The Tree of Life in Traditional Indian Arts

It is impossible to imagine life without the healthy flourishing flora and fauna around us, of which trees are the kernel of our existence. Consequently, we witness a deep reverence attached to trees in the communities of India and other thriving indigenous populations across the world. Trees form a huge part of our tradition, and their importance in holy texts such as the Ayurveda, Vedic wisdom, folk culture, spirituality, ceremonies, and day-to-day rituals in India is not new. Since ancient times, a quality life has always been credited to living in consonance with one's ecology. From Sita finding solace among the Ashoka trees to the desire for the celestial Parijat tree by Krishna’s two wives, Satyabhama and Rukmini, and the association of Goddess Lakshmi to the Pipal, there is an endless array of plant life, bearing a multitude of motifs and manifestations of ideas witnessed in the Indian subcontinent. Among them is the “Tree of Life'' which also goes by the name of Akshaya Vat or the Immortal Tree. One of the highly valued trees in India, the Banyan tree, is also renowned for its eternal nature. Apart from being known for its sacred medicinal and economic value, banyan trees also hold a great cultural value. They are renowned for multiplying themselves through their sturdy aerial roots, which is why these magnificent trees are associated with the symbol of longevity, as they enjoy a very long lifespan. Let us analyze the cultural value of the “Tree of Life” in Indian aesthetics.

Kalamkari

The modern-day states of Andhra Pradesh and Telangana have been home to Kalamkari, a painting tradition that is said to have spanned more than 3000 years. The cloth-based art of Kalamkari derives its name from Kalam, meaning ‘pen’. For a long time, these generational artworks have been readily employed as a decorative backdrop, curtains and space dividers. Along with incorporating heavy themes from the sacred texts of Mahabharata, Ramayana and Bhagavat Purana, the Kalamkari artists’ excellence in the detailed portrayal of the Tree of Life offers an awe-inspiring composition to its audience. The hand-painted art of Kalamkari is truly a labor of love for art, skill and a sound understanding of details. The ‘Tree of Life’ is a metaphor for a system of existence that unites heaven, the earth and the underworld. The motifs are enriched with flowers, leaves, birds, squirrels and many other life forms cohabiting harmoniously, thereby imparting to its observer a sense of beauty that arises from a deep understanding of interconnectedness and enlightenment.

Tree of Life, Kalamkari

Phad

Originating about 700 years ago, the Phad paintings were used as portable temples by the numerous communities of Rajasthan. The Phad artists belong to the Joshi lineage of Bhilwara and Shahpura region of Rajasthan. These paintings are carried by the Bhopa-Bhopis, the priest and his wife, who belong to the Rebari tribe. Full of complex and colorful details, the Bhopas carry these sacred scroll art on their shoulders and travel by foot from one village to the other to captivate the local audience with their performance, singing the epics of local folk deities such as Devnarayan and Pabuji. Camels, cows, peacocks, deer, and plant life are integral components of the art. The ‘Tree of Life’ themed Phad is specifically tailored to show the interconnectedness between the creatures that form a larger part of the life system. Kalyan Joshi ji’s visual tapestry is a perfect presentation of this symbiotic network of souls.

Tree of life: Phad Painting

Mata Ni Pachedi

The Vaghari community of Gujarat have successfully sustained a 300-year-old tradition of worship of the female deity, the Mother Goddess, through their devotion to one of the most unique forms of art. Along with the methodical and process-oriented treatment of the fabric, the use of natural dyes is significant in the creation of this highly revered cloth-based scroll. This marvelous textile art that once started as a mobile shrine for the marginalized community who lived along the bank of the Sabarmati River, has been garnering attention for its devotional aspect, a unique blend of color and style. The tree is adorned with mystical-looking flowers and elements, the base of the tree consists of birds and two elegantly embellished elephants, which serves as symbols of prosperity, positivity and wisdom . The paintings possess a balanced fusion of colors and nature-inspired motifs invoking a sense of calm throughout their composition.

Tree of Life: Mata ni pachedi

Rogan

The Rogan art form, practiced by the Khatri family of Kutch in Gujarat, arrived in India from Persia and became part of Indian culture over the centuries. What makes this art form unique is its crafting process. Traditionally, the pigment set is created out of natural colors and castor oil. The color palette is allowed to attain the desired rubbery texture. Colorful patterns are directly drawn on the cloth using a metal pin or stylus. The artwork is made on half side of the cloth, which is then pressed to get a mirror image on the other half. This process requires considerable skill and patience. The dense floral and geometric motifs bordered around the white flowers and colorful leaves of Akshaya Vat seem to foreground the eternal nature of the tree, symbolizing the divine Trinity or Trimurti in Hinduism. It is interesting to see how the Rogan artists have amalgamated the Persian style of setting the works architecturally while using motifs common to Indian artistic tradition. Rogan artist Rizwan Khatri’s dedication towards the central ideas of this art form, along with his contribution to the art community is commendable.

Tree of Life: Rogan

Bhil

Bhils form one of the largest Adivasi communities in India. The Bhil community is majorly concentrated in parts of Madhya Pradesh, Maharashtra, Rajasthan and Gujarat. Some members of the Bhils trace their ancestry to Eklavya, the great archer from Mahabharata. Their rituals, lores, dances, deities, tattoos, songs, and legends are the manifestation of their rich lifestyle. Another way the Bhils demonstrate love for their way of life is by decorating the plastered clay walls of their residence with motifs and ideas that align with their ethos. Turmeric, flour, vegetables and leaves are some of the natural sources for extracting natural dyes. With the aid of colorful dots, inspired by the seeds of maize, the Bhil painters are capable of bringing a range of stories and expressions to life. Their themes move across a spectrum of earthly elements such as animals, insects, crops, festivals, and people to celestial components like the Sun and the Moon, with the details done in a ritualistic fashion. Moreover, each set of dots is devoted to either a particular deity or ancestor. The aesthetic appeal of this art does not only come from the structured arrangements of the dots in a very distinctive style to form the branches and their leaves but also from its inhabitants- monkeys and birds. Beneath the tree, there is a group of people, who are actively engaging with the tree by reaping its fruits. A similar theme of the interconnectedness of souls and existence runs throughout the paintings.

Tree of Life: Bhil

Gond

The word ‘Gond’ comes from the Dravidian expression of kond, which means ‘green mountain’. Green Mountain is a reference to the Vindhya and Satpura mountain ranges which have been functioning as the hub of their dwelling since the 14th century. Stunning combinations of dots, dashes, lines, and fish scales have been employed by the generations of Gond artists to give rise to a corpus of artistic tradition that is quite distinct yet relatable on many levels. The Tree of Life themed Gond art typically encompasses a Mahua tree or a Banyan tree. The tree is usually brimming with colorful feathered creatures. Gond people equate earthy and nature-infused designs, which are drawn out of love for the deities on floors and walls, with auspiciousness and good fortune.

Tree of Life: Gond

It is interesting to note that the painting traditions throughout the length and breadth of the country depict the same theme - The Tree of Life in their paintings, depicting similar themes of interconnectedness and interdependence. Yet, the paintings employ different ways to depict the elements of life. While some would add birds perched on the branches, others would have them soaring high. The same is true for the roots of the trees, while some paintings depict trees with deep embedded roots, others depict them raw or covered with other elements such as water bodies or flora-fauna.