceptions are exceptions Buddhist statue of the Gupta period found in Fatehpur, near Kangra, and headless seated Buddha (stone, c. 8th century) found in lakhamandal, Kangra District, and now preserved in the State Museum, Shimla.

During the post-Gupta times (c. 6th-8th centuries) Himachal pradesh witnessed large-scale artistic activities.  Himachali art of this period is remarkable for its elegance as it shared or inherited in common with other north Indian centres the restraint, refinement, and graceful modelling of classical Gupta Art.  Attention may be drawn here to the Simhavahini (Durga) image) from Hatkoti, Shimla District, and the sculpture showing the Nidhi of Vishnu (8th century AD) from the Siva temple at Masrur, kangra (both of these images have been kindly lent to us for this exhibition by the State Museum Shimla), and a fine statue of Surya (6th century AD), (somewhat different in style from the two images) from Bajaura, Kulu, preserved in the same museum Contemporaneous with these stone sculptures are a group of rare metal sructures from the Chamba region. Most of these items, which are characterised by sharp outlines, were produced during the rule of King Meruvarman (8th century) by an artist called Gugga. Of these the images of Lakshmana-devi (c.700 AD: from Brahmur and of Shakti-devi from Chhatrari in Chamba and of Narasimha from Chamba are worthy of special mention, The dedicatory inscription on the image of Lakshmana-devi says that the illustrious Meruvarman has caused this holy image to be made by the workman Gugga It is interesting to note that the Narasimha image exhibits the blending of Gupta and Ghandaran elements so characterstic of Kashmiri art.

That the Himachali metal workers could vie with Kashmiri artists is evident from the Siva-Parvati images (c. 10th century) at Gauri-Shankar temple Chamba, and the famous Vishnu-Chaturamukha image (19th century) at the Hari Rai temle, Chamba, A comparison of the Vishnu-Chaturmukha image with that of the Vaikuhtha-Vishnu (9th century) found within the enclosure of the Advantisvami temple in Avantipura, Kashmir, shows that there flourished at Chamha about the 10th century A.D. a school of art as elegant as that to be found in contemporary Kashmir. The bronze image of Svachehhavanda Bhairavai- (c. 10th century), now preserved in the National Museum, New Delhi, also speaks of the skill of Himachali artists in bronze castings.

During the medieval period, Himachal Pradesh also produced a large number of beautiful stone sculptures (8th to 11th centuries A.D ).  Of these the following images preserved in the State Museum, Shimla, are worth mentioning: Bhadramukha from the Hotkoti temple-complex: Vishnu-Lakshmi mounted on Garuda from kasog, Mandi (11th century): Mahisasurmardani from Jagatsukh, kulu (9th century AD): Karttikeya from Karsog, Mandi (11th century): and a few others.

During the medieval period many temples were built in Himachal and they can be divided into three classes, namely the Nagara. Pent-roof and Pagoda types.  It is interesting to note that much of the sculptural wealth of Himachal comes from temples.  Wood-carving and metal work are still practised on a large scale in Himachal, and these crafts show the continuity of artistic traditions, though in decadent form, today.

Under the patronage of the Rajput rules of the Hill States there flourished in the 18th and early 19th centuries several schools of miniature painting.  Most of these schools, it is interesting to note, were located in the area which now forms the present Himachal pradesh.  The major centres of pahari art include basoli, Chamba, Guler, Nurpur, kangra, Kulu, mandi, Suket, Bilaspur, Arti, Nalagarh, Sirmur and Garhwal.

Though the pahari artists have drawn largely on the Hindu epics (the Ramayana and Mahabharata) and Purans (the Bhagavata and the markandeya) and other popular religious texts, secular themes like the nayaka-Nayika-bheda and barmasa have not been constitute the main fabric of man's life-find expression in pahari miniatures.  Of all schools of pahari painting, it is the Guler-kangra style marked by a delicacy of line and brilliance of colour which has atained the highest popularity Kangra art exults over feminine beauty, and the artists of this school have excelled in depicting the Radha-Krishna theme in all intensity.  Love in all its aspects spiritual and mundane-is the main theme of this art, The Basohli school also has a charm of its own because of its primitive simplicity and the predominace of folk elements.

