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The fine art of storytelling and Narratives in Print, discussing the beauty of the narrative style of the miniatures in Dogra/ Basohli/ Jammu miniatures. The complex story and its vivid representation in the glory of prevalent art forms. Practicing artists changed their profession due to a lack of patronage and diverted to making and selling crafts such as paper-mâché or shawl embroidery to sustain their livelihoods. It’s vital to study the rich traditions of Dogra culture and the present condition. It is also a matter of concern the loss of livelihood of Dogra artisans; where Rajasthani miniatures have demand in the market for traditional art enthusiasts and collectors there is absolutely no presence or demand for Dogra miniatures.  Rajasthan miniatures enjoy patronage from generous sensitive art enthusiasts and are used extensively as the adornment of hotels, and restaurants. This helps keep the traditional art alive encourages and promotes the welfare of artisans.

To understand and appreciate the traditions of Kathogatha: The Fine Art of Story Telling and Narratives in Print in reference to the Dogra Museum, Jammu. The Aim of studying the narrative style of Dogra Miniature and the collection at the Museum will help propagate the collection. The classical storytelling narrative tradition and the luxurious, lyrical representation of the regional tales. A land hit by conflict for generations has almost lost all its lustre. The revival of this traditional style would create opportunities for artists to showcase their talent and adorn the rustic landscape of the region. The Objective to study the narrative style of Dogra Miniature and the collection at the Museum will help propagate the collection. The classical storytelling narrative tradition and the luxurious, lyrical representation of the regional tales. A land hit by conflict for generations has almost lost all its luster. The revival of this traditional style would create opportunities for artists to showcase their talent and adorn the rustic landscape of the region. The need of social activism or external peace-building relationships, improving structural gaps, and developing innovative solutions for social justice. The study aims to help build a community of peace builders who can create a shift from ego system to an eco-system for sustainable development and revival of art practices. The importance is to keep tradition alive, but also capture new national and international markets.

Art Historians maintain that the hills did not have any art traditions or activity till around the end of the seventeenth century, as the small principalities of the Himalayan region could not afford a painting-like luxurious pursuit as described in the Indian Miniature Painting, Manifestation of a Creative Mind by Professor Daljeet and Professor P.C. Jain. However, in the eighteenth century, suddenly almost mysteriously, every hillslope came out with a brush and canvas creating a wondrous world, so unique so fresh. This new-born art was established not merely under royal caopies but also under thatched roofs. The Pahari Dogra traditions need an intellectual struggle for recognition of the artistic value of the traditional arts as well as their practical grasp by contemporary artists. Revival of the pictorial arts of the region certainly needs the attention of stakeholders.

Historical Development of Contemporary Indian Art, published by Dr. Sudhakar Sharma, Secretary, Lalit Kala Akademi, edited by Ratan Parimoo and Sandeep Sarkar in 2009 understanding The revivalism in Indian Painting and restoring the rich range of Indian Handicrafts including encouragement of Karigars as well as systematic study and adaptation of taken from traditional existing surviving crafts. Aesthetic reassessment on the basis of traditional values, though in the context of the world’s human cultural heritage, are simultaneous developments.

“Jutti Meri Jandi Ae Pahadiye De Nal 

Te Paula Mera Janda Ae Us Dogre De Nal”   

A popular folk song remixed in the beautiful voice of Neha Bhasin has engulfed social media. This is a viral Dogri song that used to be sung on festive occasions like pre-wedding celebrations in many regions of Himachal Pradesh. 

This Lyrical translation is for all Punjabi and Non-Punjabi fans, Punjabi folk is based on old-age traditions that tell a tale of another era. "Jutti Meri" is a catchy, fun song depicting the feelings of a new bride who is being playful about not returning to her husband's house and how her heart is inclined to go only with the Dogra spouse. Now many would wonder who is a Dogra. And Why a Dogra?  

