As a folk art painter, Majuli resident Mridul Boruah practises a form that is not very widely known except in niche circles. Called manuscript painting, this art has its genesis linked to 15th-16th century saint-reformer SrimantaSankaradeva. With his first pictorial drama, Chihna-Yatra, staged in 1468 at Tembuani (Bordowa) and visualisation of the saptabaikuntha (seven celestial heavens) on the 'canvas', the neo-Vaishnavite scholar and spiritual leader had laid the foundation of a new genre of art and culture in medieval Assam.
With the avowed aim to promote and popularise this unique art form, 60-year-old Boruah has been working relentlessly to get a GI tag for the manuscript painting of Assam. Excerpts from an interview:
Please tell us something about your childhood and education. Where are you and your family based?
I was born into a farming family at the illustrious GaramurSatra in Majuli (now a district). My father, who was a freedom fighter, passed away when I was just four years old. My mother raised me in the rich ambience of Satriya culture.
After my schooling at Majuli, I went to Guwahati to study at the Gauhati Commerce College. But I returned soon after as I prefer a life amid the sights and sounds of Satriya culture. I like to hear the chanting of naams (devotional songs) and the beating of drums. The craft of mask making is also very fascinating for me. I am supremely attracted by the art legacy of SrimantaSankaradeva, the relics of which are found in abundance in the hub of neo-Vaishnavism that the Majuli island is. I have held in high reverence the 'Sanchipatputhi' (Agaru bark folio) literature and painting since my childhood.
My immediate family comprising my mother, wife and 10-year-old son (a student of Class IV), is based in Garamur itself.
Will you tell us more about your native place?
Garamur, my birthplace and a semi-monastic institution, is one of the four major royal satras of Majuli. It is a prominent hub of the neo-Vaishnavite tradition. The satra has numerous intricately carved pillars that hold the roof under which the praying area is located. The place has a lot of artefacts and literature related to the Sankaritradition for all those who want to learn more about the local art and culture.
Garamur is certainly a place to visit for the serenity it provides to the guests. This holy site was established by Jayaharideva in 1656. The local people believe that the ancient articles and artefacts help them get a deeper insight into religion. It was Sri SriPitambardeva Goswami who took the initiative in converting the GaramurSattra from a monastic institution into a semi-monastic one. In the semi-monastic institution, there is a common prayer hall used by devotees to seek the blessings of the Almighty.
Several festivals and cultural activities are organised at the GaramurSatrra annually. One of the most popular festivals is Rasleela. It is significant in the sense that both men and women can take part in the festival, whereas it is considered against the rules in the case of the other satras. The best time to visit the GaramurSatra is from October to February.
What is your field of work exactly? What do you do for a living?
I am a practitioner of manuscript painting, an exceptional and intricate art form in which natural dyes and pigments are used to write or paint on the bark of the sanchi (agarwood or Aquilaria agallocha) tree. Manuscript painting is akin to the Madhubani painting of Bihar or the Pattachitra of Odisha. It is basically illustration of poetic verses from the epics, and literary or music texts.
Sanchipatputhis are found scattered all across the state, in the namghars and individual households. These puthis (manuscripts) contain a wealth of information on medical science, politics and societal rules. Unfortunately, a lot of such folios have been lost. I have learnt to read and write the script inscribed on such puthis and embarked on a mission to teach youngsters about them so as to rekindle interest in the rich heritage of these medieval texts and drawings.
Though manuscript painting has been revived at other places of India and is being promoted among children in a major way, this is not the case in Assam where much needs to be done.
As for my living, I have struggled to make ends meet as my income is sourced from my work in the field of manuscript painting alone. My wife helps run the household with her own earnings. She is a teacher by profession.
How did you get into this field of manuscript painting?
I have always been fascinated by the script and paintings on the sanchipatputhis. In the beginning, I approached the satra gurus for help in deciphering the script. My father had also pursued work relating to the sanchipatputhis. He died when I was very young, but my mother had preserved some paraphernalia for preparing sanchipat manuscripts in a box. This came in handy when I decided to take up manuscript painting, and found my vocation at a later stage.
I came into contact with the revered Satradhikar of ChamaguriSatra, late Rudrakanta Deva Goswami, and learnt more about traditional miniature painting. I have also worked with eminent mask and manuscript artist Dr Hem Chandra Goswami.
Manuscript painting is a laborious and time-consuming art. When SrimantaSankaradeva started out, no paper existed. He made use of natural dyes and pigments to write and paint on the bark of sanchi trees. The preparation involved an elaborate process of curing, seasoning and polishing the raw slices of bark before the folios could be made to retain the ink. But his art proved to be enduring as the materials used were scientifically treated over a period of time, making them last long. Some of the sanchipatputhis have remained intact for 500-600 years.
