Majuli: In the heart of Majuli, the world’s largest inhabited river island, a quiet cultural revolution is underway. Mridul Barua, a third-generation artist and palaeographer, is devoted to reviving and preserving the ancient art of manuscript painting, which is a 600-year-old tradition rooted in Assam’s spiritual and artistic heritage. This distinctive art form, introduced by the 15th-century saint and reformer Srimanta Sankardeva, was historically used to illustrate religious texts and spread the Neo-Vaishnavite movement. Around the same period, Ahom royalty also adopted it to record royal chronicles. Manuscripts were traditionally painted on the bark of the Agarwood tree (locally called Sanshi) using natural pigments such as hengul (vermilion/mercury oxide) and haital (yellow arsenic/arsenic sulfide).
An Ancient Legacy, A Modern Torchbearer
Speaking to ANI, Mridul Barua explained, “This is a very old art form of Assam which began in 1467. Shankar Deva transformed it into a religious medium to depict holy texts like the Ramayana, Mahabharata, and Shastras. His scroll paintings during Sihna Yatra helped visually represent divine figures to the people.”
Barua, who lost his father at the age of five, has carried on his family’s artistic legacy with remarkable dedication. The traditional manuscript preparation process is complex. After peeling and sun-drying the bark, it is soaked, smoothed with a cutter, and layered with a paste of sticky rice and rohar dal. Once dried, the surface is polished with a stone and shankh (conch shell), then painted with natural pigments, avoiding any synthetic or chemical elements.
Proud Recognition
Manuscript painting has received a Geographical Indication (GI) tag, helping increase its visibility and cultural value. His works have been exhibited in major cities such as Delhi and Mumbai and even find a place of pride in the newly constructed Ram Mandir in Ayodhya.
“This art form is our livelihood. Though it doesn’t generate much income, we manage well. The important thing is to ensure this 600-year-old legacy survives,” said Barua. “We never pursued this for recognition, but today’s youth need motivation to continue the tradition.”
Training the Next Generation
Mridul now teaches over 200 students through the traditional Guru-Shishya Parampara (teacher-disciple tradition). While beginners start with acrylics and paper, advanced students eventually graduate to authentic techniques using Sanshi bark and natural dyes. “We are creating not just artists, but future custodians of Assamese heritage,” said Julee Baruah, a fellow teacher. “Once they’re ready, many of them earn by selling manuscript paintings and traditional handicrafts in cities across India.” Student Alphool Saikia, who began training in class 2 and is now in class 7, said, “I enjoy all art forms, but manuscript painting is the most precious to me. I believe every generation should learn and appreciate this tradition.”
Today, Barua’s workshop is more than just a school; it's an empowerment. Domestic and international tourists regularly visit to learn, observe, and buy these intricate artworks, supporting both the artist’s family and his students. Mridul’s vision extends far beyond personal achievement. “Our time will end one day, but the youngsters will carry this legacy forward,” he said. “I appeal to the younger generation come, learn, and help preserve our ancient culture and rich heritage.”