The term Dogra is thought to derive from Durgara, the name of a kingdom mentioned in an eleventh-century copper-plate inscription in the hilly region of Chamba. In medieval times the term became Dugar, which later turned into Dogra. In modern times, the term Dogra turned into an ethnic identity claimed by all those who speak the Dogri language. The Dogra dynasty of Dogra Rajputs from the Shivalik hills created Jammu and Kashmir when the East India Company absorbed all dynastic kingdoms in India. Events led the Sikh Empire to recognize Jammu as a vassal state in 1820, and later the British added Kashmir to Jammu with the Treaty of Amritsar in 1846. The dynasty's founder, Gulab Singh, was an influential noble in the court of the Sikh emperor Maharaja Ranjit Singh, while his brother Dhian Singh served as the prime minister of the Sikh Empire. Appointed by Ranjit Singh as the hereditary Raja of the Jammu principality, Gulab Singh established his supremacy over all the hill states surrounding the Kashmir Valley. 

The culture and storytelling traditions of the northern hills are predominantly women oriented. Thus a natural assumption would be that revival and promotion of art would essentially be women dominated. Women played an essential role in this region, mainly under this geographical conflict zone. Men were either away attending to the fields, on wars or duty. Women held the household together. They were primarily taking care of the elderly and raising children. A bowl of delicious Daal (Lentils) exchanged by women from one door to another had narratives. A culture where the stove to make food was common, "Sanjha Chullah". Sanjha Chulha is a concept of a community-shared kitchen in rural northern parts of India. It comprises primarily a cooking oven made of clay, "Tandoor", used to cook Rotis and meat. The folklore of festivals, deities, and warriors travelled from one hill to another. Families got around the fire, exchanged stories, and savoured and shared food gradually cooked over a common stove. The Sanjha Chulha brought together women from different communities to cook meals at the common oven. It strengthened the community bonds. It was an economical and environment-friendly cooking. In rural Punjab, Sanjha Chulah was quite popular, and women usually gathered at the Chulah to bake bread and discuss the day's happenings. These stories made their way into songs, beautifully embroidered Phulkari dupatta/odhini/ rumaals, on shawls or bedspreads that became essential heirlooms. They were said to be auspicious and gave the clan an identity. The women or family would sit together to embroider a shala/rural, which would be gifted to daughters in dowry and used to decorate the seats of the god in the mandir.   

On several visits to the city of Jammu, where my father was posted in the 1970's, I was enthralled by the majestic Amar Mahal Palace. The artefacts, the kingdom's crest, and the palace's location left an indelible mark in my memory. This time, I ensured that I stopped by for a revisit and mul over the beauty of the glorious palace and serene Tawi River. The overview of the beautiful city of Jammu on the banks of the river could not be erased from memory. When my children were young, I took them to witness the historical palace. The Amar Mahal Museum and Library displays the 120 kg gold throne of Sir Hari Singh. The Hari Niwas Palace is a palace in Jammu, India. It overlooks the Tawi River on one side and, on the other side, the Trikuta hills. Amar Palace, once the residence of the Maharajas, is a grand palace with a magnificent look. It was built in the nineteenth century for Raja Amar Singh, a Dogra king, by a French architect on the lines of the French Chateau.  

The palace now houses a museum with artifacts relating to the region's art and culture. It also houses the city's finest library of antique books and paintings. The museum remains open from Tuesday to Sunday, and entry is ticketed. It houses Sculptures, a souvenir shop, portraiture of kings and queens, currency, coins, stamps, armours, a miniatures gallery and a gallery for contemporary Indian art. 

 

Figure 1: The Magnificent Hari Mahal Palace, Jammu

 

Figure 2: The Pillars of Hari Mahal Palace overlooking the Tawi River

 

Figure 3: The Crest, Dogra Kingdom, Jammu

In June 2023, my colleagues Prof. Dr. Meera, Dr. Ch. Omkarachari and Dr. Kumar Jugeeshu and I visited the town of Jammu. The tour guide, Anil Sharma, proudly took us around the city and was eager to show off its beauty; he has been an active tourist operator but refused to take us to the Dogra Art Museum as it was situated in the congested part of the city. It was the first time anyone in his experience of 20 years had ever asked him to stop by this attraction which, according to him, was the ruins of an old palace. Though the suggestions of a senior retired colleague Sh. Brij Mohan Sharma who hailed from the city could not be ignored, so we insisted on visiting this hidden treasure.  

