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Books > Hindu > Janamsakhi Guru Baba Nanak Paintings
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Janamsakhi Guru Baba Nanak Paintings
Janamsakhi Guru Baba Nanak Paintings
Description
From the Introduction:

The India Office Library has a manuscript, accession number B-40. the Janamsakhi has been called after the number. It is the oldest extant manuscript of the Panjabi language. The year of its writing is 1733 A.D. Luckily the Janamsakhi manuscript has 57 paintings. They constitute a unique achievement of Sikh art. Sikh painting is usually associated with the reign of Maharaja Ranjit Singh. The paintings are called Sikh because they were created for the Sikh patrons. B-40 paintings are doubly Sikh. They were not only painted by a Sikh for the Sikhs but also embody the basic doctrines of Sikhism. No other group of paintings has been found to fulfil an ideological function so far.

Some of the eminent scholars have examine, translated and edited the B-40 Janamsakhi without paying enough attention to the extraordinary merit of its paintings. In fact the artistic worth of the paintings is at par with the literary merit of the Janamsakhi. There were two reasons which made their neglect obligatory. A formal, aesthetic understanding of the Janamsakhi genre was yet to be arrived at. The scholars had no inkling of the Sikh aesthetics, created and technically perfected by Guru Nanak to be strictly adhered to by the Gurus and the orthodox Sikh writers of Janamsakhi and Gurbilas literature. That is why these paintings were supposed to be poor specimens of one school of art or the other. Nothing could be farther from truth.

There are five cardinal points of Sikh aesthetics. A number of things are naturally beautiful. But natural beauty is not enough. Man can suffer a loss of sense of beauty because of spiritual heedlessness. Bhagats, God, His abode, redemption, and means of deliverance are beautiful. The organisational form of redemption, i.e., the panth, is a constituent of beauty. The B-40 paintings eminently uphold the Sikh aesthetics to reinforce the Janamsakhi intentions. The purpose and function of the Janamsakhi is to establish (1) the spiritual sovereignty of Guru Nanak according to (2) scripture and (3) tradition.

The miracles in the Janamsakis are symbolic of the 'spiritual prowess' of Guru Nanak in the process of establishing his religious sovereignty. The B-40 Janamsakhi has a detailed discussion on Sikh doctrines, which have to be conveyed through the paintings. Some of the doctrinal discussion is about the questions-how was Baba Nanak guru without ever having a guru? Who was his Guru? What is the principle of the line of succession of the Sikh Gurus to nullify the claims of the rivals? The Janamsakhi propagates a Sikh attitude towards contemporary reality in that the debased kaliyuga has no influence over the Sikhs.

The painter, Alam Chand Raj (lit. bricklayer), has a profound understanding of Sikhism. He has the technical inventiveness to convey the ideas of Sikhism in the paintings.

A religious painting has necessarily to be un-realistic. Lok (world) and parmarth (transcendental reality) are on qualitatively different levels. That is why some of the paintings are divided into two planes. In painting (1) the noisy school children are on one plane while the higher one is occupied by the teacher, the pupil Nanak and his father. Similarly painting (16) has Pathari revelers on one level, Baba Nanak and Mardana on the other. In (30) Baba Nanak reaches Mecca much earlier than the Muslim pilgrims who had refused him their company. This may sound trivial unless we reach picture (18). Baba Nanak is practising austerities moving from one heap of dust to another. The two planes of the painting are suggesting 'here' and 'beyond'. Significantly, Baba's feet do not touch the plane of the world. This is not the case in (1) where the wooden platform of the teacher stretches across the planes. The painting 'Baba Nanak Practises Austerities' (18) 'nature' is different. He appears to have 'realised' the divine in Baba Nanak and the distance separating them. He is disconsolate. His head is pressing on his knee. The rebec has dropped. Baba Nanak is in the supramundane sphere. The supramundane can meet the mundane. Any thought that Baba Nanak inhabits the ordinary world is mistaken. Division into planes (57) makes the representation of the message of death of Baba Nanak possible. Kamla, the servant is pictured as a boy. The three jogeshwaras are the messengers. There is a rope like twist in the joining of the planes. The lower part of the picture looks like the nether world with a stunted tree and a bird sitting on its roof or the base of the ordinary word. The sitting of a bird on the ground is the only instance of its kind in the painting series.

