Illustrated Manuscripts from Manipur
- Pictorial Value -
- Part 6 -

By: Mutua Bahadur *

In some of the Subika Laisaba manuscripts, the human figures are drawn without the anatomical features to distinguish male from female. Like traditional Manipuri laidhi (dolls), the face of these human figures has simple lines in two colours to indicate eyebrows, nose and lips.

The eyes are not indicated separately. Dots are sometimes superimposed on the eyebrows to represent the eyes. Manipuris describe a beautiful face by comparing to the moon. This tradition finds an echo in the round faces of the human figures.

Even though distinguishing anatomical features are missing, care is taken to differentiate a king, a courtier, a monk etc. from a layman by using different types of headgear. All the pictures are related to one another. The subtleties of composition are strictly followed. It is interesting that the same number of lines is used in all the pictures.

In Subika Laisaba of 18-19th century, there is a human figure that is drawn to look like a frog (Fig. 115). But a closer examination reveals all the anatomical details of a human being. Polka dots are used to give the surface texture of a frog. Human eyes are used instead of those peculiar to frogs and the overall impression is that of a human-frog. The colours used are Indian-red, black and yellow-ochre. This is one of the strange creations of Manipuri artists of the past.

Above this drawing in another panel, there is one drawing in which the images of

FIG 1

FIG 2

FIG 3

(109. 1. A man
Illustration from a Subika Laisaba Ms Script : Meitei (Manipuri)
Language : Meitei (Manipuri) Local hand-made paper
Folio size : 34x13cm.
18-19th Century
2. King and servant
110. 1. Tree
2. House
3. Patient and Medicine man)

a frog, a fish and a human being are all put together closely. Human characteristics are given to the hands, the head and the middle portion. The evolutionary stages of a frog, from that of an egg to that of a grown-up one, are depicted with the help of tails and hands. With a slight change in the position of the drawing at about 45° and a change in the portions of the head and the tails, the image of a fish can be deduced from the drawing. Here also the colours used are Indian-red, black and yellow-ochre. The

Fig 4 to Fig 10 - Browse it as a Photo Gallery here.

intention of the artist is clearly to depict the changes in the process of creation of a human being by the Atingkok Guru Sidaba, the Almighty God as known to the Manipuris. The Manipuris believe that everything in this world originated from Him, He protects all, and will absorb all into His body.

Fins of fishes are sometimes used in figures of pythons in the Subika manuscript. The rhythmic placing of the long body of the python gives a sinuous and artistic impression to a viewer. It is to illustrate three sets of numbers belonging to the gods, the human beings and the demons.

The numbers outside the upper body of the python belong to gods, those inside the body to human beings, and those outside the lower body to demons. Treatment with different colours also makes the distinctions clearer. Legs of birds are sometimes used in drawings of pythons.

The drawing often looks more like a python with the tail and fins of a fish and the horns of a dragon. Figures of small fishes are also inserted after the python, in line with the folk belief that shoals offish always follow the python.

Other interesting illustrations in the Subika manuscript include human figures with horns of animals, heads of animals, wings of birds, etc. The human features are presented in an abstract way, that is, on an imitative appreciation of the heads of birds and animals (Fig. 108).

FIG 108 (8)

Most of the illustrations draw their inspiration from the indigenous cultural ethos. The traditional patterns are repeated by scribes with slight variations here and there according to their individual tastes. But the essence remains the same. Similarly, the symbols in the illustrations can be understood only in terms of Manipuri cultural symbols.

For example, the Manipuris regard the crow as messenger of death. If someone has a dream in which a crow perches on him or he merely sees one, it is taken as a bad omen. A crow in an illustration therefore hints at danger. Kairel keijao is a grand coffin used when a king or a nobleman dies and is carried over the shoulders of two persons like a palanquin. If a picture depicts a Kairel keijao it portends something evil in the near future. A crow above the Kairel keijao heightens the impending danger (Fig. 114, no. 3).

Another illustration in the Subika manuscript portrays a tiger looking at a deer. Though traditional enemies, the ample space between the two animals conveys the meaning that nothing will happen between the two. By analogical interpretation it also means a person who is envied by his enemies but no harm coming in his way (Fig. 112, no. 4).

When an illustration has platforms, the one with legs indicates movement and is the sign of unfortunate happenings in the future (Fig. 113). If the platform is depicted without legs, it conveys a positive outcome. A person sitting on a platform is indication

FIG 9

of promotion in life. When a cow, the traditional symbol of wealth, is shown being tied with a rope to a platform, it tells of a person who is going to amass movable properties (Fig. 111, 112, 113).

If the illustration shows two persons sitting at opposite ends of a lying figure and another one is puffing at a hookah above them, it depicts a traditional practice known as khuya lukhum phamsennaba. Here the person with the hookah is a maiba or medicine-man who has given up all hopes of recovery of a sick man, the lying figure, and the other two persons are attendants or relatives. They all are waiting for the end to come (Fig. 113, no. 10).

Large number of trees in a picture indicates profusion of wealth. Similarly, depictions of satra, chung, pe and phiral are representative symbols of a traditional

FIG 10

saying called phiral mamai chumba to describe someone's rising star (Fig. 1ll no. 4,112 no. 1,6, 113 no. 9). A twin figure without gender distinctions is symbol of happiness (Fig. 113 no. 1, Fig. 114 no. 4. A person surrounded by bodyguards stands for a king, and someone appearing to be under his influence is, of course, the king's favourite. A highly decorated lamp predicts happiness.

A figure holding daggers conveys enmity; someone shown climbing up a tree the likelihood of death from a fall. If a person is shown carrying a long pole with heavy weights suspended from both ends, it foretells suffering. Some illustrations use lines to resemble a rainbow.

The traditional thakan or canopy is also rainbow-shaped and it therefore symbolizes the best possible fortune (Fig. 113 no. 1,8). After marriage, the bride from an affluent family is sometimes brought to the residence of the groom on a decorated elephant. The king and noblemen also go on tour like this. A person who appears to be under the spell of such a picture is supposed to experience a long peaceful life.

to be continued ....



Preface :

" This work originates from seeing the scattered illustrated manuscripts, which I found in the custody of our local Pundits. Since 1973 I have been working for these manuscripts by collecting from various sources. Some of them are already published in the Book entitled the Manuscript Paintings of Manipur in 1978. Even the second reprint issue is also produced in this year. But unfortunately it could not be printed in colour due to financial constraint. All the paintings consisted in the earlier publication are coloured by freehand.

I have the opportunity to exhibit some illustrated manuscripts in the 2 day seminar organised by Manipur Folklore Society held from 26 to 27 September 1982 at G. M. Hall, Imphal. This exhibition attracts many scholars from different parts of India. Then in 1991, published another book entitled Subika Laisaba (A Manipuri illustrated Manuscript on Astrology).

The present work on illustrated Manuscripts is a bunch of paintings collected from different parts of Meitei inhabited areas like Bangladesh, Myanmar etc. It will incorporate 364 faces of Paphal and other unpublished manuscripts.

I would like to convey my thanks to the Ministry of Culture, Government of India for the financial assistance to the task of publishing it. I hope that without this support it could not have been possible to materialise the things.

I alone am responsible for any remaining errors and infelicities for they are of my own construction. I always welcome suggestions and criticisms for further development in future."

Date :31st May, 2005
Mutua Bahadur

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Mutua Bahadur

* Mutua Bahadur contributes to e-pao.net regularly. This article was webcasted on February 21st 2010.