a critical study on the manuscript paintings of assam...

Universal Multidisciplinary Research Institute Pvt Ltd

21 International Journal of Multidisciplinary Research and Innovation (ISSN :2454-7204) :Volume 2 Issue 2

A CRITICAL STUDY ON THE MANUSCRIPT PAINTINGS OF

ASSAM: WITH SPECIAL REFERENCE TO CHITRA-BHAGAWATA AND ANADI-PATANA

Nilanjana Gogoi Ph.D scholar, Department of History of Art Kala Bhavana, Visva Bharti, Santiniketan

West Bengal, India

Abstract

The Vaishnavite Monasteries or Satras of Assam are the unique socio-religious and cultural institutions established in the 16th century. The Satras became the centres of development of the various art forms. The art of manuscript paintings excelled under the influence of Satras. The culture of manuscript painting flourished as a necessary response to the movement that significantly aimed on worshipping of the Holy Scriptures instead of a deities idol. The earliest surviving specimens of manuscript paintings that reflect the visual narratives are: The Chitra-Bhagawata of Narowa Bali Satra and The Anadi-Patana of Narowa Kuji Satra. Both the manuscripts have certain independent characteristics of their own. The aim of this paper is to study, analyse and object the manuscripts and its representation of figure, pictorial composition, arrangement of forms and background, decoration configuration and theme which are totally different, although they belong to the same period. Visual Narratives of manuscript paintings shows the values of religious beliefs externally, but it carries an internal resistance to the elite art practices through its direct communication with the regional folk. The manuscript painting resists the hierarchical practices of mainstream arts and has challenged the occupation of galleries over the visual psyche of the common people. The Satras represented as stronghold in considerable growth, preservation and popularity of art forms. Keywords: manuscripts, preservation, resist, satra, vaishnavite.



1.1 INTRODUCTION Assam is situated in the extreme North-East Frontier of Indian sub-continent. The Himalayan range of Bhutan and Tibet boarders in the north along with Meghalaya, Manipur, Mizoram, Nagaland, Tripura and Arunachal in the vicinage of China and of Burma on the east and the south and of Bangladesh on the west. Assam has extraordinary fertile soil, variety of flora and fauna, rich in natural mineral resources, unique socio-cultural population of mixed character and most importantly always held a precise, independent political existence (Aacharyya 2003). “Hinduism is the dominant religion in Assam. The three popular forms of Hinduism namely, Saivism, Saktism and Vaisnavism are prevalent here. Neo-Vaishnavism movement gained momentum in Assam in the 15th century" (Neog1998). Assam Vaishnavism is unique in nature surpassing the Vaishnavite cult prevalent and practiced throughout India. The Vaishnavite monasteries of Assam known as Satra are a unique socio-religious and cultural institutions. Established in the 16th century to carry the Bhakti ideals to the people at large, they are heritage institution of Assam, and form a revolutionised force of social change and development in the state. This new religious cult “Ek-Sarana-Hari-Naam-Dharma” drew its teachings from the ancient Hindu Holy Scriptures focusing Vaishnavism. This Bhakti cult aimed never to seek or attain moksha or nirvana but selflessly dedicate oneself into Bhakti (Neog 2011). “The Vaishnavism is concerned with faith in, and devotional worship of Vishnu. The conception of divinity culminates in his concept of Vishnu in as much as Vishnu represents in the highest degree all that is majestic, sublime and blissful” (Aacharyya 2003). The Satras are unique institution with multidimensional socio, religious cultural domain, with its distinctive characteristics, democratic organizational set up and ideological strength derived from the Bhakti movement (Borkakoti 2005). 2.1 BACKGROUND OF THE VAISHNAVITE MONASTARIES OR SATRAS OF ASSAM Assamese culture is dated more than two thousand years old with an acculturation of various compiled socio-cultural population. Assamese culture is developed during the first millennium AD, under the great dynasties of Pragjyotisha-Kamrupa. “The modern name of the province, Assam, is actually of quite recent origin. It is connected with the Shan invaders who entered the Brahmaputra Valley in the beginning of the thirteenth century A.D., and who were known as Ahoms” ( Barua 2011). It is developed due to acculturation of different ethno-cultural groups under various socio-political systems in different periods of history (Gait 2013). In the 15th century, a revived religious and cultural movement embroiled the entire Assamese society, under the leadership of the great Vaishnavite Saint, Srimanta Sankardeva. The Vaishnavite period in Assam, started in the last quarter of the 15th century and attained its supremacy during the 16th and 17th centuries (Datta 2012). The concept of Vaishnavism and its ramifications is one of the prominent subject matter of the Hindu religious domain (Desai 1973). “The origins of Vaishnavism are lost in obscurity but it is clear that Vaishnavism of history is a gradual development of the Aryan Vedic cult” (Aacharyya 2003). Vaishnavite movement is a kind of Renaissance in Assam that created an era of socio-cultural context, humanitarian in content and popular in form, in literature as well as visual. The movement was specific in nature and revolutionary in terms of its impact. It is not grounded on abstract thinking excursive logic but it underscore more social reform, spiritual uplift and ethnic consolidation through a progressive mode of sacred conduct based on indigenous



