Illustrated Manuscripts from Manipur
- Part 5 -

By: Mutua Bahadur *

Illustrated manuscripts are artistic and cultural inheritance from our ancestors. Their uncommon appreciation for and recognition of the simple and ordinary things of life gives immense pleasure to us.

The illustrated manuscripts of Manipur embody the story of creation, the social condition, tradition and religious practices of the Meiteis. Without them, an understanding of the society and people of this place will be incomplete.

Different writers had given different forms to manuscript art according to their individual artistic imagination. Even on the same subject there are many variations. Realistic reproduction of life appears not so an important consideration in these manuscripts.

What is very striking is the artistic freedom with which the artists give expression to individual imaginations. Almost every writer or scribe was keen to insert some illustration or other into

FIG 1

FIG 2

manuscript. It happened during a time when neither an art movement nor professional artists had emerged in the society.

Most of the illustrations had geometric patterns and were very simple, though great pain was taken to avoid monotony. Colours were used in harmony with the lines and in varying intensity. The lines and the colours were interdependent, achieving the effect of a single artistic work. Though the colours used were mostly flat, shades were inserted in between for definite purpose and meaning. They were definitely not mere space fillers.

Some of the illustrations were in linear renderings. In these line-dominated works, the lines play an important part in bringing out the local brilliance of the colours. The lines do not play the same role as they do in pure drawings. The thick and thin lines successfully render rhythmic and angular concepts. They enclose the coloured space of the illustrations.

The illustrations found in Subika Laisaba of the 18th-19th century were mostly dominated by lines pure in their own constructions. Lines were inserted in such a manner that the numerous lines did not cross each other. There were exceptions though when the artist used the lines in a compact manner by placing them parallel to one another. They were horizontal, vertical and slanted.

The hollowed portions filled up with these parallel lines could give textured surfaces and thus increasing the original impression of the illustration. Amidst these lines dots play a big role in breaking the monotonous continuity of the lines. Lines placed properly do a lot in softening the hard edges of the angular corners.

Fig 3 to Fig 15 - Browse it as a Photo Gallery here.

Manipuri artists of the past gave dimension to their works even though they had no formal concept of a perspective. Their emphasis was not on the coloured spaces but on the systematic placing of the colours that heightened the sense of dimension to the pictures.

Some of the illustrations were used as border or corner decorations of the manuscripts. Some of the wooden covers of manuscripts which were made of yangou (Dipterocarpus tuberculatus) or khe (Melanorrhoea usitata) incorporated various subjects that were irrelevant to the text of the manuscripts.

A miniature in gold is found in the Ponpilang Sekning manuscript of the 18-19th Manipuri artists of the past gave dimension to their works even though they had no formal concept of a perspective. Their emphasis was not on the coloured spaces but on the systematic placing of the colours that heightened the sense of dimension to the pictures.

A miniature in gold is found in the Ponpilang Sekning manuscript of the 18-19th century. It showed the skill of Manipuri artists in depicting birds and insects in strange shapes and. A number of floral and seed motifs border the manuscripts containing these miniature works. Patterns of animals are found in the Subika Laisaba manuscript.

These patterns indicate that the artists were so absorbed in portraying animals that they did not use copies but always depicted them anew with a distinct meaning relevant to the context. Using thick and heavy lines they highlighted the patterns.

Indian-red, sky-blue, and yellow-ochre were used freely. These brilliant colours conveyed the riotous creativity of the artists. The overlapping lines and the colors produced images of many forms.

Fig 16 to Fig 33 - Browse it as a Photo Gallery here.

Fig 34 to Fig 41 - Browse it as a Photo Gallery here.



to be continued ....



Preface :

" This work originates from seeing the scattered illustrated manuscripts, which I found in the custody of our local Pundits. Since 1973 I have been working for these manuscripts by collecting from various sources. Some of them are already published in the Book entitled the Manuscript Paintings of Manipur in 1978. Even the second reprint issue is also produced in this year. But unfortunately it could not be printed in colour due to financial constraint. All the paintings consisted in the earlier publication are coloured by freehand.

I have the opportunity to exhibit some illustrated manuscripts in the 2 day seminar organised by Manipur Folklore Society held from 26 to 27 September 1982 at G. M. Hall, Imphal. This exhibition attracts many scholars from different parts of India. Then in 1991, published another book entitled Subika Laisaba (A Manipuri illustrated Manuscript on Astrology).

The present work on illustrated Manuscripts is a bunch of paintings collected from different parts of Meitei inhabited areas like Bangladesh, Myanmar etc. It will incorporate 364 faces of Paphal and other unpublished manuscripts.

I would like to convey my thanks to the Ministry of Culture, Government of India for the financial assistance to the task of publishing it. I hope that without this support it could not have been possible to materialise the things.

I alone am responsible for any remaining errors and infelicities for they are of my own construction. I always welcome suggestions and criticisms for further development in future."

Date :31st May, 2005
Mutua Bahadur

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Mutua Bahadur

* Mutua Bahadur contributes to e-pao.net regularly. This article was webcasted on January 21st 2010.