Levitation in (2), (3), and (12) makes Baba Nanak belong to a higher world. It is certainly not the case that Alam Chand Raj does not know how to balance his figures.

The painter can be emblematic. The onlookers in 'Mendicants, Baba Nanak and Mardana at Mula Khatri's' (23) are wee little figures in the windows by the top of the tree. So is 'Baba Nanak and Mardana with Two Countrymen' (41). Baba Nanak has spiritually matured with his beard in 'Baba Nanak and Mardana in Wilderness' (5) when he leaves home for an udasi for the first time. His beard has started going grey after his meeting with God in 'Baba Nanak in the Ecstasy of Prayer' (28). The painter has his own reason why Guru Nanak is called Baba, grandfather. In (47) four flags represent the four hoards of the magnate.

Baba Nanak establishes his 'spiritual sovereignty' because he is the supreme bhagat of God to defeat the leaders of other religious denominations in spiritual combats, described as goshtis. Baba Nanak scores over Abdul Rehman. In the text Mian Mitha points out that he has gone 'red' because of his association with khudai ka lal which means the 'favourite son of God' i.e. Baba Nanak or the 'diamond of God'. Diamond is a symbol of nam in Sikh religion. It is commonly known that majith, an extinct plant yielding a red organic dye, is a symbol of devotion in Sikhism. In the painting (7) the traditional blue dress of the Muslim Abdul Rehman has changed to a variety of red. The cap of Baba Nanak and the dress of Mardana stays deep red throughout the book. The colour of Abdul Rehman's cap is just like the one on Baba Nanak's head, not the Islamic green on Mian Mitha's head. The victories over the caretaker of Mecca (12), Shaikh Rukn-ud-Din (13), Haji Rattan (14), Kamal and Shaikh Ibrahim Farid (15), Karoria revenue-collector (17), female magicians (19), Gorakhnath (20), Pilgrims to Durga (22) siddhas (27, 44), kings (29, 32, 35), fakirs (30), Dattatreya (46), a magnate (47) a robber baron (49), Shaikh Sharf (50), a philosopher (52), Gorakh and Death (53), a demon (8) and Kali yuga (10) are directly portrayed.