elements of the region. It was revolutionary in the sense that Vaishnavism in Assam meant not only a religious faith but a way of life (Borkakoti 2005). To preach his new religion ‘Eka Saran Hari Naam Dharma’, Sankardeva travelled through the entire length and breadth of Assam and founded Vaishnavite monasteries known as Satras, along with prayer hall or Namghar and that was the beginning of Satra institutions in Assam. “The arrangement of Satras as described above often evokes comparison with the Buddhist monasteries or viharas with the provision of monk’s dwellings” (Neog 1998). The Satras preaches the Vaisnavism, one of the Bhakti cults of India in terms of its specific and innovative character that shared values of fraternity, equity, humanism and democracy to create an egalitarian civil society. The Satras solely believe of taking refuge with the one God, Vishnu. Satra institutions are accessible to all regarding birth, sex, caste or creed. There are no rigid and abstract theocratic laws followed by the Satra and the fraternity. There is no Idol worship in the Satra institutional domain. “The four principles of Assam Vaisnavism, namely Deva (worshipful Deity), Nama (the celebration of worshipful names and attributes as the way unto him), Bhakats (the devotees of the Lord) and Guru (special preceptor)”(Borkakoti 2005). 3.1 DEVELOPMENT OF THE VARIOUS ART FORMS AT THE SATRAS The propagation of the Bhakti movement led to rise of the new faith “Ek-Saran-Hari-Nam Dharma” in the Satras of Assam, rooted with the evolution and development of socio-cultural and religious flowering in a new realm. “The Satras also served as so many centers of literary production and mainly of religious type” (Neog 1998). It also cultured around the development of the various visual narratives of aesthetical sphere in visual arts and architecture. The art forms acts as visual narratives in the form of manuscripts painting, wood-carvings, mask making and mask performance. “In Assam, Vaishnavism inspired its adherents to make poetry, drama, music and last but not the least, painting” (Neog 1998). The art forms represented in the Satra institutions captivated the mind of the Kings, nobles, and devotees as well. In the art forms we can see numerous stylish features, unique motifs, highly decorative, precisely arrangement compositions, particularized characters, varied ranges of colour, and secular as well as religious themes. 4.1 EVOLUTION AND DEVELOPMENT OF MANUSCRIPT PAINTINGS The evolution and development of manuscript painting flourished as a necessary response to the Vaishnavite movement that significantly aimed on worshipping of Holy Scriptures instead of a deities idol. “The Vaishnava religion revolves round the worship of the supreme god Narayan-Visnu and his numerous manifestations. The epics and the Puranas do not differentiate between Narayan and Visnu, both the names designate the same God who is considered highest by his worshippers…” (Jaiswal1981). The devotees offer their prayers to the Holy Scriptures enshrined at the Namghar or the prayer hall that houses the Manikut, the actual shrine or the Garbha-griha. The manuscript paintings are done on sanchipat or tulapat, which contains illustrations with descriptions that have certain independent characteristics of their own and are collectively grouped as The Assam School of Painting. Since, it was the Satra institution of Vaishnavite Saint which fathered this school and acted as stronghold considerable part in its growth, preservation and popularity (Kalita 2009).



