A glance at the weave of a magical wonder
By: Anwesa Mahanta
The Bhakti Movement in Assam is a significant episode in the socio-cultural history that opened up wider vistas of human experience and directed ways of translating thoughts and ideas into physical reality. Led by Srimanta Sankaradeva, (1449-1568), saint and preacher, poet and playwright, philosopher and reformer, artist and composer (“all rolled into one” as described by Vasudev Saran Agrawal) the Bhakti Movement in Assam brought a ‘new comprehensive outlook on life, a distinctly healthy tone to social behavior with an all pervasive organizational set up, and accelerated the pace of literature and the fine arts.’ (Maheswar Neog). Most importantly, it broke the straitjacketed version of the philosophical doctrine as a reign specified to crème de la crème and spread the emissions of enlightenment to the general masses which surcharged the popular emotional layers with intense devotion. Whether it is Bhaona, or any other form of fine arts, the intention of general mass appeal always moved in sync with the spiritual and devotional fervor without compromising the aesthetic standards. The Brindabani Bastra, is one of those reflections that holds, both artistic virtuosity, and weaving adroitness together with the intelligence of bringing people closer to Lord Krishna, the cowherd Lord reveling in marvelous boyhood feats and playful merry making as well as dalliance with the cowherd maids. This in a way transcended the cluster of Vaisnava philosophy as a devotion to a personal God, to all levels of common man, as a popular religion with the child god Krisna in its centre, in highly poetic and passionate renditions. The Brindabani Bastra is a 120 meter long piece of cloth with a breadth of 30 meter (approx) that depicts the heroic manoeuvers of Lord Krishna. According to popular aphorism, the piece of cloth textured with divine gestures of the Lord was prepared for Koch royalty. The saint -poet moved by the king’s utmost devotion to the Lord decided to prepare this piece of cloth. But as commonly believed, addressing to the king’s intense devotion was only a pretext, for the saint-composer’s creative distinction. Nevertheless, the patronage from the king and support from Chilaray, helped the saint, in accumulating the necessary materials for weaving this amazing fabric.
Unfortunately, like many other aspects of Vaisnava movement of Assam, this area has also not taken much space in the field of analytical research. Few individuals have come forward with understandings and interpretations, but a deeper survey in terms of research work is still under demand.
Mrinal Chandra Kalita’s Brindabani Bastra, published by Banalata (2nd edition), is a good work, advantageous enough for an understanding of the Brindavani Bastra. That the author is well versed with the technological formulations of weaving and textile industry being an executive of that firm is well reflected from the book. With the contents variation, delving various facets of Brindavani Bastra, the author through his writings forays into the artistic excellence of the great saint, in terms of his weaving expertise. Right from selection of material, the saint-preacher concentrated on all the necessities that resulted in developing a cloth of magical wonder. The book begins with the writer’s approach to Brindavani Bastra and his arrangements for undertaking this project. As, sufficient works have not been done in this regard, the author had to take recourse to various discussions with both scholars of Sankaradeva Studies and other experts of fine arts. He also had to rely on the personal accounts of people, privileged with the experience of seeing the cloth.
Preceeding the text, there are several introductions written by Sri Basista Sarma, His Holiness the Sattradhikar of Barpeta Sattra, Professor Bhava Prasad Chaliha, Former Faculty Member of Assamese Department, Gauhati University, and Sri Pradyut Hazarika, Publisher, Banalata, touching upon the background of the subject and in compliment of the author’s endeavour. The book begins thematically, with the analysis of Brindavani Bastra. The first chapter provides a backdrop of making of the cloth. Gradually, it proceeds with a detail illustration of the Bastra, in terms of the saint’s adroitness in selecting raw material for designing the fabric silhouetted with brilliant shades of colours, description of scenic beauty of the cloth, the pictorial vivacity in depicting nature, etc. While, sharp observations with a rich rural setting of folk culture, poetic and passionate rendition and minute details in figuring the incidents of Krisna’s life pictorially, accompanied by a comprehensive description of those incidents are features of Brindavani Bastra, the writer’s efforts in sharing these aspects in words justify the sincerity of his undertakings. The author also highlights the social intention beneath the creative work and describes the spatial significance of the cloth in addition to the saint’s relation with King Naranarayan and Chandari Aai.