The driver reluctantly took us to the Dogra Art Museum, Jammu, previously known as the Dogra Art Gallery, is a museum of Dogra cultural heritage housed in the Pink Hall of the Mubarak Mandi complex, Jammu, India. The architecture mixes Rajasthani architecture, European Baroque, and Mughal styles. 

The complex is grouped around several courtyards and includes various buildings and palaces like the Darbar Hall Complex, the Pink Palace, Royal Courts buildings, Gol Ghar Complex, Nawa Mahal, Rani Charak Palace, Hawa Mahal, the Toshakhana Palace and the Sheesh Mahal. The halls and galleries of the palace were used for official functions and ceremonies.  These days sections of the palace house government offices, courts and the Dogra Art Museum. However, other parts of the palace are in ruins as the palace has more than 36 times been the victim of fires. Furthermore, the building suffered from earthquakes in the 1980s and 2005. The museum's main attractions are the Pahari miniature paintings from Basohli, which left us spellbound. 

Figure 4: Water fountain Baroque style outside Mabarak Mandi, Jammu

Figure 5: The Magnificent Exterior Entrance of Dogra Art Museum

Clear Influence of Rajasthan Architecture

 

Figure 6: The Signage of Dogra Art Museum

COLLECTION – Few Examples  

Phulkari Rumaal 

 

Figure 7: Decorated with floral adorned borders  

this rumaal has a Rasa dance the lord Krishna dancing with the Gopis in a circular movement 

Around a lotus Mandala.  Colours used are bright and vivid. 19th Century AD 

The rumaals are used to decorate places of worship—home decoration or as gifts for festivals and weddings. The Punjabi term, Phulkari, has two words: Phul meaning flower and Akari meaning shape. Phulkari meant the shape/direction of flowers which symbolized life. In Punjab, it was popularly believed that the birth of a girl child in the family was auspicious. The mother and grandmothers would start embroidering Phulkari dupattas on this occasion. Traditionally, the coarse khaddar fabric made it easy to count the yarn. The base khaddar cloth used in Western Punjab was finer than in Central Punjab. The dupattaa and odhini were worn by women on joyous occasions; decorated with floral adorned borders, this rumaal has a central the lord Krishna dances with the gopis. Colours used are bright and vivid.  

Manuscripts and Text Design and Typography the skill of layout and colours scheme 

 Page Layouts are precise. Margins and spacing the finesse and style of wrapping text around visuals. Beautiful elegant borders, in multiple layers. Colour in typography and elements of floral patterns interwoven with delicate fonts. Creating a rhythmic visual presentation. The patience and skill of the typographer and appreciation of book design and art is very apparent in the illustrated manuscripts. 

 

Figure 8: The Geeta Saar, Devnagari Lipi, 19 Century AD

 

Figure 9: Bhagwat Geeta, Sheshnaag and Krishna, 19 Century AD

 
Figure 10: Gian Chausar, Snake and Ladder game

 

Figure 11: Manuscript on Tar Leaves 9 Century AD

 

Figure 12: Ramayana in Persian 19 Century AD

The Miniatures Paintings 

Unknown Masterpieces of Indian Folk and Tribal Art, Dr. Subhashini Aryan says “In Indian miniatures as apart from the religious texts, non-religious texts were also illustrated by rural artists. These pictorial expressions are marked by vibrant colours, bold brush strokes unbelievable spontaneity, dynamism, and minimal use of colours, preferences being colours, primal forms, and imaginative use of space. The figures – divine, human or any other – might be somewhat archaic, disproportionate, crude, nonetheless, not devoid of indescribable charm; their bold imaginativeness has a haunting quality that can be experienced, but not expressed in verbal language.” 