The Vaishnavite Satras fathered Assam’s manuscript painting which bears its specific characteristics. Assam holds a huge collection of various illustrative manuscript paintings, namely Ananda-Lahari, Anadi-Patana, Chitra-Bhagawata, Hastividyarnava, Gita-Goinda, etc. Among them the earliest surviving specimens of manuscript paintings that reflect the visual narratives are: The Chitra-Bhagawata (Plate-1) of Narowa Bali Satra and The Anadi-Patana (Plate-2) of Narowa Kuji Satra. 4.1.1 “CHITRA-BHAGAWATA” A REVIEW The earliest extant example of an illustrated manuscript of the Satriya School is the Bhagawata Puran, Book X popularly known as The Chitra-Bhagawata from the Narowa Bali Satra, Nagoan, Assam, 17th century (Neog 1998). It is evident that the Chitra-Bhagawata is done in the Vaishnavite Satra of Narowa Bali Satra of Nagoan, from where it is originally discovered, although there is a controversy regarding to its date. It is done in Satriya style. Regarding this matter, Eminent Historian and Researcher Dr. Naren Kalita explains,“Chitra-Bhagawata is remarkable for simplicity in expressive faculty, nicety of execution and fluency in the dynamics of movement of figures endowed with elegance”. It is illustrated in tulapat or hand-made pressed cotton. Figures are full of elegant and animated forms that arises the feeling of vitality. The placement of the figures ensured movement by placing the figures in a slanting position with dancing posture and the repetition of figural forms reduced the visual monotony. Sometimes in order to represent the series of events some dramatic narration and repetition of some similar occurrences are depicted in the same panel. The hand gestures are also one kind of primary medium that expressed the boldness of each character. The male figures are represented with beard and a headgear “tupi” which resembles to that of Mughal and Jain style. Pahari as well as Rajput influences are also reflected (Gait 2013, Kalita 2008). The conventions are the mainstay of the pictorial style. The drawings are free and spontaneous. The red and blue colour primarily dominates in the background of the manuscripts (Neog 1998). In addition Dr. Kalita adds, “However, the paintings of the Chirta-Bhagawata belonged to a period earlier than the paintings of the Anadi-Patana”. The paintings of The Chitra-Bhagawata boldly and justifiably transfigure the verbal images embedded in the narrative text. 4.1.2 “ANADI-PATANA” A REVIEW Another important illustration manuscript of the late 17th century is The Anadi-Patana of The Narowa Kuji Satra, Nagoan, Assam. Presently it is preserved in the Assam State Museum, Guwahati and is considered as the largest manuscript of the Assam school of painting. “The Anadi-Patana, which means the beginning less process of evolution of the cosmos, is an interesting treatise on the metaphysics of the Hindu myth of creation” (Kalita 2013). Like Chitra-Bhagawata, it is also illustrated in tulapat or hand-made pressed cotton narrating the creation myth of the universe. Although the Anadi-Patana and the Chitra-Bhagawata belongs to the same era but its representation of figure, pictorial composition, arrangement of forms and background, decoration configuration and theme is completely different. It has some kind of abstract representation with some foreign influence. Jain influence is also seen in the representation of the landscape. The composition and decorative configuration of the figures (Plate-3) are well arranged in a limited space that maintains pleasant symmetry (Kalita 2013). The presence of alteration of attitude is seen in each figure



