Jignasa Journal Of History Of Ideas And Culture Part 02

Author(s): Vibha Upadhyaya and Others
Publisher: University of Rajasthan

Page 30

246 / Jijñāsā
33. Certain Specimens of Painting in Peshwa Period
Varsha Shirgaonkar
The Peshwas were the Chitpavan Konkanastha Brahmins who did not bear much importance in the social fabric of the total Brahmin castes of Maharashtra till the beginning of eighteenth century. From the advent of the rule of Chhatrapati Shahu in Maharashtra in 1708, the Chitpavan Konkanastha Brahmins saw an upward trend in societal position on account of the association of Balaji Vishwanath with Shahu. Chitpāvan Brahmins was a new social group that gained a political and social raise during the eighteenth century. After his release from the Mughals and on gaining victory over Tarabai in the battle of Khed (1708) Shahu established his power at Satara in Maharashtra. The position of Peshwa increased during his period. Chhatrapati Shahu conferred the honour of Peshwa upon Balaji Vishwanath (1713-1720) and Bajirao I (1720-1740) and Balaji Bajirao or Nanasaheb (1749-1761), but he could see the full tenures only of the two Peshwas- Balaji Vishwanath and Bajirao I. Before his death Shahu gave full administrative powers to the third Peshwa Nanasaheb, by issuing a sanad or order in his name in 1749. As per the sanad the Peshwa shifted his capital city to Pune immediately after Shahu's death. Peshwa Nanasaheb ruled till 1761 and was succeeded by Peshwa Madhavrao who had untimely demise in 1772. His younger brother Narayanrao succeeded him but was murdered in 1773 at the orders of his uncle Raghunathrao. The establishment of the Barbhai Council and subsequent placing of Sawai Madhavrao as Peshwa were other developments in the political history of the Marathas. After the death of Peshwa Sawai Madhavrao in 1795, Bajirao II came to the throne of Peshwa who was totally subjugated by the British in 1818 and this ended the Maratha Empire.
With Chhatrapati Shahu there emerged new trends in the life-style of the people of Maharashtra. These included also getting certain objects of culture from outside Maharashtra. The Peshwas also followed the same policy. There are references that for getting the paintings done on the walls of the houses they commissioned artists from Rajasthan.
Paintings on the Walls of Palatial houses during Peshwa period
Generally, 'wādā' is a term used to denote a palatial house of Maratha period. The practice of having paintings of the deities on the walls of the houses appears to have had its origin in ancient times. The paintings were especially done on the religious or the festive occasions and the tradition is connected to emotions of the people of having divine sanction for the event in the house. Thus the practice of wall-painting is connected to auspiciousness. The representations included Nāgas (Snakes), Devas(gods). Asuras (Demons i.e, those getting killed at the hands of gods), Yakshas (semi-divine figures having special powers). Kinnaras (divine performers) and gandharvas (divine singers and