Historically, stories, traditions, cultures and religions are passed on from generation to generation orally. The stories told in the hills of the Jammu and Kashmir region under the patronage of Dogra rulers had strong narratives. Each leaf is an immaculate illustration that reports a story. Humans, animals, birds and reptiles play their part. Each element has a defined place. Division of space takes supports the story flow. Colours harmoniously support the narrative. All the modern video documentation and cinematography fail to arrest the sequence of events so wonderfully in one single frame. 

Among the Pahari Schools of miniature painting that flourished during the 18th Century AD, the Jammu school is unique in its peculiar caricatures of figures and well-balanced portraits of kingly characters and courtiers. The miniature painting done in Jammu school is peculiar of the absence of scenic beauty. The distinguished flora and fauna, along with the lush green atmosphere, are the main characteristics of the Pahari schools of Basohli and Kangra. Most other paintings found are individualistic in nature. There is no dreamy atmosphere, romance, or silk bodies of Nayikas which are the essence of the Pahari schools of Kangra, Basholi and Garhwal. 

Women Characters are covered with full sleeve blouses, and long tight pyjamas are covered with ghagras. Generally, primary colours were used to create multi–layered myriad images and have multi-coloured effects. Dark green, blue, and yellow indigo create a strange sadness that weaves a gloomy atmosphere. Golden colour prepared from pure gold highlighted the lord's crown. Sometimes, to highlight some ornaments and particular attire, golden colour was in vogue.  

This is the beauty of the narrative style of miniatures paintings in Dogra/ Jammu miniatures. Unlike the Rajasthan School of miniature paintings, the local artists have changed their profession and expertise to make a livelihood.   

Divine Images Human Visions by Pratapaditya Pal, National Gallery of Canada, describes beautifully “Some of the most evocative representations of nature in the history of Indian art were painted by artists for the courts in the lower Himalayan ranges. The Pahari artists reveal an awareness of their surroundings, impressions of which they combined with a range of delicate visual experiences to create enchanting landscapes of poetic rapture, as may be seen in several pictures in the collection. Not until the mid-eighteenth century did the Pahari artists start observing nature and deriving their own modes of representing landscape. Used mostly as a setting for divine play, the silvery streams, the verdant hills with snowy peaks and perennially flowering trees drawn from both fact and fantasy were brilliantly combined to create an idyllic setting for divine play.

 

Figure 13: Coronation of King Rama 15 th Century AD

 

Figure 14: Dual between Narantak & Angad 19 th Century AD

 

Figure 15: Fight with Khar and Dushan 19 th Century AD

 

Figure 16: Ram Darbar, 19 th Century AD

 

Figure 17: The Painted Wooden Doors from Old Palace

 

Figure 18: The Painted Wooden Doors from Old Palace Inset detail    in a circle Radha and the Gopi’s Showing Mirror to Krishna and his friends

   

Figure 19: Nal Damayanti, Princes Going to Damayanti’s  Swayamver

The museum has a collection of series of story of Nal and Damayanti. . Divine Images Human Visions by Pratapaditya Pal, cites “From the second half of the eighteenth century the artists in the hill states became particularly fond of rendering mythological subjects in realistic style… .“ The story runs parallel with Bhakti Raas which means complete belief and undying faith in the divine. Like all great stories, this comes with its share of love, opposition, deceit, war, and finally sweet reunion in the end. Their story also runs parallel with the Pandavas. 

Damayanti is a young princess of the Vidarbha kingdom. Such was her beauty that princes and kings and God aspired to marry her. Due to this, her mother insisted on marrying her daughter to God instead of marrying her to a simple human.  

They considered Lord Indra to be the perfect match for Damayanti and so a swan with the invitation was sent to God. However, the goose that had been sent to Indra holding the invitation to the marriage was hit by a storm and lands in the kingdom of a handsome king named Nala. This story which was a popular folklore and had multiple plots and versions. Many narrative illustrative miniatures are found in the museum. Reminiscent of inspiration of movie makers of early cinema to make films on the subject. There were comics by Amar Chitra Katha on the subject. The story has unfortunately lost its place in the modern era. The miniatures at the museum are inspiration to the future generation of artists who will have their own interpretations. 