Another interesting aspect of the book is the narration of small incidents, related to the significance of the cloth. The writer takes assistance from various sources like the biographical narratives of the Sattra maestros, Rosemary Crill’s write up, personal interactions with various people and tries to embrace their way of understanding the Brindavani Bastra. The next chapter outlines various traits of Brindavani Bastra including the rich pictorial dexterity, the richness of colour and the saint’s minute observations in picking up the yarn etc. and pens down his interpretations with scientific analysis of the cloth’s textural significance. The saint- artisan’s use of ‘mina’ for the first time, as mentioned by the author is a fact, worthy of note. Further technical analysis with a milieu of weaving tradition of Assam is imparted by the author. The chapters succeeding to this, goes on with these technical formulations of weaving structures, like colour vibrancy silhouetted by a concentrated selection of fibres , significance of the length and breadth, etc. in corroboration with the author’s reasonable outlook and sharp observation on each and every facet of this exquisite piece of cloth. Chapter 7 portrays the impact of Chihnayatra, in the bastra as the involvement of the saint-reformer in the artistic deliverance of Chihnayatra prepared a wider base for his later creative constructs. The colossal figure envisioned beyond the immediate reality and wanted the renditions celebrating the greatness of the Lord and his humanitarian ideals, to be installed permanently in the common psyche with a creative insight. Brindavani Bastra, holds that social intention of the great visionary, Srimanta Sankaradeva.
The chaptered divisions thereafter deal with the period of preparing and offering the enchanting Bastra under the tenure of King Naranarayan and Chilaray. Supported by historical accounts from the biographical narratives, the statements provided by the author stand rational. The episodes also deal with the existential prowess of Brindavani Bastra, succumbing a time testing period of 500 years. Various factors including adept selection of material by the saint-philosopher and his dexterous artistry in weaving the cloth together with the creditable performance by Museum of London in preserving the piece of cloth suiting the changing temperature of the climate have contributed in sustenance of the fabric, through the ages. The concluding chapters focus on the journey of the Bastra from Assam to the far areas of Western continent and the efforts in bringing it back, at least a single piece, to Sankaradeva Kalakshetra. The Bastra, today is found in various museums of Western Continent, like Venice, London, Paris, Philadelphia and so on. The mystery behind its journey from the north-eastern corner of Indian sub-continent to European and British soils is yet to be revealed in exact terms. However, the colonial enterprise and several other explorations by various dynasties after the death of King Naranarayan, might have led to this dislocation. The dislocation has also led to a vacuum in research exploration by the scholars in appraising the Brindavani Bastra as an artistic phenomenon. The need to have a glimpse of that marvel is felt emphatically, which would not only generate interest amidst the academic forums of research works, but also help in making people aware of the rich heritage of Assamese culture.
Mrinal Chandra Kalita’s effort in bringing the general masses closer to this cloth of incredulity is indeed praiseworthy. Although this reader felt a need of a further probe of pictorial analysis and its significance in terms of rich colour fabrics, together with a highlight on the on the gestural poses of the figures in the paintings and the pattern of their sculptural movements which seems to have a futurist design, the spiritual metaphor , inherent behind each depiction, the supremacy of pastoral descriptions, valorization of humanistic perspectives of the Lord, for example, his service towards community etc, and its incredible portrayal in terms of minute analysis of figures and sketches in the weaving designs, would have proved more enlightening. Nonetheless kudos to the author’s painstaking efforts. The book stands as an important speculation on this area of Sankaradeva Studies, and fills up to a greater extent the vacuum of research floor in this field of Cultural Heritage of Assam.
Unfortunately, like many other aspects of Vaisnava movement of Assam, this area has also not taken much space in the field of analytical research. Few individuals have come forward with understandings and interpretations, but a deeper survey in terms of research work is still under demand.
Mrinal Chandra Kalita’s Brindabani Bastra, published by Banalata (2nd edition), is a good work, advantageous enough for an understanding of the Brindavani Bastra. That the author is well versed with the technological formulations of weaving and textile industry being an executive of that firm is well reflected from the book. With the contents variation, delving various facets of Brindavani Bastra, the author through his writings forays into the artistic excellence of the great saint, in terms of his weaving expertise. Right from selection of material, the saint-preacher concentrated on all the necessities that resulted in developing a cloth of magical wonder. The book begins with the writer’s approach to Brindavani Bastra and his arrangements for undertaking this project. As, sufficient works have not been done in this regard, the author had to take recourse to various discussions with both scholars of Sankaradeva Studies and other experts of fine arts. He also had to rely on the personal accounts of people, privileged with the experience of seeing the cloth.