and the artist precisely illustrates. Colour density is one of its basic features with several bold lines in white. 5.1 PREPARATION OF THE MANUSCRIPT PAINTINGS Manuscript Paintings are immensely practised in the Satras by the Vaishnavite monks who have dedicated their whole life in the name of the Supreme creator. They have lived and served throughout their lives in the cloisters, in group as their abbots. While creating the manuscript illustrations generally occupied spaces are left by the scribe for the purpose of illustrating it on later. But if one or more copies have to be prepared from an already existing illuminated manuscript, the painting is then created first and then to be followed by the work of the scribe. The painters are known as Khanikars and the scribes are known as Lekhaks. Historian Edward Gait highlights in the words of Dr. S.K. Bhuyan, “The skill of a painter was generally requisitioned to decorate the labours of penmanship. The scribe was sometimes a painter himself, and if not, a regular painter supplemented the work of the transcriber by sketching appropriate pictures on spaces left blank for the purpose. The epics were generally illustrated, specially those prepared for the entertainment of princes, nobles, and the principal Gosains. When pictures could not be inserted, illuminated margins occasionally made up the deficiency. Many manuscripts contain pictures of the deadly sins, and of the incarnations according to Hindu conception. The secular pictures usually represented kings and queens sitting on thrones or elephants, or soldiers in battle-fields. The pictures are available in all combinations of colours, the most prominent of them being yellow and green. The formulas of the colours, which are so fast, have now been practically forgetten”. Manuscripts with the illuminated margins are known as lata-kata puthi. Various Tulapat leaves are mainly used for inferior manuscripts, like for preparing letters for private as well as official letters in case of judicial orders, despatches or records. “It does not follow, however, that the leaves are not lasting as we have seen records in tulapat made three hundred years ago. All revenue grants, records of rights and judicial trails are written on tulapat” (Neog 1998). The Tulapat manuscripts are prepared by hand pressed cotton. There are three distinct modes of Assamese script: (i) Gadgaya (ii) Bamuniya and (iii) Kaithali or Lahkari. The ink used in Assamese manuscripts is made with various organic and peculiar ingredients from the nature. The ink used for writing was as deep as Chinese black and completely water proof. The nature ink was the product of the distillation of silikha (terminalia citrina) and the urine of bulls. “Other materials used in painting are indigo, yellow ochre (gerumati), hengul (vermilion) and lampblack. The use of a crude variety of chalk (dhal) sometimes in the preparation of the painting surface in many cases accounts for the decay of colour of, and, sometimes, the painting themselves” (Neog 2008). The pen used was a goose quill or reed, and brush used is the hair of animals. The unique and distinct character of the ink is its persistency to glossy and slippery surfaces. Its durability and strength has been proven by the prevailing ancient manuscripts, whose ink has not appreciably faded to the date. Though we find some of the folios have crumbled down through the destructive influence of insects and the no less destructive agency of mildew and damp. Manuscripts written with inferior quality of ink seems to have faded in course of time, and they can be read with much difficulty and perseverance