Rumals a well-known household art of Himachal Pradesh and commonly known as "Chamba rumals", originated sometime during the middle of 18th century.  This textile art is mainly the creation of women folk.  Rumals are fine embroidery work in silk thread which clearly show the considerable influence of the pictorial art of miniatures.  They depict both secular and religious themes, and were used for covering gifts or offering to the gods.

Kinnaur and the Spiti Valley in Himachal Pradesh have a composite culture of their with many local traits combined with tie considerable influence of Western Tibetan art and religion.  From the cultural point of view the main attraction of the Spiti Valley is its monasteries, especially the one at Tabo, attributed to the famous Buddhist monk Rinchen Zangpo of Western Tibet. The monastery at Tabo is a group of several mud-brick structures containing many sculptures show deities mostly of theTantric Vajrayana School, the paintings among other things several Jatakas and scenes from the life of Buddha Sakyamuni.  The paintings of Tabo are executed in tempera on mud plaster and the oldest of these (10th and 11th centuries A.D.) can be seen in the Dukhang temple.

Ladakh, which is now a part of the State of Jammu and Kashmir in India, is a very important centre of Buddhist art culture.  It is in fact a meeting place of two cultural traditions-India and Tibetan.  In the late 9th century it formed a part of the kingdom of Western Tibet (comprising Ladakh, purang and Guge), ehich was established by king kyide Nyimagon, grandson of the last, anti-Buddhist king of Tibet, Langdarma.  King Yeshe od of Western Tibet (10th cnetury) was a great patron of Buddhism and he sent several scholars including Rinchen Zangpo to kashmir to enable them to pursue their Buddhist studies.

While returning from Kashmir, Richen Zangpo brought seventy-five craftsmen to Western Tibet.  The Kashmiri art traditions brought by these craftsmen enriched the Guge style as seen in the art of Ladakh, Spiti, and many other places.  In Tsaparang, Tholing and Tabo, where-ever temple were built, the influence of the Kashmiri tradition is evident in wood-carvings, sculptures, bronzes and mural paintings.  Rinchen Zangpo and the Indian teacher Atisha provided a great stimulus for the revival of Buddhism in Tibet.

Ladak has many monasteries among which nyarma and Alchi are attributed to Richen Zangpo.  Nyarma, now completely ruined, is considered to be the oldest, while Alchi is very important for its beautiful mural paintings in which vavious art currents, includings the hellenistic, Sassanian, Kashmiri, Tibetan, Nepalese and Eastern India, are seen amalgamated. But the Alchi style is also shows some regional characteristics.  The slimness and multiple bends of the figures, the tree motifs, and the costumes of the kings and queens are some of the regional features in the Alchi paintings.

Buddhism was introdcced in Tibet during the rule of Sonztsen Gampo (7th rentury). Since then it has maintained an uninterrupted hold on Tibet except for a brief period in the 9th century. Tibetan Buddhism is of a synthetic nature, because Buddhism came to Tibet not only from India hut also from various other parts of Buddhist Asia, such as China, Central Asia and Nepal. Furthermore Tibetan, Buddhism is also an amalgam of the Tantric Buddhist practices of the Vajrayana school (which came mainly from India) and the traditions, rituals and the traditions, rituals and magic of the pre- Buddhist native religion, called Bon.

As might be expected from the very nature of Tibetetan Buddhism, the Tibetan Buddhism, the Tibetan pantheon is large and complex.  It is an assemblage of many divinities, including the Adi-Buddha, the five Tahagatas, the five Tathagas, Munushi or mortal Buddhas, various Bodhisattvas among Whom Avalokitesvara, Maitreya and Maitreya and manjusri are the most important, and female divinities including the Taras (the Saviouresses), the pancharaksha deities who provide protection from disease, Sarasvati, marichi and many others including the Dharmapalas (Defence of the Law) and Lpkapalas (Guaidiance of the Four Quarters).  Some of these gods terrifying aspects.

