Understanding a region and time through murals in 'Vanished and Vanishing Wall Paintings of Punjab and Haryana'

Madanjit Kaur

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Murals are a significant source of information on the socio-cultural history, geo-physical situation of a region; and the psyche, ethos, values, religious beliefs, customs, rites, rituals and festivals of the inhabitants of that area. It is true that most wall paintings are not dated, but it is not difficult to decipher the age, area and hypothesis of the visuals by scholars acquainted with the research methodology of history.

The subject matter depicted on the walls of mansions, havelis, palaces, forts, places of worship, samadhs, etc, are reflections of the aspirations and ambitions of the patrons as well as a yardstick of the skill of the artist. The royalty, aristocracy and well-to-do persons usually hired skilled painters, artisans and masons to fulfil their aspirations and ambitions of embellishing and decorating their dwellings and buildings to earn name and fame in their areas.

In the early and later medieval period, the ruling power was confined to Turks, Afghans and Mughals as well as the subjugatory Hindu states, feudals and jagirdars. They were not prejudicial in hiring artists and merit defined the criterion of selection. Painters, both Hindus and Muslims, served as muralists in the region under study. Hindu artists from the hill states like Chamba, Basholi, Kangra, Mandi and Jammu, as also Rajasthan, were preferred. Later, local Hindu and Sikh artists trained in the art of wall painting. Gradually, the Sikh school of fresco paintings emerged under the Gianis of Chiniot. They made commendable contribution to the wall paintings of Golden Temple.

The secular approach to artistic embellishment continued in the later period also. After the third battle of Panipat (1761), the Sikhs conquered most of the area of Punjab and Haryana from Afghan invaders and Mughal rulers. They established their independent principalities (misls). Subsequently, Ranjit Singh conquered most of the misls and established the kingdom of Lahore. Peace prevailed in the region and art and architecture flourished under his liberal patronage. The central shrine of the Sikhs, Sri Harmandir Sahib at Amritsar, and its ancillary shrines were embellished with gold and murals. Sikhs hired artists for making murals on the walls of Sri Akal Takht Sahib, bungas and akharas. Some Hindu temples, akharas and deras also got murals painted on their walls. A number of murals in this collection belong to this category.

Other works include depictions of Janamsakhis (life stories of Guru Nanak), besides paintings of Guru Nanak with his companions Bala and Mardana. These murals in varied hues are fine examples of wall paintings. The depiction of artistic borders in natural colours is very impressive and fine, a specimen of artistic skill. The drawing of the border lines is perfect. Guru Gobind Singh on the horseback seems to be a popular theme of the time in Sikh shrines and royal dwellings — the trend an imitation of the painting found on the walls of Akal Takht and staircase of Sri Harmandir Sahib.

The murals in this volume, ‘Vanished and Vanishing Wall Paintings of Punjab and Haryana’, draw heavily from Hindu mythology, religious literature, Puranas, epics, Krishna cult, Hindu festivals, customs, ceremonies and practices. Besides historical personalities, patrons, deities, saints, pirs and fakirs, samadhs, dargahs and temples are also depicted. The wall paintings at Baba Jamla Shah Pir Purnia’s dargah in Kapurthala’s Darvesh village is noteworthy.

It is surprising, however, to see the depiction of native soldiers and British officers on the walls of Jain Shwetambar Temple at Ambala city as well as in the Fort of Manimajra, Chandigarh. These paintings are a by-product of the Europeanisation of the native army after the advent of British to north India and the annexation of Punjab in 1849. The recruitment and training of native soldiers by the British officers was a new chapter in Indian history. Maharaja Ranjit Singh even had a special battalion trained by the European officers in his army.

The artists endeavoured to work on different themes by combining history (largely undocumented), mythology, folklore and religion that has enriched Indian culture. We have to keep in mind that their engagement with the murals did not begin and end with historical themes, personalities and myths. It also nurtured a phalanx of revival and synthesis of the Indian culture.

This book is a welcome addition to the field of Indian wall paintings. This volume contains hundreds of photographs collected by the author during his long research carried out in the present-day Punjab and Haryana. Dr Kanwarjit Singh Kang, qualified in the areas of arts and history, is well acquainted with the study of murals. However, in the absence of any script or captions to each mural, it is sometimes difficult for the reader to identify the motif, figure and theme of the mural.