Jignasa Journal Of History Of Ideas And Culture Part 02

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

Page 31

Certain Specimens of Painting in Peshwa Period
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musicians). During the time of the Mahābhārata there was a practice of getting the grihadevi or the goddess of House painted on the wall of the house. There is a legendary account of this practice in a story of the birth of Jarāsandha. The story runs like this. Once upon a time there was a king named Brihadrath. He had two wives and each wife delivered a son in half body-part. Hence King Brihadrath and his two wives were extremely unhappy. A demoness named Jarā seeing this miserable condition joined these two body-parts together and formed one complete male child. The male child thus formed came to be known as Jarāsandha, whose broken thighs were joined together to make a complete human being. The demoness on account of her good work was elevated to divinity. King Brihadrath being happy ordered that the demoness be called grihadevi and that she should be venerated. Pleased with this gesture of the king grihadevi further said that whosoever drew her picture on the wall with devotion showing her to be young and accompanied with sons would get prosperity. The king accordingly got her picture drawn on the wall of his palace. The references to wall paintings could be obtained also from the Puranas. The Padma Purāna narrates that Savitri said she was not able to attend the sacrifice of Brahmā, because she had not decorated her house and nor had drawn the Swastika-sign, nor did she have the walls painted. This indicates that having some pictures painted on the walls of the house was a pious duty and whosoever did not perform it could not take part in any religious functions. Besides, paintings on the walls of the house mirrored the happy mood of the members of the house. Some similarity could be found in this belief and the one that peeps from behind the drawing of the ephemeral art-pattern or rangoli in front of the house. Having a rangoli in front of the house symbolized not only the respectful awareness of the religious duties but also a good culture inculcated and maintained by the respective house."
The earliest notable examples of wall- paintings in Maharashtra are of Ajanta paintings. The paintings of Ajanta and then of Ellora up to 1100 A. D. "must have been a living art carrying its influence far and wide." Thereafter till the Peshwa period there are found only stray references of wall-paintings in the Deccan. There is indirect proof of painting through medieval Marathi literature. Some illustrations can be given. For instance, the Lilācharitra, a literary work of Chakradhar Swami of the Mahanubhāv Sect refers to the paintings of peacocks. The Smriti Sthala, a fourteenth century composition quotes the temple of Kalankeshwara at Alipur having the painting of eighty-four hells on its walls. The Jiyaneshwari of jiyaneshwar also contains the references to wall paintings. Such wall paintings of course are on the issues with regards to religion and thus they were meant for the purpose of worship.
The same tradition of wall-painting continued subsequently in Rajasthan and Maharashtra in medieval times. The Marathā Kalam' or the paintings were explicitly found on the walls and ceilings, Daftarkhanas and folios. The kalam included different portraitures, landscapes, Rag Ragini paintings etc. The scanty wall paintings existing in the wadas or such as the one of Nana Phadnis at Menavali near Wai, Motibagh wādā of Rastes, the sardārs of Peshwas, at Wai and Adalat Wada or Nava Rajwada or New palace at Satara provide illustrations of the Kalam. The wall paintings existed earlier also in the wadas at Nasik and Chandvad. Originally, there were one hundred and eight paintings of 10"x 7.5" at Moti Bagh wādā of Rastes at Wai. The figures are made to highlight by using colours in their delineation. The effect is inore explicit because of the contrast that they generate with the ones used for background. The colours that stand out in these wall paintings are usually deep green, yellowish green, blue and whitish. Mostly the figures are in profile and are in sharp lines while the scene portrayed in the painting conveys dynamism. An arch is first drawn to set the painting inside.