CONTENTS

ACKNOWLEDGEMENTS1
INTRODUCTION5
1.Father Kalu takes Baba Nanak to School 20
2.Baba Nanak Grazing his Buffaloes22
3.The Unmoving Shade of a Tree24
4.The Parents of Baba Nanak Call a Physician26
5.Baba Nanak and Mardana in Wilderness28
6.Baba Nanak with his Parents30
7.Baba Nanak, Abdul Rehman Mian Mitha and Mardana 32
8.A Demon with Boiling Cauldron, Baba Nanak and Mardana34
9.Bhola, the Robber, Baba Nanak and Mardana36
10.Kaliyuga Baba Nanak and Mardana38
11.Baba Nanak and Mardana with a Sikh40
12.Baba Nanak at Mecca with Mulla and Mardana 42
13.Shah Rukn-ud-Din, Baba Nanak and Mardana 44
14.Haji Rattan, Baba Nanak and Mardana 46
15.Baba Nanak, Shaikh Ibrahim, Shaikh Kamal and Mardana48
16.Baba Nanak and Mardana with Dancing Pathans50
17.A Revenue-Collector, Baba Nanak and Mardana52
18.Baba Nanak Practises Austerities54
19.Baba Nanak in a Country ruled by Women56
20.Baba Nanak and Mardana come upon the Siddhas on the Sumer Mountain 60
21.Lehna (later Guru Angad), and his Companions are going to a Temple of Durga 62
22.Angad and his Companions visit Baba Nanak64
23.Baba Nanak and Mardana with Mendicants at Mula Khatri's 66
24.Baba Nanak Practises Austerities68
25.Baba Nanak gave Boons to the Visitors (an incomplete picture)70
26.Baba Nanak and Ajita Randhawa 72
27. Baba Nanak and Mardana with Siddhas at Achal Batala 74
28.Baba Nanak in the Presence of God76
29.Baba Nanak and Mardana with a King78
30.Baba Nanak and Mardana with Fakirs on their way to Mecca80
31. Baba Nanak and Bhagat Kabir82
32. Baba Nanak and Mardana with King Shivanabh84
33. Baba Nanak and Mardana with a Gardener86
34. Baba Nanak and Mardana with Temptresses sent by King Shivanabh88
35. Baba Nanak and Mardana with King Shivanabh90
36. Baba Nanak and Mardana with men of Bhutant Country 92
37. Baba Nanak and Mardana in a Country94
38. Baba Nanak and Mardana in Kashmir96
39. Baba Nanak, turned Boy and Mardana98
40. Baba Nanak and Mardana with a Shepherd100
41. Baba Nanak and Mardana with two Countrymen102
42. Baba Nanak and Mardana with two Countrymen104
43. Baba Nanak and Mardana with Ajita Randhawa106
44. Baba Nanak and Mardana with Siddhas at Achal108
45. Baba Nanak and Mardana with Uttam Bhandari and Sultan Gujjar 110
46. Baba Nanak and Mardana with Dattatreya and his Sannyasis 112
47.A Magnate, Baba Nanak and Mardana114
48. Baba Nanak and Mardana with Thugs116
49. Baba Nanak and Mardana with a Robber Landlord118
50. Baba Nanak and Mardana with Shaikh Sharf, dressed as a Woman 120
51. Baba Nanak and Mardana with a Sikh122
52. Baba Nanak and Mardana with a philosopher124
53. Baba Nanak, Gorakh, Kala (death) and Mardana126
54. Baba Nanak, Guru Angad and Mardana128
55. Baba Nanak, Guru Angad and Mardana130
56. Baba Nanak, Guru Angad and Mardana132
57. Baba Nanak and Mardana, three Jogeshwaras with Kamla 134

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Janamsakhi Guru Baba Nanak Paintings

Item Code:
IDF367
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Guru Nanak Dev University
ISBN:
8177700111
Language:
English
Size:
11" X 8.6"
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136 (Coloured Illustrations: 60)
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Weight of the Book: 610 gms
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From the Introduction:

The India Office Library has a manuscript, accession number B-40. the Janamsakhi has been called after the number. It is the oldest extant manuscript of the Panjabi language. The year of its writing is 1733 A.D. Luckily the Janamsakhi manuscript has 57 paintings. They constitute a unique achievement of Sikh art. Sikh painting is usually associated with the reign of Maharaja Ranjit Singh. The paintings are called Sikh because they were created for the Sikh patrons. B-40 paintings are doubly Sikh. They were not only painted by a Sikh for the Sikhs but also embody the basic doctrines of Sikhism. No other group of paintings has been found to fulfil an ideological function so far.

Some of the eminent scholars have examine, translated and edited the B-40 Janamsakhi without paying enough attention to the extraordinary merit of its paintings. In fact the artistic worth of the paintings is at par with the literary merit of the Janamsakhi. There were two reasons which made their neglect obligatory. A formal, aesthetic understanding of the Janamsakhi genre was yet to be arrived at. The scholars had no inkling of the Sikh aesthetics, created and technically perfected by Guru Nanak to be strictly adhered to by the Gurus and the orthodox Sikh writers of Janamsakhi and Gurbilas literature. That is why these paintings were supposed to be poor specimens of one school of art or the other. Nothing could be farther from truth.

There are five cardinal points of Sikh aesthetics. A number of things are naturally beautiful. But natural beauty is not enough. Man can suffer a loss of sense of beauty because of spiritual heedlessness. Bhagats, God, His abode, redemption, and means of deliverance are beautiful. The organisational form of redemption, i.e., the panth, is a constituent of beauty. The B-40 paintings eminently uphold the Sikh aesthetics to reinforce the Janamsakhi intentions. The purpose and function of the Janamsakhi is to establish (1) the spiritual sovereignty of Guru Nanak according to (2) scripture and (3) tradition.

