Introduction. New Delhi, 2010, Introduction, p.xxi. Reprinted March 1935 (Ist edition 1869), Preface, p.xxxiii.
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1 Introduction The present work explores the ancient art of rangoli which is one of the important aspects of Indian Culture. The word culture entered the historical discourse through the realm of sociology and was meant to express all the forms of spiritual life in man- intellectual, religious and ethical 1. There are various definitions of culture. The journey of mankind is said to be from nature to culture. Man tries to attain all kinds of pleasures through power, success and wealth but it is culture, as G.S. Ghurye says, with which man arrives at the necessary balance 2. The study of culture also can be interpreted as a study of perfection. Thus the process to attain the cultured state is the same as that of attaining perfection 3. The progress towards culture cannot be restricted to the individualistic level but it is a group effort. It is obvious that in the journey towards the attainment of culture some things get eliminated which probably have lost their importance and are a kind of dead wood. The cultural development in a society is the tangible or intangible expression of the spirit of humanity. Even the perception of early man indicated these two aspects of culture. The tangible culture would incorporate the visual specimens left behind by mankind like paintings, sculptures and architecture as also the costumes, jewellery, games and toys, utensils etc. The non-visual phenomena inherited by the different societies like customs, manners, etiquettes and the value system cherished by them comprise the intangible aspect of culture. The art of rangoli seems to be somewhere between the tangible and the intangible and can be termed as Ephemeral tangible culture. 1 Dr. Varsha Shirgaonkar, Eighteenth Century Deccan: Cultural History of the Peshwas, Aryan Books International, New Delhi, 2010, Introduction, p.xxi. 2 G.S. Ghurye, Culture and Society, Oxford University Press, Ist published, 1947, p Mathew Arnold, Culture and Anarchy: An Essay in Political and Social Criticism, John Murray, London, Reprinted March 1935 (Ist edition 1869), Preface, p.xxxiii.
2 The emergence of new cultures and thus change in the existing cultures is a reality. This cultural change is not cyclical but cursive since at every stage it adds something to the prevailing stage. In other words, at every stage a composite culture gets created. The struggle of mankind from nature to culture can also be interpreted as the one of salvation because the ultimate aim of mankind is to have balance of mind and body and attain the bliss of salvation. Culture change, which is a permanent factor of human civilization, goes on everywhere at all times. It may occur due to factors and forces spontaneously arising within the community- independent evolution or it may be the result of the influence of different cultures- diffusion 4. By and large the communities make efforts to safeguard their cultural identities. But the penetration of some outside power does bring change. The challenge, response and the acceptability of each make culture an ever-existing phenomenon. The stage of anti-thesis arises in case of the penetration of the outside influence but the synthesis also becomes a reality after a period of time 5. There is an inseparable connection between political control or contacts and the bringing in of new cultural trends 6. When the culture of the conquerors enters into the cultural domain of the conquered, it tries to impress itself on the conquered people, and in course of time the conquered people even imitate it as possessing a superior morale and a superior force. This process is of absorption and not necessarily of replacing one s own culture 7. The temple art of making stenciled Sanjhi, in the Braj traditions is a good example of the absorption of Mughal elements in the Hindu ritualistic traditions. The process of assimilation is an essential characteristic of culture. While reconstruction of the past is interesting historically and theoretically, practically it contains no hints, since there can be no return to what has been destroyed or what has been forgotten but we can 4 Malinowski Bronislaw, The Dynamics of Culture Change, Yale University Press, 1961, p.1. 5 Varsha S. Shirgaonkar, op.cit., intro, p. xxiii. 6 Ibid, p. xviii. 7 Ibid, p. xxviii.
