The Art of Statue-making in Manipur
- Cultural History Of Manipur -

Dr. Ch. Jamini Devi *

The idol of Shri Govinda during Heikru Hidongba at Bijoy Govinda Thangapat, Imphal on September 26 2012 :: Pix - Okendra Sanasam

There are differing opinions on who actually made the idol of Shri Govinda. Was it Gopiram Patchahanba or was it perhaps Sapam Lokhon? This leads to the following questions about the art of statue-making: Weren't there sufficient talents in the field of statue-making at the time? Did this art form originate at the time of Bhagyachandra, with the making of the idol of Shri Govinda? How was its position earlier? There are significant evidences that demonstrate that the art of statue-making was flourishing long before the idols of Shri Govinda and Raseshori were made from wood and metal respectively. From some ancient Manipuri texts, what we know is that the art of statue-making and sculpting was in existence before the time of Nongda Lairen Pakhangba (33 AD).

There are evidences which prove that the idols of Aribam Lairembi, Phurailatpam Lairembi, Mahabali Hanuman Thakur, Kalimai, Narasingh Deb, and Durga were made during the reign of Meiding-u Khagemba (1597-1652). The statues of Yangdouba-Yangdoubi, made of wood, predate Chirst. Later on, statues came to be made of metal.

The art of statue-making that started to develop and grow during the reign of Meidung-u Garibniwaj (1739-1748), reached full maturity during the reign of Rajarshi Bhagyachandra (1763-1798).

For that reason, it is safe to assume that idol making was not a new or an alien art form at the time of the nirupan of Shri Govinda, Raseshori, Bijoy Govinda etc. Not only that the worship of idols of Radha Krishna began long before Rajarshi Bhagyachandra, during the time of Charairongba Maharaj (1617-1709). Before the nirupan of Shri Govinda, Rajarshi's elder brother Gourashyam worshipped Radharaman.

It is known from the Cheitharol Kumbaba that after the death of Gourashyam, his wife Yangambi Leimakhubi went to Vrindavan with Shri Radharaman. This indicates that idols of Radha Krishna were worshipped in Manipur before Bhagyachandra. Krishna worship began during the time of Meiding-u Pamheiba (Garibniwaj). However those idols were made out of metals imported from places outside Manipur. At the Krishna temple at Brahmapur Thangapat, built during the time of Charairongba, the above referred idol (of Krishna) is still being worshipped today.

The idols being worshipped during the reign of Rajarshi Bhagyachandra were sculpted out of wood by skilled craftsmen of Manipur. These idols had unique features and looks. Shri Govinda's idol was made to look different from other idols of Krishna being worshipped in Vrindavan. Shri Krishna's feature, attire, and decorations were a composite of creative imagination that was born out Meitei sensibility, aided by a myriad of pre-existing art forms. The image thus conjured was conveyed to Patchahanba Gopiram who in turn interpreted the image on paper in the form of a drawing. Sapam Lokhon, the master craftsman, along with other artists, made the idol of Shri Krishna.

The magnificent idol made out of wood, known and loved by all, is the idol of Shri Govinda. Being that it is the royal family's deity, coupled with the fact that it was made with great care and attention by skilful artists, the idol of Shri Govinda is overwhelmingly charming.

The idols made by the artists from Manipur are uniquely different. These were made by Meitei craftsmen by following the Shastra called the Navatal. The physical features of these idols are exclusively Meitei, according to Haobam Shyamsundar. He further says: 'Around 18th century, idols made in Manipur were of Radha Krishna, Baldev etc.' The Meitei artists followed methods found in the books such as Brihat-tantra Sastra, Matshya Puran, and Kali-tantra. These books clearly dictate that idols made for worship need to conform to strict rules of the sastra. However, idols that are worshipped for a short period of time, and then immerged in water at the end (like Saraswati, Durga, Viswakarma etc.), could be made according to a design that the artist favours. It is further emphasized that an idol designed for worship in temples, where prayers and Aarti will be offered, need to be less than 3 feet tall. House deities (deities meant for worship in homes) need to be about the size of a fist (approx. 4 inch).

