Manjusha

Etymology: The origin of the Manjusha is associated with many co-relating mythologies of major and minor deities. More literally, Manjusa is the Sanskrit word for a box.

Origin: Manjusha is the ancient folk art of Ang Pradesh which is presently known as Bhagalpur city of Bihar. This art form dates back to the 7th Century, but it thrived in the years between 1931-1948.

Location: Manjusha paintings originated from ancient Angapradesh, which currently engulfs parts of Bihar, Jharkhand, and West Bengal.

Community: Earlier, this art was produced by only two families. They belonged to the Kumbhakar and Malakar communities. The Kumbhakar community would create pots or Kalash and decorate them with Manjusha paintings, whereas the Malakars would make Manjusha structures and adorn them with Manjusha motifs. The Kalash are worshipped during a specific festival called 'Bishari' which is celebrated on the 17th and 18th of August every year.

Relevance: Manjusha paintings are cemented on the folklore involving the sacred legend of Bihula-Bishari. These paintings illustrate the story and instances of this mythology. Since Manjusha means boxes, that is exactly what the roots of Manjusha art are, these were paintings drawn on boxes which were used by devotees to store ritualistic items for 'Bishari Puja'.

Historical Background: It is believed that Manjusha art started as a result of the flora and fauna that exist around the region of Bhagalpur. The topography and soil type of this region supports a wide variety of reptiles, rattlesnakes being one of them. The art form must have been a method to educate people about their surroundings. Snakes play a vital role in this art form and so do plant life, including lotus, paddy, and belpatra (wood apple leaves). The 'Bihula-Bishahari' story also illustrates the immediate steps one should follow if bitten by a snake, including the use of local plants and herbs for treatment. Thus, this story also touches upon the importance of Ayurveda.

Religious significance: This art form built its legacy on telling a story about mythical characters and folklore at the core. The iconography, motifs, and designs created in these paintings are based on the characters in the fables. The Kalash and temple-structured boxes are worshipped during the Bishahari puja as they believe that worshipping the deity would empower them with her strength and protection. They worship Bihula in hopes of getting blessed with strength like hers and the women who pray to her for protection and good health of their spouse.

Culture and Societies: In one of the many wedding rituals, the groom is asked to enter a small house inside which all four corners are painted with motifs signifying Bisahari. These motifs have immense ritualistic significance. He is asked to do so before marrying and starting the festivities. Once he is in the room, he is expected to apply vermillion powder or sindoor to all four Bisaharis and only then can he join his bride to the mandap.

Legends: The myth goes on that Bihula saved her husband from the vicious wrath of the deity and snake bites. To do so, she encompassed his body in a box, which is now worshipped. Another such folklore that fuels this art form for its storytelling is of Bishari or Manasa.

Central motifs and their significance: This art form is centrally based on mythology and the motifs, designs, and characters are heavily influenced by the mythological plots and characters. Motifs of mythical characters such as Padmavati, Mynah Bisahari, Dhothila Bhavani, Maya/Manasa Bisahari, Jaya Bisahari, Chando Saudagar, and the Kalash to name a few are depicted largely.

Mediums used: Originally, pens made from bamboo or sticks with brushes tied or clothes wrapped around them were used for Manjusha paintings. The tools had to evolve to meet the demand for more refined details. Nowadays, pencils, brushes of all sizes, pen nibs, rulers, compasses and other geometric instruments for detailing and finishing are used.

Style: What differentiates Manjusha scroll paintings from other scroll art, is that Manjusha paintings only use three colours -pink, green, and yellow. About Manjusha art, the most important and defining factor is its borders, which are filled with patterns of leaves, triangles, and snakes.

Process: In the early days, only three colours (pink, yellow and green) were used for painting, and they were all natural colours. Since attention to detail took prominence, the tools and the medium have changed. The colour palette is more diverse as various shades of red, orange and yellow have been introduced. The painting is sketched before it is filled with colours. It goes through various stages of detailing before it becomes a final product. This art form showcases dead bodies and snakes in a colour combination of fluorescent pink, yellow and green. Manjusha paintings follow a strict straight-line geometry because of which figures appear stiff and angry. For the base, different varieties of paper, such as handmade paper, and fabric such as raw silk, paper tassel silk, cotton, woollen material, etc. are used.

NGO 'Disha Gramin Vikas Manch' and 'NABARD' have been trying to revive and preserve this folk craft. They launched a three-year Manjusha Art Development Programme in all of the sixteen Bhagalpur blocks. NABARD and the NGO Disha have trained over two thousand rural women and have recruited two hundred and fifty trained artisans of the Naughachhia and Shahkund blocks, with whose help they launched the Manjusha Art Activity Based Group. Under this programme, fifty activity-based groups and large-scale Manjusha Crafts developed themselves.

Sinha, R.K. and Pandeya O. Prakassa. (2012).Manjusha art: reflections in folklore, trade, and regional history. Delhi: Shivalik Prakashan.