3 turn to the surviving traditions of the present, for this is a rich field for study 8. As far as the art of rangoli is concerned, the fact that the several traditional motifs used in this art have survived even today can be attributed to continuity which in this case is achieved solely by means of constant repetition and reproduction. Hence a current work of this art may also be regarded to an extent as an indirect source of information on the work of earlier periods, thanks to the continuity resulting from perpetual reproduction. The acceptance of new techniques is closely related to the concept of cultural change. Unless a social group collectively accepts technical change, new culture cannot originate. This is true in respect of the huge rangolis drawn today by groups at public places. This practice has slowly gained momentum and is widely accepted all over the country. It is noted that though the art of rangoli is constantly evolving in terms of material, techniques and style, the traditional method does not perish. The new form is accepted in keeping with the traditional practice. This is the reason behind its continuity and survival. Amidst the material world, culture struggles for its existence 9 but it does not die out so easily, more so in a country like India where as Pupul Jayakar has said, the chalcolithic exists with the atomic age 10. The issue of culture in the construct of historiography was touched upon by the initiators and the followers of the Annales School when they advocated the non-political aspects of historical enquiry. The interdisciplinary history writing being the focus, this school recommended borrowing from the disciplines like sociology, economics, geography, law etc. this was because mere history writing without lending from the other disciplines became one-sided. It also involved investigation of various aspects of human life and culture of the past societies. The Annalists wished to do away with the gradation of 8 Malinowski, op.cit.,p Varsha S. Shirgaonkar, op.cit., p.xxii. 10 Pupul Jayakar, The Earth Mother, Penguin Books Ltd. India, 1989, p.25.
4 cultures as higher or lower. In a way then they gave equal importance to the motifs and symbols in the so-called lower cultures because even these have meanings in the human society together. Fernand Braudel, a chief exponent of the Annalists school from the 1940 s to 1985, is known for having brought the trend of writing on popular culture. His writings dealt with the neglected issues of the daily life of human beings such as manners, etiquettes, dining table decoration, traditions in serving food and also with fashion, costumes and house decoration. According to Braudel, environment makes an impact on the culture. The Annalists motivated research of the undocumented or folk matters for which oral traditions or living traditions were the main source. Rangoli also is one such tradition. In ancient India, it is seen that the minor arts were considered to be equally important as the major arts. In fact, expertise in the minor arts was considered to be very essential to lead a wholesome life, for a man of culture. Various ancient Indian treatises, like the Kamasutra mentions the 64 arts which were essential to be practiced by all cultured citizens in order to lead a full life. The proliferation is so elaborate that it includes the art of tattooing, culinary art, stringing of rosaries, necklaces, garlands and wreaths, binding of turbans and chaplets, art of mimicry or imitation, art of cock fighting, quail fighting and ram fighting, art of teaching parrots to speak, art of applying perfumed ointments to the body, and of dressing the hair with unguents and perfumes, braiding it and so on, including the art of rangoli. One of the early exponents of the discourse on culture in India was Parshuram Krishna Gode. It is interesting to note that in the Indian scenario, the concept of cultural history was clearly being advocated by Gode in his five volumes on Studies in Indian Cultural History around the time when the Annalists were attempting to emphasise on the introduction of culture as a necessary component in the writing of total history 11. His work can be regarded as one of the first attempts in India to see history from the angle of cultural change. Deriving mainly from the Sanskrit 11 Varsha S. Shirgaonkar, op.cit., p. xxvii.
5 literary sources, Gode s volumes on the cultural history of India reflect upon many objects of tangible as well as intangible culture, including rangoli. In his article History of Rangavalli Art between c. A.D. 50 and , he has attempted to trace the history of rangoli deriving from literary sources. It was Gode who showed that the history writings of the royal families hardly touched the human beings and that real history should be of society. The writings of D.D. Kosambi have also been very inspiring in this respect. Shri Abanindranath Tagore in his Banglar Brata written in Bengali in 1919 focused on the vrata traditions of Bengal which was invariably accompanied with the ritual diagram alpana, the magical spells chhada and the corresponding katha. This pioneering work was followed by writings of Tapan Mohan Chatterjee, Mookerjee Ajitcoomar, Sudhansu Kumar Ray who wrote on the folk art of Bengal and threw some light on the art of alpana. Similarly in Rajasthan, works of Joginder Saksena, Ramgopal Verma covered some aspects of the Rajasthani mandanas. Lakshmikant Jha of Bihar, in his work on the folk culture of Mithila has written about the art of aripan. In Maharashtra, Dr. Sarojini Babar included rangoli in her writing on the culture of Maharashtra. Archana Shastri and Geeta Narayanan in their book Language of Symbols have attempted to present