The technique that these sculptors employed begins with drawing the image of the idol (to be made) on the piece or stump of wood. That is followed by chiseling the idol into shape. The idol is then placed in water and boiled. This is done to prevent it from cracking. To prevent termite and other insect damage, the idol is wrapped in cow-dung and kept to cure for a year.

After that juice is extracted out of Heibung (a medium size tart fruit) and the idol is painted with it. The next step is to install eyes. This step is known as Nayan Chanba (the placing of eyes). For this a piece is cut out of a conch shell and shaped in the form of an eye. The eyes are ten glued to the idol using a mixture of camphor and kerosene. Oil is extracted from a plant called Yangu. The oil is then mixed with desired colours, and the idol is painted with them. As an example, the colour of Shri Govinda "Nong-gi Machu (blue-green-ish) and for Radharani's complexion, yellow colour is added to the mix.

Just as these sculptors were highly skilled in making wooden idols, they were no less skilled in sculpting idols out of metals. What is known from ancient Manipuri texts like Lairik Masin, Phamlon, Loyumba Silyen, etc. is that the art of making articles out of metal had been in existence from an early time.

In the 20th century, there already were idols made out of brass, bronze, and copper. Faces of Umanglais (forest deities): Laikhurembi, Lairemba lairembi from Khurkhul etc. are some examples of metal idols made by Manipuri craftsmen. The technique employed here is similar to the technique used in making Khuji Popchaobi (a traditional bangle) where the metal is hit on the inside with a hammer in a pattern, and the design pops out on the outer side. The metal used is brass, an alloy of copper and zinc. To this day, there are some idols in Manipur made out of brass. These idols were made by clearly violating the Hindu codes of idol making.

In Manipur, idols were also made out of sandstone. Idols of Hanuman and Garud, kept in temples as door guards, were all made in Manipur. Since sandstone was readily available in large quantity at Thongjaorok, Bishnupur, there was an ample supply of material for making idols. In the 20th century, the British had a statue made of Sir James Johnston with sandstone available in Manipur. The statue is still standing in the compound of Johnston Higher Secondary school.

After the war with Japan, statues began to be made with cement. Statues of Sir Churachand Singh at Churachand Higher Secondary school, and that of Raja Dumbra Singh at Dumbra Singh Higher Secondary, were made by Manipuri sculptors using cement.

The trend of sculpture art in Manipur has continued in this fashion. Now, with the presence of an art college in Manipur, work in terra cotta art is being pursued. Plaster of paris and other materials are also employed to make statues and figures.

After the Nirupan at Bishnupur, Rajarshi Bhagyachandra brought Shri Govinda to Langthabal and performed the inauguration. He dedicated himself and his throne to Shri Govinda, and acting as Govinda's sevari (attendant), he carried out his royal duties. The same decorum and fanfare shown towards the king was given to Shri Govinda. When Shri Govinda stepped out of the inner sanctum, royal guards armed with swords and spears, carrying chong-sekpin, accompanied him. Rajarshi Bhagyachandra did not simply carry out the Nirupan of Shri Govinda and worship him for the sake of religion.

With Shri Govinda as the sumeru (the mythological mountain of gold: reference to Govinda's status), art and culture in Manipur grew in intricate layers around him. With the Nirupan, there was a marked change in the artistic and cultural arena of Manipur. The saying: 'faith and religion being a change in the literature, art and overall style of a land, was proven real by Rajarshi Bhagyachandra. He developed different styles of dance, music, artistic traditions, and artists. Along with that, he developed various institutions that were established to facilitate proper care of Shri Govinda. This gave an impetus to the cultural growth of Manipur.

Shri Govinda's worship was neither performed in a simplistic manner, nor with minimum effort. Shri Govinda's nityaseva, puja-hom, the tradition of parvadin utsav, were all important ritualistic events. Shri Govinda's dress and adornments changed from month to month, with twelve sets of clothings for twelve months. These were: