Chaurapanchasika is a Sanskrit text written in the eleventh century by the Kashmiri poet, Bilhana. It is a short work of fifty verses written by the protagonist young Brahmin man, Chauras, when he was sentenced to prison after being caught for the love affair with king’s daughter Champavati. In some versions of the lyric poem, the Brahmin poet is Bilhana himself, which is also evident in the eighteen set of Chaurapanchasika paintings. In addition to the verses at the top of the painting, names of the couple are also mentioned which are Bilhana and Champavati. The lyrical poem is recited every verse with ‘I still remember her’ that the protagonist Bilhana had composed while he was reminiscing the time spent with Champavati when he was appointed as her teacher.
Champavati and Bilhana
The eighteen illustrations on Chaurapanchasika are the only images of the text so far and dates to the sixteenth century. This set is particularly important to trace the history of painting during the sixteenth century and helps to find the beginning of this style of painting which has origins in Malwa/Mewar region. The origin and evolution of this style is not specific as different scholars have given different points of view on it. The paintings are painted on thin yellow handmade paper and writing is by different hands, while the verses are written in black ink. This school of painting by various scholars has been placed in Gujarat/Malwa region and is considered to have begun with Jain manuscripts and paintings like Kalpasutra. The paintings were not just confined to religious paintings of Jainism but also disseminated to secular themes, like the famous lyric poem Gita Govinda by Jayadeva or even the famous tale of Laur Chanda.
Laur and Chanda
The style of Chaurapanchasika paintings from Mewar school is very simple yet filled with deep emotions. The human figure, despite all the inaccuracies, represents the ideal of Indian classical beauty. The figures are depicted with full or side profiles of their face with large eyes, pointed noses and small chins. Architecture here is quite simplified with a lot of foliage around the main figures. Though in the first instance, the Chaurapanchasika paintings may come across as inaccurate in terms of anatomy, but when one reads the paintings with story depicted, these evoke a lot of varied emotions which artists rendered onto them with their skillful brushes, colours, dresses and nature around them that also join them into expressing depth of the emotions.
The style of this painting with various modifications must have existed in North, Central and Western India, and evolved through the centuries in different parts. W.G.Archer, for example, traces the origin of this school to Malwa region, pertaining to the manuscript like Nimatnama. Irrespective of the origin debate, these paintings present a rich painting heritage. As the patrons of these paintings grew over time, these paintings amalgamated various features from their neighbouring states. Chaurapanchasika style in a way merged into Mewar school of Rajasthan towards the middle of the seventeenth century. There are similarities in the depiction of facial types in other paintings like that of Rasikapriya which belongs to Mewar school. The Mughal influence is also quite prominent in these paintings when it comes to border decoration, choice of colours and clothes.
Champavati by a lotus pond
It is the charm of Chaurapanchasika paintings that keeps the viewer hooked onto the depth of the visuals. Especially with the depiction of Champavati, the artist created a woman who evokes beauty with her transparent odhni and expressive big eyes. Bilhana on the other hand presents a fine picture of a cultured man with finest muslin coat and pyjama, aided by patka worn on head. Overall, the paintings make a deep impression on the viewer with their beautiful depth of emotions.
Bibliography
- Shiveshwarkar, Leela. CHAURAPANCHASIKA. PUBLICATIONS DIVISION, MINISTRY OF INFORMATION AND BROADCASTING, GOVERNMENT OF INDIA, 1967.
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