the vast and significant concept at the root of all rituals and symbols of South India. B.K.Bairi of Karnataka collected the traditional motifs of rangoli and published a set of 10 booklets of the same, thus focusing on the design aspect of the rangoli art. Stephen Huyler, an anthropologist and a photographer writes and documents the life of the village women of India. In his work Painted Prayers he has highlighted the folk art of the rural women of some places in India. All these writings deal with the topic of rangoli at a regional level. The work on this topic is available in bits and pieces throughout the country and so far a comprehensive work with a holistic approach on the subject is yet to be found. In contrast with the high level of visibility of the rangoli designs in the public domain of the streets in our country, the practice is characterized by an astonishing degree of cultural invisibility, as evidenced by the lack of a body of literature on the subject.eminent art historians and scholars like A.K. Coomarswamy, Stella Kramrisch, C. Sivaramamurti and Pupul Jaykar have taken note of 12 P.K. Gode, History of Rangavalli Art between c. A.D. 50 and 1900, Studies in Indian Cultural History, Vol.III, Bhandarkar Oriental Research Institute, Poona, 1969, pp
6 this art in their writings and have hinted that such minor arts need to be further explored. In spite of this, it is observed that the distinction between high art and low art validates only select topics of visual production as worthy of scholarly attention. Low, decorative or popular art is placed at the bottom of an assumed standard of visual hierarchy. Taking motivation from the writings of the scholars of Indian art history and following the footsteps of the annalists, the researcher sincerely felt the need to document this art by tracing its various aspects which are shrouded in mystery. One offshoot of the present study, it is hoped shall be to evoke a greater interest in the study of minor arts which majorly remains undocumented. The symbolic forms to decorate floors, walls and objects are in vogue in all the folk and tribal cultures of the world, representing their religious beliefs, customs and rituals. The art of rangoli is one such form, prevalent all over India. It is seen that it is very much a living tradition in the cultural life of the country and is a permanent feature in festivals, marriages and other auspicious occasions. The folk art of rangoli does not belong to any particular period. It is the expression of the women themselves, since time immemorial. For untold generations they have delighted in an art which is collective, and has never attached any great importance to individual artistic talent. The flow of tradition by which it is still carried on in the mass consciousness has a vital force, going back to the mists of antiquity. The question of age is, therefore, very negligible in the consideration of this art. It should be judged not by its age but by its mode of expression. It is an art transmitted from generation to generation without any essential changes, the roots reaching deep into the soil. The folk arts of any kind instantly attract people belonging to any class or creed. Thus the study of this folk art of rangoli can help us in the study of sociology, psychology, ethnology and other disciplines. One of the decisive elements in the preservation of a popular tradition is the cheapness of the materials used. But it also accounts for the loss of early specimens of popular arts and crafts. With the change in the socio-economic and religious values of the folk life, visual expression of folk imagination has
7 considerably been changed, but tradition die hard in India. Thus, in spite of changes and intrusion of modernism in the socio-cultural life of rural India, the inherent link with the age old traditional life is still traceable to some extent in the core of the society. At many instances, it is seen that the rangolis get a new meaning altogether, because of its acceptance in the modern society. But this is inevitable in an art of this type, which through the passage of time is bound to adopt and absorb several elements encountered on the way. Keeping in mind that in a country like India, the diverse regional traditions must be consulted if the ideal is to aim at completeness of inquiry, the present research work highlights the art of rangoli in a broader framework of culture, scanning the map of India to determine the areas in which this art effectively exists. The study is more as per the cultural-zone defined by contiguous geographical borders. Due to this approach, the cohesive and comprehensive thought-pattern followed in the folk culture of India becomes noticeable. The research work involved the use of oral history techniques along with surveys and interviews. Field trips to various parts of India had been undertaken by the researcher for data collection. Comments and discussion of the collected material is mainly drawn from personal observations and from interviews during field work. As Dr. Varsha Shirgaonkar puts it, Writing of cultural history remains incomplete without the explorations of the undocumented sources along with the study of the documented ones 13. Examination of the artifacts of history and also of the living present and scholarship, to support the revelations from field trips is carried out. At times, vernacular literature is also referred to. A brief overview of the practice of rangoli in other countries provides the opportunity to consider how today globalization causes migration of culture across the set borders and how culture gets adapted to new cultural and geographic contexts. 13 Varsha S. Shirgaonkar, op.cit., p.xxix.
