Archive for the 'art' Category

Varanasi to Tibet

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When he attained enlightenment the Buddha set off for the city of learning, Varanasi, keen to share his newfound knowledge.  Just outside the city he preached his first sermon at Sarnath and Buddhism was born.  Along with the Buddhist temple and stupas that mark this spot, it is thus appropriate that Sarnath is also home to a Tibetan institute which aims to return to India its Buddhist heritage – thousands of Sanskrit texts detailing the teachings of the Buddha. 

The Central Institute of Higher Tibetan Studies, or CIHTS, was set up as by Nehru and the Dalai Lama a few years after China took control of Tibet in 1959, primarily to provide a centre for students of the Himalayan region – who had previously come to Tibet – to study Buddhism.  In 1981 it started a restoration programme designed to reconstruct the original Sanskrit texts which had travelled to Tibet from the 7th century AD onwards. 

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While Buddhism flourished in its adopted home in Tibet – as well as elsewhere in Asia – it declined in India and many of these Sanskrit texts were subsequently lost.  In many cases, the only extant versions are the Tibetan translations which came out of a large and well organised translation programme in Tibet, sponsored by its kings.  Indian scholars such as Shantaraksita and his disciple Kamalashila, and Atisha – who revived Buddhism in Tibet after in faltered in the 10th century – travelled to Tibet and took with them the teachings of the Buddha, the canon known as Kagyur, as well as their commentaries on the canon, called Tangyur.  In the 9th century the Tibetan king created a Tibetan-Sanskrit dictionary, the Mahavyutpatti, to standardise the translation of these many texts by prescribing the particular Tibetan term for each Sanskrit word.  He also set rules which determined which texts should be translated and appointed an editorial board to vet each translation. 

As Dr Pempa, an editor in the restoration department, explains, these efforts to control and standardise the translation into Tibetan greatly help the Institute’s programme to reconstruct the originals.  Tibetan scholars work with Indian Sanskritists; the Tibetans explain the meaning of each text, in Hindi or Sanskrit, to the Indian scholars who then render it in Sanskrit.  The Sanskritists use the metre to ensure that the reconstructed text matches the original exactly, or as closely as possible.  Where a fragmentary Sanskrit manuscript is available, as is the case with some tantra texts where fragments have been found in Nepal, this is also used to rebuild the original.   The Institute’s translation department then works to translate these texts into Hindi, and occasionally English, to make them as widely accessible as possible in India.  As Dr Pempa puts it, “We want to return the generosity of the Indian scholars who first brought these texts to Tibet by bringing them back to India.”

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The Institute’s library houses an extensive collection of Tibetan and Indian manuscripts, all beautifully wrapped in yellow cloth. These manuscripts are quite different from the palm-leaf manuscripts found in India. Tibet set up four main printing presses which allowed for the mass production of these manuscripts.  The blocks might take several years to create but once ready they could be used to print many copies.  The Tibetan ones are simply decorated with a Buddha at either end; the ones from Bengal have elaborate paintings of various gods on the wooden boards that hold the folios together and include a series of delicately drawn mandalas.  Tibetan manuscripts were printed on a handmade paper which is remarkably durable – some in the library are over 200 years old.  The librarian, Mr Sunaam, explains that many of these manuscripts were brought to India by Tibetan exiles fleeing the Chinese occupation in the 1960s thus providing the material needed for this restoration programme.  It is thanks to them that the teachings of the Buddha have returned to their original birthplace and can once again make themselves heard in India.   

For more about the CIHTS see their website here

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Leather Puppets In Action

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Stones hang from electricity pylons to ensure a ready supply of siphoned off power in Vaderahalli, a village in between Bangalore and Kanakapura.   A cluster of five or six pale green houses on each side of a narrow street form the village.  Each low tiled roof juts out above a verandah filled with fodder upon which cows are grazing.  The verandah of the second house on the right though houses not cows but a makeshift theatre for this evening’s   Togalu Gombeyaata performance.

Togalu Gombeyaata is a the particular type of shadow puppetry - an ancient art form which originated in India but is now most famous in South East Asia – practised in Karnataka.  It is used most often to narrate episodes from the epics, and tonight’s performance is taken from one of the many sub plots of the Mahabharata, that of the duel between Arjuna and his son, Babhruvahana.

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Four puppeteers  – two men and two women – from Kollegal, another village in Karnataka not far away, enact the violent confrontation between Arjuna and the son he disowns.   The play opens with Ganapati, the god for all beginnings, flanked by two troll-like creatures and two elaborately decorated trees.  Behind the white cloth that forms the screen for the shadow play the artists break into a wild-sounding Kannada song, accompanied by a harmonium and a dhol, as one of the women sweeps the invocatory god and his foliage offstage to be replaced by a narrator with a maniacal dance.  Next come the epic characters, each beautifully crafted on fine almost paper thin leather and painted in colours brought out to vivid effect by the back lighting – a single, pendulous bulb.  Recognisable characteristics identify each character: Bhima has his club, Krishna is an electric blue. 

Babhruvahana challenges his father’s ashvamedha – a sacrificial rite involving a horse by which rulers assert their sovereignty – by stealing the horse.  Despite the intercession of various tiny women – all the male characters are at least twice the size of the females – the father and son eventually proceed to a duel.  The ‘sarpa-bana’ – ‘snake arrow’ – warrants a wonderful display of the puppeteers’ skill as the snake slithers up and down before shooting across the screen.  Each puppet is controlled by one or more bamboo sticks that are used to push the flat leather shape across the screen – the humans all have stick-controlled arms so Arjuna can touch Krishna’s feet, the two warriors can fight with sword and bow and the women can indulge in almost perpetual frantic gesticulation.  Undoubtedly the best scene involved the mass decapitation of certain evil characters that would appear in hideous splendour before a shooting arrow separated their heads from their bodies. 

In between the singing, the puppeteers share the dialogue between the characters on the screen.  They sit opposite one another shouting with a very convincing agression as they act out the father and son dispute.  The stories, like the puppets and the techniques, are passed on from one generation to the next.  This performance was only an hour long, but the team could use the same puppets to entertain a village for a whole night or longer.

In addition to the 15-odd city types with large cameras and an unusual interest in local traditions, many villagers crowded round to watch the performance.  The children watched in delight, favouring this novel type of entertainment to the television in the house behind the stage.  Two old men came up at the end of the show to congratulate and thank the artists and the woman who had organised it, a software engineer who runs a quirky travel company.  They explained how they used to do Yakshagana theatre as well as ‘bayalu’ in their village many years ago, with real people running up and down ropes rather than just puppets.  ‘Santosh ayata’, announced one with a large grin, “I am happy”. 

The puppet show was organised by Vasanti Panchakshari who runs the travel company Tazad – click here for more details.

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A sketchbook Ramayana – 1

Edward Ernest, an American art student, has started a series of Ramayana sketches inspired by his love of the story.  This first one is of Rama and Hanuman, just after they first meet in Kishkinda, as told in Kishkinda Kanda (Book 4) chapters 3 and 4:

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Here’s a (very dated I’m afraid – from the 1870s) translation of their meeting, by Ralph T.H. Griffith.  Below this is a transliterated version taken from the Gretil site.

Chapter 3

The envoy in his faithful breast
Pondered Sugrivá’s high behest.
From Rishyamúka’s peak he hied
And placed him by the princes’ side.
The Wind-God’s son with cautious art
Had laid his Vánar form apart,
And wore, to cheat the strangers eyes,
A wandering mendicant’s disguise. 
Continue reading ‘A sketchbook Ramayana – 1′

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