Wednesday Edition

Paubha: A Sacred Canvas of the Kathmandu Valley

A. Defining Paubha: More Than Just a Painting

Paubhā (Devanagari: पौभा) is a traditional form of religious painting created by the Newar people of Nepal, indigenous to the historic Kathmandu Valley. These intricate artworks typically depict deities, mandalas, or sacred monuments and are primarily intended to aid practitioners in their meditation and spiritual observances. The very name “Paubhā” is believed to be a derivative of the Sanskrit term ‘Patrabhattaraka,’ where ‘Patra’ signifies sheets or paper, and ‘Bhattaraka’ represents gods and goddesses. Together, this translates to “divine in flat form,” underscoring the profound belief that these paintings are not mere representations but are imbued with the sacred presence of the depicted divinities. This etymology offers a direct window into the core function and esteemed status of Paubha: it is conceived as a tangible manifestation of the divine on a two-dimensional plane, transforming the artwork into a holy object in its own right.

Mysore painting, a classical South Indian art form, stands as a testament to centuries of artistic evolution, royal patronage, and profound spiritual expression. Originating in and around the historic city of Mysore in Karnataka, these artworks are celebrated for their distinctive blend of delicate lines, intricate brush strokes, and a characteristic use of gesso work overlaid with pure gold leaf. The elegance of Mysore paintings lies not only in their meticulous craftsmanship but also in their capacity to evoke feelings of devotion and humility, often depicting Hindu deities and mythological narratives with a serene grace.

Aboriginal art stands as a profound visual testament to the cultural heritage of Indigenous Australians, with a history stretching back tens of thousands of years. This makes it the world’s oldest continuous living tradition of art-making.1 Archaeological evidence, such as a 28,000-year-old charcoal painting on a rock fragment found at the Narwala Gabarnmang rock shelter in the Northern Territory, and even older potential sites like Madjedbebe, possibly dating back 65,000 years, underscore the immense antiquity of these artistic practices.1 This vast timescale is more than a historical curiosity; it highlights the remarkable resilience, adaptability, and deep-rooted nature of Aboriginal cultures, immediately positioning their art as a heritage of global significance. The sheer continuity of this tradition, coupled with its role in transmitting knowledge across millennia, suggests that Aboriginal art is not a static collection of ancient relics. Rather, it functions as a living, evolving archive, adapting to new contexts while preserving core cultural tenets. This dynamic nature challenges any notion of Indigenous cultures as unchanging.

Step into a world where divinity radiates in shimmering gold, where vibrant colours tell ancient stories, and where art transcends mere decoration to become an object of profound devotion. This is the realm of Tanjore painting, a classical art form hailing from the historic city of Thanjavur (formerly Tanjore) in the southern Indian state of Tamil Nadu. Instantly recognisable by their opulent depictions of Hindu deities, these artworks captivate the eye with their glittering gold foil, embedded gemstones, and a unique, tactile relief effect achieved through a technique called gesso work. Traditionally crafted on wooden planks, earning them the local name ‘Palagai Padam’ (meaning ‘picture on a wooden plank’), Tanjore paintings are more than just aesthetically stunning pieces; they are deeply embedded in the cultural and religious fabric of South India, serving as cherished icons of faith and heritage. This article delves into the rich history, distinctive characteristics, intricate creation process, profound significance, and enduring legacy of these gilded masterpieces.

There is an undeniable magic in things made small. From intricately detailed dollhouses to ships seemingly impossibly built within bottles, miniature objects possess a unique power to captivate our imagination. They draw us closer, demanding our focused attention, promising hidden worlds revealed only through careful observation. Among the most fascinating of these small wonders is the art of miniature painting, a diverse and enduring tradition characterised by its diminutive scale and breathtaking detail. Spanning centuries and continents, this art form has graced the pages of sacred texts, adorned the lockets of European royalty, chronicled the lives of Mughal emperors, illustrated the epics of Persian poets, and continues to inspire artists today.

The Vibrant Art of Kolkata’s Temple Steps

Amidst the bustling energy of 19th-century Kolkata (formerly Calcutta), a unique and influential style of Indian folk art emerged from the vicinity of the famed Kalighat Kali Temple.1 Known as Kalighat painting, or Kalighat Patachitra, this art form quickly captured the imagination of locals, pilgrims, and even foreign visitors.2 It stands out for its distinctive visual language: bold, sweeping outlines executed with masterful brushstrokes, vibrant watercolour pigments applied on paper, and strikingly minimal backgrounds that make the central figures pop.1 The subjects depicted were as diverse as the city itself, ranging from revered Hindu gods and goddesses and scenes from ancient epics to sharp social satire, depictions of everyday life, and commentary on contemporary events.2