The miracles in the Janamsakis are symbolic of the 'spiritual prowess' of Guru Nanak in the process of establishing his religious sovereignty. The B-40 Janamsakhi has a detailed discussion on Sikh doctrines, which have to be conveyed through the paintings. Some of the doctrinal discussion is about the questions-how was Baba Nanak guru without ever having a guru? Who was his Guru? What is the principle of the line of succession of the Sikh Gurus to nullify the claims of the rivals? The Janamsakhi propagates a Sikh attitude towards contemporary reality in that the debased kaliyuga has no influence over the Sikhs.

The painter, Alam Chand Raj (lit. bricklayer), has a profound understanding of Sikhism. He has the technical inventiveness to convey the ideas of Sikhism in the paintings.

A religious painting has necessarily to be un-realistic. Lok (world) and parmarth (transcendental reality) are on qualitatively different levels. That is why some of the paintings are divided into two planes. In painting (1) the noisy school children are on one plane while the higher one is occupied by the teacher, the pupil Nanak and his father. Similarly painting (16) has Pathari revelers on one level, Baba Nanak and Mardana on the other. In (30) Baba Nanak reaches Mecca much earlier than the Muslim pilgrims who had refused him their company. This may sound trivial unless we reach picture (18). Baba Nanak is practising austerities moving from one heap of dust to another. The two planes of the painting are suggesting 'here' and 'beyond'. Significantly, Baba's feet do not touch the plane of the world. This is not the case in (1) where the wooden platform of the teacher stretches across the planes. The painting 'Baba Nanak Practises Austerities' (18) 'nature' is different. He appears to have 'realised' the divine in Baba Nanak and the distance separating them. He is disconsolate. His head is pressing on his knee. The rebec has dropped. Baba Nanak is in the supramundane sphere. The supramundane can meet the mundane. Any thought that Baba Nanak inhabits the ordinary world is mistaken. Division into planes (57) makes the representation of the message of death of Baba Nanak possible. Kamla, the servant is pictured as a boy. The three jogeshwaras are the messengers. There is a rope like twist in the joining of the planes. The lower part of the picture looks like the nether world with a stunted tree and a bird sitting on its roof or the base of the ordinary word. The sitting of a bird on the ground is the only instance of its kind in the painting series.

Levitation in (2), (3), and (12) makes Baba Nanak belong to a higher world. It is certainly not the case that Alam Chand Raj does not know how to balance his figures.

The painter can be emblematic. The onlookers in 'Mendicants, Baba Nanak and Mardana at Mula Khatri's' (23) are wee little figures in the windows by the top of the tree. So is 'Baba Nanak and Mardana with Two Countrymen' (41). Baba Nanak has spiritually matured with his beard in 'Baba Nanak and Mardana in Wilderness' (5) when he leaves home for an udasi for the first time. His beard has started going grey after his meeting with God in 'Baba Nanak in the Ecstasy of Prayer' (28). The painter has his own reason why Guru Nanak is called Baba, grandfather. In (47) four flags represent the four hoards of the magnate.

Baba Nanak establishes his 'spiritual sovereignty' because he is the supreme bhagat of God to defeat the leaders of other religious denominations in spiritual combats, described as goshtis. Baba Nanak scores over Abdul Rehman. In the text Mian Mitha points out that he has gone 'red' because of his association with khudai ka lal which means the 'favourite son of God' i.e. Baba Nanak or the 'diamond of God'. Diamond is a symbol of nam in Sikh religion. It is commonly known that majith, an extinct plant yielding a red organic dye, is a symbol of devotion in Sikhism. In the painting (7) the traditional blue dress of the Muslim Abdul Rehman has changed to a variety of red. The cap of Baba Nanak and the dress of Mardana stays deep red throughout the book. The colour of Abdul Rehman's cap is just like the one on Baba Nanak's head, not the Islamic green on Mian Mitha's head. The victories over the caretaker of Mecca (12), Shaikh Rukn-ud-Din (13), Haji Rattan (14), Kamal and Shaikh Ibrahim Farid (15), Karoria revenue-collector (17), female magicians (19), Gorakhnath (20), Pilgrims to Durga (22) siddhas (27, 44), kings (29, 32, 35), fakirs (30), Dattatreya (46), a magnate (47) a robber baron (49), Shaikh Sharf (50), a philosopher (52), Gorakh and Death (53), a demon (8) and Kali yuga (10) are directly portrayed.