A need to tell and hear stories is essential to the species Homo sapiens – second in necessity, apparently after nourishment and before love and shelter. Millions survive without love or home, almost none in silence; the opposite of silence leads quickly to narrative, and the sound of story is the dominant sound of our lives, from the small accounts of our day’s events to the vast incommunicable constructs of psychopaths. Storytelling is the art of entertaining and educating. Storytelling is conveying events in words and images, often by improvisation or embellishment. Stories or narratives have been shared in every culture for entertainment, education, cultural preservation, and instilling moral values. Crucial elements of stories and storytelling include plot, characters and narrative point of view. The term ‘storytelling’ is used narrowly to refer specifically to oral storytelling and, in a looser sense, to refer to narrative techniques in other media. Storytelling predates writing, with the earliest forms of storytelling usually oral combined with gestures and expressions. In addition to being part of religious rituals, rock art may have been a form of storytelling for many ancient cultures. 

The miniature painters of Basholi regions did not use pencil or charcoal for the preliminary drawings. They were experts in the line they drew directly with the brush, either in light red or yellow. Then the colours are filled in. The final lines are drawn, and the details are executed. With the emergence of the Bhakti movement, the paintings of Radha and Krishna were painted in vibrant shades of orange, red, and yellow. There are typical scenes and figures like Krishna, Gopis, elephants, trees and other creatures seen in these paintings. Krishna is always painted in blue, and Gopis in light pink, purple or brown. Each miniature had a story to tell and a message to deliver. The painters use vegetable and mineral colours without going for factory-made poster colours. They prepare their colours. White colour is made from the conch shells by powdering—the details of architecture windows, stairs, and arches and the descriptive nature.  

A substantial movement is to be initiated to preserve the culture of storytelling and the rich tradition of narrative Dogra art. Funding and strategic planning would help restore, manage and promote this museum. This museum has the potential for further growth and presence. This would be an inspiration to contemporary storytelling. Modern storytelling has a broad purview. In addition to its traditional forms (fairytales, folktales, mythology, legends, fables etc.), it has represented history, personal narrative, political commentary, and evolving cultural norms. Reviving the museum will address educational objectives. New forms of media are creating new ways for people to record, express, and consume stories. An environment for individuals to reframe or recast individual stories into group stories. Games and other digital platforms, such as those used in interactive fiction or storytelling, may position the user as a character within a bigger world. Documentaries, including interactive web documentaries, employ storytelling narrative techniques to communicate information about their topic. There is undoubtedly more to be explored and researched. Efforts To fill in the gap that is evident in the disappearance of traditional folk arts the “Jagti Migrant Camp Group in Jammu” is helping reviving the Basohli group in Jammu, Srinagar and the Ganderbal Group in Kashmir. Much to match the requirements of time Yak Jah which is a non-profit social innovation organization for peace-building is helping in providing framework for growth of Basohli art. They work with the youth and women of marginalized communities for their empowerment and social transformation. Yak jah uses creative ways, arts, and cultural forms to build human resilience, connections, and partnerships. The belief that core elements of social activism or external peace-building relationships, improving structural gaps, and developing innovative solutions for social justice. Their efforts to help build a community of peace builders who can create a shift from ego system to an eco-system for sustainable development and revival of art practices. The importance is to keep tradition alive, but also capture new national and international markets. The breath taking hand crafted artefacts have a promise of reconciliation and development for the women the region.

