बुँद से बिन्दु तक … बुँद बारिश का हो या अन्य किसी प्रकार काl वह हवां में होता हैl तब त्रिमितीय होता हैl पर जब वह किसी कठिन पृष्ठ पर आकर टकराता हैl तब वह व्दिमितीय रूपाकार में परिवर्तित होता हैl
** From drop to dot … Rain drop or any kind of drops, when it is in air, it is three dimensional (3D). When they come; hits and settles on any plane surface, it converts into two dimensional (2D).
बुँद से बिन्दु तक … बुँद बारिश का हो या अन्य किसी प्रकार काl वह हवां में होता हैl तब त्रिमितीय होता हैl पर जब वह किसी कठिन पृष्ठ पर आकर टकराता हैl तब वह व्दिमितीय रूपाकार में परिवर्तित होता हैl
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Clouds are howling, lightnings are gleaming in the skies… The winds are fluttering, trees are swinging... As soon as the first shower of rain drop trickle on the soil, the sprinkle of fragrance spreads all around… Sometimes rain slowly shower down, sometimes fall heavy. The entire atmosphere swells up... Earth muffles the blanket of greenery... When the sky is embracing and kissing earth; that time such kind of the transformations are happening in the nature.
TEN YEARS AGO दस साल पहले... The artist has given a modern look to the mandana visual folk art. He had transposed the auspicious embellishment of mandana on the signature umbrellas. ** Evoke the rain God with an umbrella Have you heard of an umbrella that can evoke the rain God? Mandana artist Lakhi Chand Jain, has designed an umbrella that has symbols from mandana art form that commemorates the monsoons. (Mid-Day, Mumbai, July 01, 2004) ** When tradition meets fashion As Jain stated, “There are several International brands in India. But now India needs to create its own brand with its definitive characteristics which will curve its niche in the International fashion industry.” (DNA, Mumbai, Dec. 29, 2008) मांडणों के विषय में पहल करते समय हमे अवगत होता है कि प्रागैतिहासिक युग के बाद आर्यों के आनेपर ही हमारी सभ्यता व संस्कृति ने एक नया मोड़ लिया हैl आर्यों के आगमन के पश्चात ही भारत में मांडणों मण्डल मांडने का आरम्भ हुआ हैl आर्य वैदिक परम्परा में विश्वास रखा करते थेl वे अग्नि, सूर्य, वरुण, मित्र जैसे देवी-देवताओं, नवग्रहों, प्रकृति की शक्तिओं की उपासना करने के लिए पुजा, यज्ञ, होम-हवन आदि कर्मकाण्ड किया करते थेl आर्यों के उपरान्त ब्राह्मण वर्ग व्दारा मांडणों का प्रचलन किया गया है। यजुर्वेद में कर्मकाण्ड निमित्त अनेक मण्डलों की रचना की गई है। यथा-सर्वतो भद्र मण्डल, चतुर्ल्लिगतों भ्रपमण्डल, अष्टलिंगतों भद्र मण्डल, द्वादशल्लिंगतों भद्र मण्डल आदि। यज्ञ के समय मांडणों बनाये जाते थे। पहले वे केवल जमीन पर ही बनायें जाते थे। मांडणा की इंकाईयों को भरने के लिए एकदल (गेहूँ, चावल), व्दिदल (उडद दाल, मुंग दाल) जैसे धान्यों का प्रयोग किया जाता था। अन्य मांडणा मण्डल रचनाओं में कुंकुम, हल्दी, सिंदूर, गोबर की राख, कोयले की काली पाउडर, चन्दन चूर्ण, फुल, तुलसी और आम के पेड़ के हरे पत्तों का प्रयोग भी किया जाता था। कृषि से प्रेरित और मिट्टी से जुडी हुई है ‘मांडणा’... भारत वर्ष की ‘मांडणा’ विधा यह कृषि जीवन से प्रेरित है और मिट्टी से जुडी हुई हैI किसानों के लिए खेतों मे उगने वाली हर एक फसल यह माता लक्ष्मी का रूप होता हैI फसल पूरी तरह तैय्यार हो जाने पर, उसे कटाई कर के घर लाया जाता है तब उल्हासित हुआ राजस्थानी मन माता लक्ष्मी की अगवानी के लिए ‘मांडणा’ मांडने के लिए दौड़ चल पड़ता हैI
“The word Mandana is derived from the sanskrit word ‘Mandan’. It means ‘to invent' or ‘to explore’. In the changing scenario to create an interest and appealing to the masses about the mandana, I used different types of canvas, textures and explore different new media- but it is not attempt to be diverse from the art or not parting with tradition.” **
Since last so many years Lakhi Chand Jain has done lots of scribbles' of horse and mares into the sketch notes. Now he has transformed them in the form of mandana on Kraft paper and canvas. A graceful attitude of every horse and mares are uniquely painted by using uneven bold lines with simply white colour. The horse and mares’ ear, forelock, crest of the neck (bunch of thick hairs), mane, face, eyes, lips, hip, legs, hoof, heel and braiding-plaiting-ponytail type bulky look of tails are depicted in the manner of mandana. Also he has created numerous of mandanas, which are depicts on ‘kachchhi ghodi’ (a horse puppet) folk dance of Rajasthan. **