Preceeding the text, there are several introductions written by Sri Basista Sarma, His Holiness the Sattradhikar of Barpeta Sattra, Professor Bhava Prasad Chaliha, Former Faculty Member of Assamese Department, Gauhati University, and Sri Pradyut Hazarika, Publisher, Banalata, touching upon the background of the subject and in compliment of the author’s endeavour. The book begins thematically, with the analysis of Brindavani Bastra. The first chapter provides a backdrop of making of the cloth. Gradually, it proceeds with a detail illustration of the Bastra, in terms of the saint’s adroitness in selecting raw material for designing the fabric silhouetted with brilliant shades of colours, description of scenic beauty of the cloth, the pictorial vivacity in depicting nature, etc. While, sharp observations with a rich rural setting of folk culture, poetic and passionate rendition and minute details in figuring the incidents of Krisna’s life pictorially, accompanied by a comprehensive description of those incidents are features of Brindavani Bastra, the writer’s efforts in sharing these aspects in words justify the sincerity of his undertakings. The author also highlights the social intention beneath the creative work and describes the spatial significance of the cloth in addition to the saint’s relation with King Naranarayan and Chandari Aai.
Another interesting aspect of the book is the narration of small incidents, related to the significance of the cloth. The writer takes assistance from various sources like the biographical narratives of the Sattra maestros, Rosemary Crill’s write up, personal interactions with various people and tries to embrace their way of understanding the Brindavani Bastra. The next chapter outlines various traits of Brindavani Bastra including the rich pictorial dexterity, the richness of colour and the saint’s minute observations in picking up the yarn etc. and pens down his interpretations with scientific analysis of the cloth’s textural significance. The saint- artisan’s use of ‘mina’ for the first time, as mentioned by the author is a fact, worthy of note. Further technical analysis with a milieu of weaving tradition of Assam is imparted by the author. The chapters succeeding to this, goes on with these technical formulations of weaving structures, like colour vibrancy silhouetted by a concentrated selection of fibres , significance of the length and breadth, etc. in corroboration with the author’s reasonable outlook and sharp observation on each and every facet of this exquisite piece of cloth. Chapter 7 portrays the impact of Chihnayatra, in the bastra as the involvement of the saint-reformer in the artistic deliverance of Chihnayatra prepared a wider base for his later creative constructs. The colossal figure envisioned beyond the immediate reality and wanted the renditions celebrating the greatness of the Lord and his humanitarian ideals, to be installed permanently in the common psyche with a creative insight. Brindavani Bastra, holds that social intention of the great visionary, Srimanta Sankaradeva.
The chaptered divisions thereafter deal with the period of preparing and offering the enchanting Bastra under the tenure of King Naranarayan and Chilaray. Supported by historical accounts from the biographical narratives, the statements provided by the author stand rational. The episodes also deal with the existential prowess of Brindavani Bastra, succumbing a time testing period of 500 years. Various factors including adept selection of material by the saint-philosopher and his dexterous artistry in weaving the cloth together with the creditable performance by Museum of London in preserving the piece of cloth suiting the changing temperature of the climate have contributed in sustenance of the fabric, through the ages. The concluding chapters focus on the journey of the Bastra from Assam to the far areas of Western continent and the efforts in bringing it back, at least a single piece, to Sankaradeva Kalakshetra. The Bastra, today is found in various museums of Western Continent, like Venice, London, Paris, Philadelphia and so on. The mystery behind its journey from the north-eastern corner of Indian sub-continent to European and British soils is yet to be revealed in exact terms. However, the colonial enterprise and several other explorations by various dynasties after the death of King Naranarayan, might have led to this dislocation. The dislocation has also led to a vacuum in research exploration by the scholars in appraising the Brindavani Bastra as an artistic phenomenon. The need to have a glimpse of that marvel is felt emphatically, which would not only generate interest amidst the academic forums of research works, but also help in making people aware of the rich heritage of Assamese culture.
Mrinal Chandra Kalita’s effort in bringing the general masses closer to this cloth of incredulity is indeed praiseworthy. Although this reader felt a need of a further probe of pictorial analysis and its significance in terms of rich colour fabrics, together with a highlight on the on the gestural poses of the figures in the paintings and the pattern of their sculptural movements which seems to have a futurist design, the spiritual metaphor , inherent behind each depiction, the supremacy of pastoral descriptions, valorization of humanistic perspectives of the Lord, for example, his service towards community etc, and its incredible portrayal in terms of minute analysis of figures and sketches in the weaving designs, would have proved more enlightening. Nonetheless kudos to the author’s painstaking efforts. The book stands as an important speculation on this area of Sankaradeva Studies, and fills up to a greater extent the vacuum of research floor in this field of Cultural Heritage of Assam.
Comments
For the benefit of the readers, we want to mention here a site which is also disseminating some nice info on the life and works of the Saint (including the Vastra). The URL is:-
www.atributetosankaradeva.org