The manuscript paintings flourished in the 16th century, but the art declined in the later centuries due to multiple reasons. However, I feel that this art form synonymous with Sankaradeva, should be revived and re-evaluated in modern light for the glory of Assamese culture. There are only a few artists in our state who are still continuing the tradition of manuscript writing and painting against all odds.
Can you tell us something more about this painting art? How is it different from other forms of painting?
Manuscript painting is a medieval art. It is directly linked to SrimantaSankaradeva and has been a part of our rich cultural heritage. We all know that the neo-Vaishnavite movement or the Sankari culture is centred on the worship of sacred scriptures rather than idol worship. The art of painting is an offshoot of this tradition. The new social, religious and cultural order founded by Sankardeva found ample expression in painting through incorporation of local elements.
Sankaradeva composed and enacted the Chinha-Yatra when he was only 19 years old. He painted the stage and prepared the Bhaona costumes through indigenous methods.
As far as the manuscript painting process is concerned, it may be divided into two parts: preparation of manuscript and preparation of colours. For preparing the manuscript, we have to select a mature sanchi tree, not less than 15 years old. A non-resinous species of the tree, that grows in abundance in upper Assam, particularly at Jorhat, Majuli and Lakhimpur, is suitable for manuscript painting. The resinous varieties are used in the perfumery industry.
Using a knife we have to peel off a bark from the tree trunk, four to six feet above the ground. After dipping the bark in water, it has to be dried in the sun as well in shade. At a later stage, it has to be smoked and the rough edges have to be smoothened out by scraping. The bark is also treated with a mixture of locally available pulses (matimah) and again sun-dried. Finally, it is rubbed with a sea shell (sankh) for smoothness.
The preparation of colourants is another elaborate process extending up to nearly a month. Hengul (mercury sulphide) and haital (arsenic sulphide) are the natural dyes and pigments used to impart red and yellow hues respectively. The former is prepared by grinding mercury sulphide and keeping it dissolved in water for at least 20 nights. Later, wood apple gum is added to the precipitate (obtained from the solution). Likewise, indigo is derived from the indigo plant. The black colour is prepared by collecting the soot from kerosene lamps.
The ink used in the painting is called muhi, which is prepared from dew, cow urine, keheraj and myrobalan (Terminalia chebula). The application of a coat of wood apple gum adds to the gloss and shine of a manuscript painting.
The making of all of these materials involves a highly scientific process that was also followed in the medieval times.
How long does it take to complete a manuscript painting?
It takes a minimum of three months because of the different stages of preparation of the requisite materials. Manuscript painting in other parts of the country is mostly done on plant leaves and handmade paper. But in Assam, it is mostly done on the bark of the sanchi tree. For this novelty value, we have been endeavouring to get the GI tag for manuscript painting as it is practised in our state. In fact we have a hearing in this connection in February next year. The gamosa recently earned the GI status, which is good news for us.
How are you going about the task of promoting manuscript painting?
I run a traditional institution called Guru Griho at Garamur. About 200 students have been taught by me there so far. There are 20 of my assistants, including my wife, who are imparting skills to the learners. Some students from Rajasthan are also studying manuscript painting on the online mode.
Apart from this, I am frequently invited as a guest faculty for demonstration lectures by universities in Assam as well as the rest of the country. I have also been associated with the Centre for Cultural Resources and Training (CCRT), Guwahati, and the Indian National Trust for Art and Cultural Heritage (INTACH), Lucknow. I have also held workshops under the aegis of the North East Zone Cultural Centre, Dimapur.
I have demonstrated my art across a lot of states in India by holding exhibitions and wall painting sessions. I am also planning to write a book on the basics of manuscript painting.
How will you describe your journey as an artist so far?
My experience has been immense and I have progressed in stages. Starting my practice on paper, I have graduated to using sanchi bark for painting. It was not easy handling the natural dyes at the beginning as haital is known to have toxic properties.
I have illustrated at least six plays of SrimantaSankaradeva and made a total of 30 paintings. The Mahapurusha had stayed in the Majuli island for 18 long years. His creations are like a vast ocean. His oeuvre of works is peerless. I strongly feel that the new computer-literate generation should at least have some understanding of the saint-reformer's art forms so that they can be taken to a global audience. There should be proper research on all aspects of Sankari art and culture, especially in the universities, as this activity holds great potential.
People like me who have been initiated into the field should help rekindle interest among the youths and show the path to posterity. There is also the need of promoting palaeography and documenting folk research.
Unfortunately, though I have received ample support from the Central Government institutions in my pursuit of manuscript painting, no such help has been forthcoming from the Assam government. I have approached the State Directorate of Cultural Affairs on a number of occasions, but there has been no encouragement or positive response so far.
I will consider all my efforts amply rewarded if there is more research into all aspects of manuscript painting, and inclusion of the subject for study in some university.
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