Artist Lakhi Chand Jain has created a series with his ethereal expressions of emotions related to a peaceful, non-violent philosophy through his famous signature mandana. This series of designs, playing only with the simple lines & specially created for the Aditya Birla Group for his ‘Eternal Gandhi’ Project. The artist has tried to promote the ideals of M. K. Gandhi, through Mandana visual folk art form. 'Pray for Non-Violence' series of designs are characterised by basic geometric forms- square, circle, triangle-The unique features of mandana art. For the first time, Indian visual folk art has been translated, executed and expressed in such different subject, unique style with Hi-Tech digital media and techniques. **
Lakhi Chand Jain Text translated by Meeta Surana The Meena tribes who reside near the Bundi, Tonk and Sawai Madhopur district in Eastern Rajasthan excel at the art of mandana paintings. It was the an opportunity visit to Ranthambore National Park that Set off a train of thought - maybe I could combine this journey with a long-held desire of viewing and archiving the mandana paintings of the Meena tribe of Rajasthan. I got in touch with Dr. Madan Meena, an artist friend of the Meena tribe, he known as a Salim Ali in the art of mandana, based in Kota, who was equally enthusiastic. He is in the process of archiving this continuously changes in the mandana tradition, having coaxed the Meena women to draw their designs on paper for posterity. This is very difficult as some of the designs are huge. After reaching at Kota, we spent a pleasurable evening discussing the various aspects of mandana paintings. Though extremely keen to accompany me on my quest of authentic mandana paintings in the interiors of Rajasthan, unfortunately he was unable to do so. I was put in touch with Mr Radheshyam Meena, who happily acquiesced in accompanying me to the villages where this particular mandana painting is creatively seen. My co-traveller from Mumbai, Jayesh and I set off in a jeep the next day, 40 kilometers to Aligarh in Tonk district where we were to pick up Radheshyam. We saw quite a few mandana paintings on this route itself. The small settlements of a thousand plus people were where we were headed, the home of floral mandana. The basic necessities of electricity, running water or roads are not available, but that doesn't seem to affect anyone here. At that time of midday, there were only the old women’s of the village to be seen, in some cases engaged with embroidery in a community fashion. The only other living things were the peacocks- in abundance. All the other able bodied people were in the fields, engaged with the main livelihood - agriculture. Thanks to Radheshyam, who had relatives here, we gained admittance to the village - in itself a commendable deed! Everybody had warned us of the fierce nature of the Meenas, and how they do not let anyone near their villages. Mandana was all around us at last, on the mud walls and homes of the village. I couldn't believe the intricacy and sheer detailing of the work all around. It was like a carpet of paintings, laid out everywhere. Their Diwali efforts were the most prominently visible. Looking at all of this was getting me greedy about being able to view the interiors of the homes, which naturally had to be far superior! Radheshyam helped out here too, and soon enough we were invited to view the artistry on the walls of the living spaces, granaries, verandahs and even the kitchens. I even got to interact with some of the women who were answerable for these magnificent works. Executed with just the assistance of a thin twig of the date palm, every depiction had character and a tale to narrate. The most common rendering was of the omnipresent peacock, all with a different look and bhav. Some were portrayed along with other fauna like the deer, tiger, cows, oxen, birds, parrots, elephant, crow, dog, cat, horse squirrel and flora. The Meena women have picked up things and instances from their real life and depicted it with love. Every home was beautified with a minimum of eight to ten paintings of a simply huge size. The illiterate and unsung Meena women are like poets, putting their creativity on the walls of their homes. Beyond the aim of beautifying their homes, they don't have any further idea. Learnt from each other, over the ages, most cannot even put a name to what they have depicted. They are intent on outdoing everyone else, especially during Diwali, when the whole village gets down to this activity. Even I am tired of looking at mandana, but there are so many more to witness. This particular tour has reconfirmed that this area has the largest conglomeration of this age-old folk art. Trying to assimilate all that I have seen, we turn back toward