Tibetan Buddhism has also deified the eighty-four Siddhas (who were yogis and adept in magic) and of their historical teachers such as padmasambhava (the founder of Lamaism), Atisha, Marpa, Milarepa, Tsobgkhapa and many others.

Thangkas, usually called "temple banners", occupy an important place in Tibetan art.  They are usually painted on canvas and sometimes on silk.  They depict various religious themes such as the Wheel Of Life, the intermediate states between death and rebirth, mandalas, Sakyamuni and other Buddhas, scenes from Sakyamuni's life, jatakas, and so fourth.  Tibetan art forms are not intended merely for aesthetic pleasure, and Thankas are no exception.  Their purpose is to serve as aid to devotion and meditation. 

The purpose of this exhibition is to provide a glimpse of the art and culture of the Western Himalays.  The object shown in the exhibition have been very kindly lent by the State Museum, Himachal pradesh, Shimla and Shri O.C. sud, M.A, Shimla.  We are most greatful to them for their generosity and kind coopecation.

The exhibition has been arranged to coincide with the conference on "Himalayan Environment and Culture" organised by the Indian Institute of Advance Study, Rashtrapati Nival, Shimla, from the 3rd to 8th November, 1986.

The exhibition will remain open to the public on all days from 10 a.m. to 5 p.m. from the 3rd to 8th Novemebr, 1986. 

        LIST OF EXHIBITS

1. Simhavahini (Durga), 83 cm, stone, Hat Koti, Shimla District, 8th century.

2. Nidhi of Vishnu, stone, Masrur, Kangra District, 8th century.

3. Head of Surya, 24 cm, stone, Pahari, c. 9th-10th century A.D.

4. Avalokitesvara standing,16.6 cm, bronze, probably Kashmir, c. I0th-11th century.

5. Sakyamuni Buddha (seated), 7.5 cm. bronze, Kashmir, c. 10th century.

6. Brahma. 25.5 cm, bronze.  Kashmir, c. 14th century.

7. Vishnu, 20.5 cm, bronze, Nirmand, c. 14th century.

8. Vishnu, 18.5 cm, bronze, Shimla District, 12th century.

9. Durga (killing Mahishasura), 18 cm, bronze, Shimla District. C. 19th century.

10. Durga on lion, 17 cm, bronze, Shimla District, c. 12th century.

11. Durga, 14.5 cm, bronze, SLlimla District, c. 19th century.

12. A group of five Hindu deities, 9.5 x 16.5 cm, bronze.  Kashmir or Western Himalaya.

13. Yamaraja (folk), 17.5 cm, bronze, Shimla District.

14. Brahma, 32.5 cm, bronze, Chamba, late 19th century.

15. Kulu Mask of a god (Siva?) with a garland of two snakes, 21 cm, bronze, modern.

16. Padmasambhava, 27 cm bronze, Kinnaur, c. 19th century.

17. Avalokitesvara. 21 cm, bronze, Kinnaur, c. 19th century.

18. Tara, gilded bronze, c. 17.5 cm, Kinnaur, c. 19th century. The image is inscribed in Tibetan.

19. Vajradhara, bronze,17.5 cm. Kinnaur, 19th century.

20. Padmapani, gilded bronze, 8.5 cm, probably Ladakhi, C. 14th century.

21. Padmasambhava,18 cm, bronze, Spiti Valley, c. 19th century.

22. Unidentified Lama. 14.5 cm, Western Himalaya, c.19th century.

23. Thangtong Gyalpo,12 cm, bronze, Tibet, c. 18th century.

24. Milarepa, 7.5 cm, bronze, Tibet, c. 15th century.

25. Panel from a frieze, copper-gilt, showing Avalokitesvara and mythological animals from Tholing, Western Tibet, 29 cm, c. 12th century.

