Book of Gold: The Kanchana Chitra Ramayana of Banaras

Opening: September 16th, 2023
Venue: Museum of Art & Photography, 22 Kasturba Road, Bengaluru, 560001

Kaka Bhushundi Narrates His Own Story to Garuda, 1814, “Style D”, Artists from the second wave of migrations from Jaipur, perhaps assisted by local painters, H. 47.6 cm, W. 36 cm, PTG.02322

To download high resolution images: https://tinyurl.com/bookofgold

“Budh jan samujhat Sanskrit, bhasha hu mati mant
Ava avaloki sachitra sava samujhiya hi turant

Learned people understand the Sanskrit [of Valmiki], simple-minded ones understand the vernacular [of Tulsidas],
But now, all those who behold the illustrated version, understand it all at once.”

MAP is excited to announce the opening of a unique rendition of the Ramayana, reconstructing the illustrated manuscript of Tulsidas’ Ramcharitmanas with nearly 80 folios. Commissioned by Maharaja Udit Narayan Singh of Banaras, it stands as a testament against older art historical narratives that miniature painting traditions in northern India had faded by the 19th century. An ambitious project that spanned from 1796 to 1814, The Kanchana Chitra Ramayana (the Golden Illustrated Ramayana), was a collaboration as legendary as the story of the Ramayana itself. The project saw several artists belonging to different schools converging in Banaras to work on this manuscript; making Banaras a cultural hub during that time period. Another distinctive element of this project was that the Bhakti poet’s manuscript was written in Awadhi, the common language of the region, as compared to Valmiki’s use of Sanskrit – the language of the elite.

Painted with ornate gold, for the first time these pages of the Kanchana Chitra Ramayana will be on display for the public. Curated by the late Kavita Singh and Parul this exhibition takes us on a journey of discovery, revealing a variety of artistic styles and craftsmanship, that are now understood as different schools of miniature art, to create one epic illustrated manuscript.

Kamini Sawhney (Director, MAP) says, “We are delighted to be able to present an exhibition that for the first time brings together folios from an exquisitely painted manuscript, with a story that has held the country in its thrall for several centuries. A treasure that was once unavailable to the public is now on display for people to access and enjoy at least in part. The remaining folios will be made available digitally, both in the exhibition space and online so that students, scholars and any one interested has the opportunity to see how different schools of artists and various styles of painting came together to create a resplendent work of art.”

While the original manuscript totaled 1,100 pages, the Kanchana Chitra Ramayana, has been dismantled and sold to private collectors over time. However, before it was dismantled, the book was documented in its entirety in the 1970s by Prof. Richard Schechner of New York University – allowing MAP to create a digital flipbook of the manuscript in its entirety. The museum will also showcase a film based on the manuscript created by Amit Dutta, considered one of the most significant contemporary practitioners of experimental cinema in India. MAP will also have a holographic experience of the Kanchana Chitra Ramayana in their Digital Experience Centre.

Parul Singh, co-curator, comments, “The seven volumes of the magnificent Kanchana Chitra Ramayana, an illustrated Ramcharitmanas, have justifiably garnered great praise by the scribes of the text as one can see written in one of the colophons of the manuscript: “Gem-like is this just-completed book, golden, uniquely illustrated Shimmering and shining it gives glimpses of the holy Ramcharitra”

It scrutinises the folios to discover that the various hands that painted them were artists trained in stylistic idioms across North India – from the artistic centres of Awadh, Delhi, Datia, Jaipur, or Murshidabad. The manuscript paintings provoke us to rethink current art historical perception of the late 18th century as a period of artistic decline; a period when artists of various schools had to stylistically adapt themselves to find patronage from Company officials producing the so-called “Company School” painting. The Ramcharitmanas paintings challenge this view – not only were these stylistic idioms surviving but they flourished, patronised by small states like Banaras where workshops of migratory artists engendered creative innovations. The discovery of The Kanchana Chitra Ramayana fills a gap in our understanding of some crucial decades in painting history in north India.”

Book of Gold: The Kanchana Chitra Ramayana of Banaras

gives visitors a chance to view the extensive imagination of the artisans of the time who arrived with one united goal: storytelling. An opportunity not just to marvel at the monumental nature of this project, the creativity of the artisans in all its glory, but also a chance to be inspired by its abundant beauty.