CONTENTS

ACKNOWLEDGEMENTS1
INTRODUCTION5
1.Father Kalu takes Baba Nanak to School 20
2.Baba Nanak Grazing his Buffaloes22
3.The Unmoving Shade of a Tree24
4.The Parents of Baba Nanak Call a Physician26
5.Baba Nanak and Mardana in Wilderness28
6.Baba Nanak with his Parents30
7.Baba Nanak, Abdul Rehman Mian Mitha and Mardana 32
8.A Demon with Boiling Cauldron, Baba Nanak and Mardana34
9.Bhola, the Robber, Baba Nanak and Mardana36
10.Kaliyuga Baba Nanak and Mardana38
11.Baba Nanak and Mardana with a Sikh40
12.Baba Nanak at Mecca with Mulla and Mardana 42
13.Shah Rukn-ud-Din, Baba Nanak and Mardana 44
14.Haji Rattan, Baba Nanak and Mardana 46
15.Baba Nanak, Shaikh Ibrahim, Shaikh Kamal and Mardana48
16.Baba Nanak and Mardana with Dancing Pathans50
17.A Revenue-Collector, Baba Nanak and Mardana52
18.Baba Nanak Practises Austerities54
19.Baba Nanak in a Country ruled by Women56
20.Baba Nanak and Mardana come upon the Siddhas on the Sumer Mountain 60
21.Lehna (later Guru Angad), and his Companions are going to a Temple of Durga 62
22.Angad and his Companions visit Baba Nanak64
23.Baba Nanak and Mardana with Mendicants at Mula Khatri's 66
24.Baba Nanak Practises Austerities68
25.Baba Nanak gave Boons to the Visitors (an incomplete picture)70
26.Baba Nanak and Ajita Randhawa 72
27. Baba Nanak and Mardana with Siddhas at Achal Batala 74
28.Baba Nanak in the Presence of God76
29.Baba Nanak and Mardana with a King78
30.Baba Nanak and Mardana with Fakirs on their way to Mecca80
31. Baba Nanak and Bhagat Kabir82
32. Baba Nanak and Mardana with King Shivanabh84
33. Baba Nanak and Mardana with a Gardener86
34. Baba Nanak and Mardana with Temptresses sent by King Shivanabh88
35. Baba Nanak and Mardana with King Shivanabh90
36. Baba Nanak and Mardana with men of Bhutant Country 92
37. Baba Nanak and Mardana in a Country94
38. Baba Nanak and Mardana in Kashmir96
39. Baba Nanak, turned Boy and Mardana98
40. Baba Nanak and Mardana with a Shepherd100
41. Baba Nanak and Mardana with two Countrymen102
42. Baba Nanak and Mardana with two Countrymen104
43. Baba Nanak and Mardana with Ajita Randhawa106
44. Baba Nanak and Mardana with Siddhas at Achal108
45. Baba Nanak and Mardana with Uttam Bhandari and Sultan Gujjar 110
46. Baba Nanak and Mardana with Dattatreya and his Sannyasis 112
47.A Magnate, Baba Nanak and Mardana114
48. Baba Nanak and Mardana with Thugs116
49. Baba Nanak and Mardana with a Robber Landlord118
50. Baba Nanak and Mardana with Shaikh Sharf, dressed as a Woman 120
51. Baba Nanak and Mardana with a Sikh122
52. Baba Nanak and Mardana with a philosopher124
53. Baba Nanak, Gorakh, Kala (death) and Mardana126
54. Baba Nanak, Guru Angad and Mardana128
55. Baba Nanak, Guru Angad and Mardana130
56. Baba Nanak, Guru Angad and Mardana132
57. Baba Nanak and Mardana, three Jogeshwaras with Kamla 134

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