1. Divine Images Human Visions, Pratapaditya Pal, National Gallery of Canada,  Bayeux Arts 
2. Unknown Masterpieces of Indian Folk and Tribal Art, Subhashini Aryan, K.C. Aryan’s Museum of Folk & Neglected Art  
3.https://www.oneindia.com/2009/07/08/effortson-to-revive-tradition-of-sanjha-chulahs-inpunjab.html  

4. Dogri language - Wikipedia 

5.https://www.bing.com/images/search?view=detailV2&ccid=eBQC1dgD&id=9A79B0CEA9B58C34AC0FEEB48C316294DD722CD1&thid=OIP.eBQC1dgDJnLkf8AYyK3tuAHaE7&mediaurl=https%3a%2f%2fi.pinimg.com%2foriginals%2f65%2f5f%2fe4%2f655fe4a8d476f749733f6c8d90e

3f959.jpg&exph=849&expw=1275&q=nal+damyanti+miniatures+painting&simid 

6.  Pintrest.com 
7. Nal Damyanti | Early Lithograph by Ravi Varma Press (archerindia.com) 
8.  Nala Damayanti by Aabid Surati - Amar Chitra Katha Pvt. Ltd. - BookGanga.com 
9. Nal Damayanti Box Office Collection | India | Day Wise | Box Office - Bollywood Hungama
10. Dogra Art Museum Pride of Jammu- Against all odds - Jammu Kashmir Latest News | Tourism | Breaking News J&K (dailyexcelsior.com) 
11. https://www.washwasha.org/upload/libfiles/0/0/940.html?video=semtKpGWG5
12. https://en.wikipedia.org/wiki/Dogra_dynasty
13.www.tumblr.com/kingabhishekblog/191002661682/dogras-and-jammu-kashmir 
14. https://en.wikipedia.org/wiki/Dogra_Art_Museum
15. www.scribd.com/presentation/544079985/Maths-Art-Integrated-Project
16. https://www.trawell.in/jammu-kashmir/jammu/mubarak-mandi-palace
17. https://en.wikipedia.org/wiki/Phulkari/ Phulkari 
18. https://chhotisiasha.org/collections/phulkari
19. https://books.google.com/books
20. https://vedicfeed.com/nala-and-damayanti-love-story
21. www.wikiwand.com/en/Hari_Niwas_Palace
22.  www.indianetzone.com/76/mubarak_mandi_palace.
23.  www.tripadvisor.in/
24.  www.wikipedia.org/wiki/Phulkari/
25.https://quotefancy.com/quote/1983578/Reynolds-Price-A-need-to-tell-and-hear-stories-is-essential-to-the-species-Homo-sapiens Quotes by Reynolds Price (Author of A Long and Happy Life)https://
26.  www.goodreads.com/author/quotes
27. wadetullier.com/news According to the APO (2010)
28. www.sciencedirect.com/topics/psychology/story-telling 
29. web.pdx.edu/~markelp/bible_website/story
30.www.linkedin.com/pulse/what-storytelling-films-entertainment-industry-bruce-bisbey 
31. https://pablo.it/portfolio/lets-make-up-stories
32. https://en.wikipedia.org/wiki/Pattachitra/
33. https://link.springer.com/article/10.1007/s10639-021-10861-0/ Games
34. https://whimsikal.sg/product/lorem-ipsum/ Documentaries
35. https://en.wikipedia.org/wiki/Storytelling/
36. www.koorsboomstories.co
37. www.sciencedirect.com/topics/psychology/story-telling
38.https://uxplanet.org/why-storytelling-is-important-in-design-process-42608b130340
39.https://www.linkedin.com/pulse/what-storytelling-films-entertainment-industry-bruce-bisbey
40.https://www.academia.edu/8532739/Effect_of_Storytelling_on_Childs_Behavior/
41.https://en.wikipedia.org/wiki/Pattachitra,https://en.wikipedia.org/wiki/Pattachitr
42https://whimsikal.sg/product/lorem-ipsum/,https://en.wikipedia.org/wiki/Storytelling
43. https://quotefancy.com/reynolds-price-quotes
44. https://www.hisour.com/pattachitra-36927/
45. https://en.wikipedia.org/wiki/Pattachitra/
46. @yak jahnetwork