8 Formation of Chapters: This research work is divided into six chapters. 1. History, Origin & Significance of Floor Art It is indeed difficult to trace the origin of this art. Nevertheless it is seen that some of the motifs commonly used in rangoli are found in the rock paintings of the early man in India. The remains of the Indus Valley Civilization which is the earliest evidence of the material culture of the country also possess numerous symbols which have come down to us and are used in rangoli since ancient times. The classic literary sources in Sanskrit or Prakrit containing reference to the art of rangoli are discussed in this chapter. An attempt is made to place these in chronological order which will lead to reconstructing the history of this art in a systematic manner. Besides the recorded literary sources, the chapter also focuses on the oral history pertaining to this art, especially the assumptions regarding its origin. The Religious, Spiritual, Scientific & Social significance of this art in the lives of the people since ancient times is dealt with in this chapter. 2. Regional classification of Floor Art Northern and Eastern parts of India Diversity in the topography and geography of our country gives room for multiple styles in floor patterns. Each part of the country with its own trees and plants, birds and animals, hills and dales
9 inspires the artist to have multiple metaphors, series of symbols and innumerable images. Though we find certain common stylistic characteristics, each region also has its unique style of patterns, custom and faith having enjoined that every important festival and ritual has its appropriate floor designs. For eg. the motif of owl features only in the alpana of Bengal and the aripans of Mithila are based on Tantric symbols. In this chapter, the art of rangoli as practiced in the Northern and Eastern region of India covering mainly the states of Himachal Pradesh, Rajasthan, Uttar Pradesh, Madhya Pradesh, West Bengal and Orissa where this art effectively exists is discussed. The style and method of drawing rangoli, material, types of motifs, and evolution of the art where applicable and the regional literary sources is covered. 3. Regional classifications of Floor Art Western and Southern parts of India As mentioned in the above chapter, some peculiar characteristics as per the topography and geography, corresponding flora and fauna, faith and customs are visible in each region of India. This is more so true in case of the Dravidian culture of Southern India which is unique and different from the rest of India. This is reflected in their rangolis too which are more curvilinear in nature as compared to the other regions. Besides, the beliefs and customs like the prominence of the naga cult, which leads to the motif of naga commonly drawn in rangoli and similar other peculiarities is covered in this chapter. The western states of Gujarat and Maharashtra and the southern states of Andhra Pradesh, Karnataka, Tamilnadu, Kerala with their unique styles of rangoli is dealt with here. 4. Motifs and their Symbolism: Floor Art and other Arts
10 In India, symbols are a part of everyday life, rangoli being a very good example of it. In fact the symbolic motifs combined together form a rangoli which then stands as a symbol of a divine presence, a sacred space, a source of meditation or simply a joyful creation. The floor art motifs are seen in the sculptures, architectural plans, temple decorations, various coins, inscriptions, seals, amulets, potteries etc. A comparative study of such similar motifs and their significance in floor art and other arts is carried out in this chapter. 5. Floor Art: Continuity of Tradition Pupul Jaykar says, India is a country of tremendous survivals and she carries her stone age with her. The atomic age exists beside the chalcolithic. The refusal to reject, and the capacity to transform archaic myth and ritual into the living present, is surely a characteristic peculiar to the Indian ethos. As modernization is seeping in to our culture, we are slowly losing touch with our traditional customs and rituals. It has indeed become difficult to follow the routine religiously due to lack of time, space or interest. With this fast pace of life that we are adapting to, maintaining religious standards is becoming difficult. In this chapter a thorough research of the status of this art in modern India is conducted. 6. Application of Floor Art motifs in other fields The vast treasure of rangoli designs remains more or less unexplored with regards to its application in other fields. This chapter is of suggestive and creative nature as to how the beautiful motifs of rangoli can be used in other fields like jewellery designing, interior designing, for designing modern gadgets etc. so as to bring variety and innovativeness in these creative fields, a small attempt towards transforming this ephemeral art to a more permanent nature.
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