Category:Geetgovindam

GEET GOVINDA OF KHANDESH

The illustrated Geet Govinda, which I found in Dhule, belongs to Khandesh. Khandesh lying between 20°8' and 22° 7' north latitude and 73° 42' and 76° 28' east longitude, with a total area of 10431 square miles. There are several origins of Khandesh including Khanddesh, Khandaw Van and Kanhadesh the land of Kanha or Krishna, the blue lord. The boundaries of Khandesh, according to the Gazetteer, comprises with the sub divisions, Amalner, Bhusawal, Chalisgaon, Chopra, Dhule, Erandol, Jamner, Nandurbar, Nasirabad, Pachora, Pimpalner, Savda, Sahada, Shirpur, Taloda and Virdol.

The historicity of Khandesh goes back to the Mahabharata period. King Yuvnashwa was the ruler of Turenmal who fought against Pandvas. Abhirs later ruled it. One inscription found in Nasik (419 A.D.) speaks about a Abhir King, whose name was Veer Sen. Abhirs dominated Khandesh for 175 years and that is why, we find the influence of Abhirs. The Ahirani language is given by Abhirs. The word Ahir is also the outcome of Abhirs. There are several references found about Abhirs in Mahabharata, the great Indian epic. We find their references in Puranas. In Skandhapurana, it is referred as a tribe engaged in the act of loot. They are shepherds and herdsmen. One of the castes of Ahirs is known as Mathurawanshi. They are the followers of Krishna. This is quite evident from the inscriptions and old historical texts that these Abhirs and Ahirs dominated Khandesh prior to 13th century A.D. and they were the followers of Krishna. This is also evident that they migrated from north and settled in Khandesh.

The above narration reveals this fact very clearly that Khandesh was the region, where the Krishna worship prevailed and this tradition continued. The tradition flourished in every time and the compositions based on Krishna and Radha worship and their love were composed in the local dialect. The prominent Sanskrit poems were also sung and we have a representative example of an illustrated Geet Govinda, composed by great poet Jaideva of 12th Century.

The illustrated manuscript of Geet Govinda, which I found in Dhule is said to have been painted in Prakasha. Prakasha stands on the bank of river Tapti and is crowed with as many as 104 temples. Out of these only three Kedareshwar, Vishvanath and Pushpadanteshwar are most sacred.

Prakasha was earlier known as Akashnagari. It was also hailed as Prateek Kashi, since the indigent masses could not afford to go all the way to Kashi to have darshan of Vishvanath, they instead raised a prototype of Vishvanath in Prakasha and in sheer reverence designated their town as Prateek Kashi - symbolic Kashi. In course of time, Prateek Kashi changed into Prati Kashi, presently called Prakasha. I was informed by the officials of Samarth Waga Devta Mandir where this illustrated manuscript of Geet Govinda is preserved in Dhule, Maharashtra that it was discovered and preserved by late Shankar Shri Krishna Dev the founder of this Mandir, the temple of learning. It was earlier known as Satkaryottejaksabha which was established in 1892. The illustrated Geet Govinda contains 290 miniatures. Two folios are un-illustrated. Each illustration has a suitable uniform Sanskrit caption. The last miniature bears the colophon below: Temburanpure Likhitam Raghav Ramen Shri Sadashivam Diyate Kshetram Prati Samvatsar 1822 shake 1687 Parthiv Naam Samvatsare Hemant Ritu. Thus, the illustration of Geet Govinda goes back to 243 years. It is obvious that it was completed after execution in 1765 A.D. The paper, which is used for the preparation of manuscript, is found, after minute examination, to be more than 200 years old.

The main feature of this Geet Govinda is its completion. One of the rare characteristics of this illustrated manuscript is the portraying of Ragas and Raginis. Gurjari, Basant, Ramkali, Krnataka, Deshakh, Deshi waradi, Bhairava, Deshi waradi (depicted again) and Vibhas are the ragas and raginis, depicted by the artists.

Another significant feature of this manuscript is that eight cantos possess the couplet of good wishes in the end. These couplets are not found in other manuscripts. There are nine shlokas in this manuscript, which are not found in other manuscripts. The miniatures are executed on the basis of these shlokas. Every ashtapadi is tastefully painted in the Kanheri style. The local artists opted for the local dresses, jewelry, flora and fauna whereas the Rajasthani artists preferred to paint the delicacy of the figure and the facial expression. Some male and female figures seem to have been depicted by the local artists having no benefit of proper modeling. The artists used local colors, mainly vegetable and pigment. Pigments were obtained from minerals, a common resource in Khandesh. Shades were obtained from the mixture of the two. Indigo or the deep blue color is frequently used in painting the sky and Krishna. Black, red, yellow and pink colors are also used. The color choice of the painter is largely tinged with Mewar and Nathdwara patterns. Lavish colors are missing and the color contrast is scarce. Use of Carbon is there. The artist has adopted the traditional method for executing the miniature. Tipai follows Sachchi Tipai. Light and shed modeling comes first and then the final outline and coloring comes. We don't find Gold or Silver being used.

These characteristics have imparted a unique regional flavour. Absence of the application of rare and precious colors proves that the artists have made use of indigenous stuff. They were least interested in the mixing of colors and obtaining a new variety.