26. Nepali Thangka of Avalokitrasvara, inscribed, N.E 943=A.D. 1823, 77 x 50 cm.

27. anapali Thangka of Svayambhunatha Stupa, Kathmandu, 74x 56cm, late 19th century.

28. None colour photographs of Buddhist well apintings from Alchi, ladakh.

29. Thangka of Hevajra, Western Himalayan, 98 x 68 cm, late 18th century.

30. Thangka of Buddha Sakyamuni, surrounded by unidentified narrative scenes,123 x 71 cm, Spiti,18th century.

31. Thangka of White Mahakala, 83 x 43 cm, provenance unknown, c. 18th century.

32. Thangka of White Mahakala. 83 x 43 cm, Western Himalaya, 19th century.

33. Painting showing mythlogical scenes (Matsyavatara amd killing of Sankhasura), 57.5 x 44.5 cm, Arti, Kangra folk style, early 20th century

34. Painting showing Vamanavatara and Bali, 44.5 x 57.5 cm. Arki, Kangra folk style, early 20th century.

35. Chamba  rumal of Rasa-Mandal, 72 x 72 cm, Chomba/Kangra.  19th Tenttlry.

36. Chamba rumal of Krishna's wedding, 62 x 66 cm, Chamba Basohli, 19th century.

37. Birth of Krishna, 25.7 x 14.4 cm painting, Pahari, mid 18th (century.

38. Shiva and Parvati, 19.9 x 15.6 cm, painting, Kangra style, early 19th century.

39. Vishnu on lotus, 18.8 x 12.5 cm, painting, basohi style, 18th century.

40. Samudramanthana (Churning of the ocean), 12.8 x 16.4 cm, painting mandi style, mid 18th century.

41. Rama seated on throna, 17.4 x 22.4 cm, painting, Chamba style early 16th centuy.

42. Shiva seated on throne, 77.4 x 22.4 cm. painting Chamba style,    early 16th century.

43. Nayika, 21.5 x 13.6 cm painting, Guler-kangra style, late 18th century.

44.  Young man seated, 16.8 x 10.75 cm, painting, Guler- knagra style,18th century.

45 Raja sidhases, 21.2 x 22.2 cm, painting, Mandi style, early 18th century.

46 Two Rishis (Balmiki and bharadwaja), 19.7 x 27.8 cm, painting, Guler style, late 18th century.

47. Bhumravati Dhyanam, 28 x 24 cm, Garhwal style, mid 18th century.

48. Lady with a fawn and an attendant, 26 x 18 cm, painting, Guler style, 18th century.

49. Raja Ram Saran of Hindur on horseback with two attendents in a forest with lions, 27 x 22 cm, painting, Kangra style, early 18th century.

50. A group of 13 devis, 37 x 32 cm, painting, Kangra style, early l8th century.

51. Six-stringed musical instrument (dramnyen), Kinnaur .

52. Tibetan Buddhist ritual pellet-drum (damaru).

53. Tibetan Buddhist astrological device of the "Tortoise Circle"

54. Apron of carved human bone (rugyen) used in Tibetan Buddhist sacred dance.

55. Mandala and assolated Offerings of the deity dBang-chen bDe- mchog Rol-pa.  Painted on folding paper.

56. Ritual instruments and votive offerings used in the Tantric rituals devoted to the deity Dorje Dro!o : homa ritual of burnt offerings (left) and sacrificial cake, gtor-zlog (right). Painted on folding paper.

57. Wooden yak bell.

58. Ladakhi charm to protect horses.

59. Ritual bell (tingshak) and wooden clapper.

60. Woodblock for printing prayer flags (lungta).

61. Wooden mould for making votive dough images in Tibetan Buddhist rituals.

62. Silver inkstand from the royal household of Chamba.

63. Kulu Bhagawata. Illustrations on two pages.

64. Four ritual instruments for use with a specific mandala.

65. Part of a painted wooden chowki &owing scenes of Ganesha and Riddhi-siddhi on one side, and of Siva family on the reverse.

Papers by Dr. Priyatosh Banerjee

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