Sawai Madhopur. The sun is setting, and I feel that it just may be symbolical as well as real. The future for mandana is bleak, as with greater progress, the mud houses are disappearing - so is the ambience and the interest in doing this kind of unpaid labour. The young generation doesn't have the time or the inclination for this kind of painstaking detailed work. Even now I feel that the work on display doesn't have that bariki or attention to detail and design as earlier. Mandana seems to have survived because it is far away from the modern world. It just might regenerate and get recreated in a new form, but otherwise our socio-cultural traditions mirrored by this folk art will get lost somewhere along the way. Sawai Madhopur, Dec 2007 **
मिट्टी के कच्चे घर-आँगनों मे मांडे हुए मांडणा देखने पर मानो ऐसा लगता है कि यहां कलाकार अपने मन में दबाई रखी हुई किसी न किसी बात को मांडणों में मांडा हुआ है... या मांडणों में अपनी कोई कविता लिखी हुई हैI किसी की किसी के प्रति इर्षा नहीं... केवल अपना घर-आंगन सुंदर दिखे यहीं भाव मन में रख कर मांडे हुए होते है मांडणाl कभी कभी यह भी महसूस होता है कि गोबर-मिट्टी से लीपे-पोते हुए आंगनों, जमीन व घर की भीतर के भित्तियों (भीतों), बाखड़ और ओटडा पर बने हुए मांडणा भी वीरान महलों- हवेलियों की तरह अपनी कोई कहानी बखान कर रहे हैI उनसे जुडी जरुर कोई कहानीयां है... पर वह कहीं दबी हुई हैl अभी भी झुरी खाई अनपढ़ अंगुलियां जब उजले खडिया से मांडणा मांडती है तो इन मांडणों में प्रयोग किए हुए चिन्ह की भाषा को हम पढ़े-लिखे भी पढ़ नहीं पाते है, न उनके अर्थ ठीक से समझ पाते हैl
सदियों से सहेजती आ रहीं मांडणा को न जाने कितने अनगिनत मोटी, पतली, कच्ची, पक्की, सीधी, झुरी खाई अंगुलियों ने तीज-त्यौहारों पर अपने घर-आंगनों में उकेरा हैl न जाने मांडणा के कितने अनगिनत रूप हमारे जीवन में प्रसन्नता और खुशियां बिखेर कर समय के साथ भीतों की लिपाई-पुताई करते समय गोबर-मिट्टी में समा गए हैI हवा से उठती आंगनों की धुल-मिट्टी में... इतिहास के पन्नहों में समा गए हैl मांडणा’ से जुडी एक नहीं, कई कहानीयां है... बचपन में मैंने अपनी दादी से वह सुनी हैl पर अब उसे बखान करने वाले और इसे सुनने वाले कहीं पर नजर नहीं आते हैl पहेलियों, कहानियों, लोकगीतों में, हमारे समाज जीवन में मांडणा घुली-मिली हुई हैl Lakhi Chand Jain, is the first man who paints contemporary mandanas on canvass. Text by Meeta Journey- facts- impacts
Basically I am graduate in applied arts and by profession I, am associated with the different discipline of designs. However, I am firmly pledged strongly to the art of Mandana, which I learnt from my grandmother and mother, when I was eight-year-old. She gave me a unique brush in my hand to draw the mandana. This brush was made from stem of tuvar plant with cotton stuck covered on the one end. Initially, I drew mandana by crooked lines. I remember that my grandmother and mother sat up at night to make the mandana on the festival of lights. I used to lie with my head in my grandmother’s lap and wonder what she was doing. She would tell me old stories related to the art of mandana. Text compiled by Meeta Surana Lakhi Chand Jain, mandanagrapher, scholar and artist, talks about the art of mandana. Here, he shares his thoughts and tries to finds new eyes and mindset to celebrate every bit of creation.
Tell us about yourself. Myself Lakhi Chand Jain, I am graduate in applied arts, and by profession I am associated with different discipline of the designs as a creative head. However I am firmly pledged with the mandana, which I learnt this art from my grandmother (Late) Smt. Ratan bai and mother Smt. Shakuntala bai. This form of folk arts I acknowledged as a treasure from my grandmother. Text by Meeta Surana Lakhichand Jain, a Kalwa (near Mumbai) based artist and mandanagrapher working within a sphere of design and visual folk art, has been constantly working on ritual of mandana for the past 25 years. He is not only a Mandanagrapher, he is also an active research-scholar and documenter of the art of mandana. He has been doing all he can to do the most obvious and yet crucial activity which is to bring consciousness to one of the many neglected and languishing traditional art forms of India. It is no surprise then that Lakhichand has been covered in so many art, design, lifestyle and travel magazines like POOL, Jetwings, Swagat, and Creative Gaga and also in mainstream National print and television media including India Today, Times of India, The Indian Express, The Hindu, Deccan Herald, PTI, DNA, Hindustan times, Mid -day, Zee News, Star Plus, Etv, Sahara, DD metro, and more.
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