The line drawing of the artist is excellent. Though, different artists painted these miniatures some were immature and unskilled but the perfection of the line and its proper treatment with colors is noteworthy. In some depictions of Radha, the face is round. The frontal type of face has become very attractive but in some miniatures the imbalance of lines is apparent. Some miniatures represent the joint venture of local and Rajasthani artist. The Rajasthani artist depicted Radha, identical to that of Mewar and Malwa schools. Historically, Khandesh had its close relationship with Rajasthan. The King of Jaipur, visited Dhule, and according to the contemporary tradition, he would have accompanied by the artists. The influence of Mewar School is also very clear and this can definitely be concluded that artists of Mewar contributed in the depiction. The influence of Nagpuri style of later medieval period is also very clear. The thin birds represent the main feature of this style. The miniatures, based on the theme of Ramayana, which are preserved in National Museum, New Delhi, are identical in several respects to these miniatures. Apart from, the toy type birds, the flora and fauna painted in Nagpuri miniatures, is also very identical. In short, these miniatures hardly possess the delicacy and ornamentation of the pictures executed in any royal atelier but they certainly have their originality.

The main features of this Kanheri Geet Govinda may be mentioned as below :- 1. The female figures have worn lehnga and chunni. They wear Khandeshi as well as Rajasthani ornaments. Nath, karnaphool and chudis are very common. The size of nath is abnormally big, which is one of the specific characteristics of Khandesh. In some miniatures, Mathapatti can be seen on the forehead of the women. In Khandesh, the ladies paint a red longer line on their forehead, which is known as Khor are Malvat. In several miniatures, we find woman figures wearing lehnga and chunni and malvat on their forehead. This is a composite female figures are tiny, some are thin and some are fatty. The artist chose to paint profiles but in several miniatures he has painted the frontal faces having long shape. The profiles are identical to Mewar and Malwa schools. 2. The male figures are tiny, their faces are round, noses longer and bodies bulky. The wear dhoti and dupatta. Their tied choti is identical to those of Goswamis, painted in Nathdwara miniatures. Pandits are seen with a circular teeka on their forehead. This is peculiar Khandeshi influence. Krishna is depicted as blue Lord. This is one the exceptional features of these miniatures that only in one figure, we find Krishna with morpankhi mukut, the peacock crown. In rest of the miniatures, we find crown over his head. He is mostly painted like Vithoba or Vitthal of Pandarpur. 3. In all, these miniatures, the natural beauty is exceptionally painted. Banana and coconut trees are mainly painted. The green vegetation is minutely painted. The kunja or grove of trees in which Radha sits is painted in a Khandeshi style. 4. Deer, black deer, cow, elephant, peacock, monkey, white and green parrots and snakes are seen. The depiction of flowers trees and animals is influenced with Deccan style. The miniatures, which are fully influenced with the regional effect, are very attractive. The female figures wear regional ornaments and local clothes. They wear Navvari sari, the sari of nine gaj.

Some main characteristics of Khandesh, which are found in these miniatures, are as below. 1) The eyes of Radha and dooti, her messanger are not fully fish-shaped. They are less penetrating. The eyebrows are not circular. In some female figures, we find the sari worn in opposite manner. 2) The architecture painted in these miniatures is Khandeshi. In some miniatures, we find the Mewari influence, particularly where double storied houses are painted. 3) Malvat on the forehead of the female is a significant Khandeshi feature. This characteristic is not found in any other style. The Ashoka trees having long leaves are also not found in other styles. The sadafuli flowers with five petals are also not found in any other style. The depiction of Parambi is also peculiar and is absent in the other styles. 4) A particular type of bangle, known as Bangri, jhumka, oval shaped gold garland, orhni with white pearls and chinz petty and bujatti, the ornaments of neck are beautifuly painted, are the main ornaments of this region, painted in these miniatures. Chourangi, a particular type of rectangular table, which is used to keep flowers for worship, is also painted. This type of table is used in Maharasthra.

5) All miniatures of this illustrated Geet Govinda are 10x15 cms. of length and width but miniature in the frame is of 5.5x12.5 cms.

The close observation of these miniatures manifests so many details, which are not found in any other styles till known. This school is an outcome of the joint efforts made by Rajasthani, Malwi and Khandeshi artists. This kalam is also influenced with Nagpuri and Deccani styles specially, when we see toy like animals and birds.

I call this style as Kanheri as it is the fine gift of Khandesh, the region of Kanha. Kanha's beloved is Kanheri. This Kanheri School of miniature painting has no relationship at all with Kanheri caves. Kanheri means an incarnation of Radha and Krishna, where we see the complete annihilation of both. Geet Govinda is a poem, devoted to Radha and Krishna and the word Kanheri represents the both in one.

This particular school should be considered as an independent school as it has its own original characteristics. Not only Geet Govinda, but also Sachitra Geeta and other scattered miniature were painted in the same style. This style is unique legacy of Indian artistic tradition. None of us will like to forget it and we should be happy to feel that it should not be forgotten in future too.

Narmada Prasad Upadhyaya INDIAN MINIATURE.ORG http://www.indianminiature.org/geet_govinda.htm