5.1.1 THEMATIC AND DESCRIPTIVE REVIEW OF THE MANUSCRIPT PAINTINGS Vaishnavite Satras brought the art and practice of illuminating the sacred scriptures with illustrations, reflecting the ethical and spiritual outlook. Even in some Satras we find the mural painting compiled with wood carving speculating the natural phenomenon of folk art. The illustrations of the Satra manuscript paintings describes the various the ramifications of the Deity Vishnu, with numerous thematic iconography. The iconographic evolution and different forms of Vishnu are seen in various ancient works. “Assamese Vaisnavism is based on a corpus of Vaisnavite texts that have been composed at different times of the history of Vaisnavism” (Baruah 2014). The Chitra-Bhagawata manuscript paintings from the Bhagawata-Purana, BookX in 1949 were an epoch-making discovery by the Satriya School. It has several stylistic features and themes with complete descriptive text. Like most of the Satra manuscript paintings, Chitra-Bhagawata is also based on the religious, mythical illustrated themes, basically with a three quarter and profile faces, flat backgrounds, figures appearing in groups, Satriya dancers singing and dancing (Plate-4), etc. The text as well as the illustration starts with conversation of King Parikshita with sage Suka, like the Anadi-Patana. Another important theme from Chitra-Bhagawata is the Kaliya- Damana (Plate-5). Here the art of conquering the huge Serpant Kaliya by the Lord Krishna is illustrated, on the bank of the river Yamuna. “According to the text, vegetation of any kind could not grow on the river-bank due to the effect of poison emitted by the serpent. Only one Kadamba tree thrived there since it came in touch with divine nectar Garuda, the mythical bird, rested on its branch with the stolen pitcher containing nectar” (Kalita 2001). Along with the theme and description of the conquest of Kaliya, other themes and descriptions such as Kansa-Badha, Bokashur-Badha (Plate-6), Lord Krishna playing with his mates (Plate-7), Lord Vishnu resting on Seshnaag (Plate-8), Deities (Plate-9) Garuda (Plate-10), Gandharvas, Vidyadharas and Apsarases, etc are exquisitely illustrated. The manuscript painting mainly highlights various distinguished themes with clear descriptive detail of the Lord Krishna’s Life. The Anadi-Patana, manuscript paintings belonging to late 17th century deals with the Hindu cosmic creation or the universal creation. The thematic review of the mesmerised manuscript introduces itself in a descriptive or flash back medium. The texts as well the illustrations of the manuscript painting begin with some interrogational subject matter made by the king Parikshita to the sage Suka, regarding the existence of the earth and the universe. In support of the questions made by the king, the sage told that the earth exists on eight hills supported by eight mythical dig-gajas (Kalita 2013). “The dig-gajas also stand on eight hoods of Ananta being supported by a Kurma, the great tortoise. Earthquake occurs on that direction when the dig-gaja guarding the cardinal point begins shaking his body” (Kalita 2001). The manuscript painting shows the cosmological and astrological chart that includes the figures of the planets, group of Deities (Plate-11), celestial beings, mythical creatures, beasts (Plate-12), abstract landscapes (Plate-13, 14), also along with that astronomical computation and observations of natural phenomenon. The cosmological map clearly illustrates the seven heavens and seven earths and the astronomical computation illustrates the giant stellar galaxies and the universal planetary system (Kalita 2001).



“The text of the Anadi-Patana also deals with the micro-human body as the reflection of the macro universe. It identifies the sense organs as nine doors in the human body” (Kalita 2001). Together with that it also deals with the six plexuses and the flow of the energies called Vayu, flowing inside the human body. In describing the macro-universe the text highlights a detail study of the planetary system. The manuscript concludes with the theme and description of seven different hells and the punishment imposed on the evildoer (Kalita 2013). 5.1.2 STYLES, INFLUENCES AND MOTIFS OF THE MANUSCRIPT PAINTINGS The manuscript copy of Chitra-Bhagawata of Bali Satra is considered as one of the primeval specimens of illuminated manuscript paintings of Assam. The technique as well as the finishing touch perspicuously displays the Rajput-Mughal influences. Although the Assam School of Painting or the Satriya School’s styles and motifs are quite reflected. The Satriya School is quite independent in nature, since it is operated by the Vaishnavite monasteries or Satras . The style and motifs used in dancing and music scenes are quite charismatic in nature. The lyrical-rhythmic notion, expertise draughtsmanship, simple composition, dramatic narration, and elegant colours make the Chitra-Bhagawata’s illustrations unique from other similar Bhagawata paintings found in the country (Kalita 2009, Neog 1998). The head-dress known as mughlai-tupi, seems innovative, although the same influence evidence is seen illuminated in Rajput-Mughal paintings (Neog 2014, Gait 2013). This traditional representation of head-dress is also found worn by Sutradhar, the one who narrates the Vaishnavite plays. The colours used primarily are deep red, blue and yellow. Other than the influences and stylistic arrangement, we can see some Mongolian motifs (Plate-15), a deity seated on a throne. The throne seen has been supported by two small column beautifully designed with two Mongolian lions. “In his Foreword Professor K.K.Handiqui has drawn special attention to the maneless Indian lion, so common inold Assamese painting and architecture, and methan (Assamese bison). The animals and birds are done in the pictures in a clear and sympathetic manner” (Neog 2014). Whereas, Anadi-Patana of Narowa Kuji Satra, Nagoan has also got some specific features and is believed to be the first abstract painting of manuscripts in Assam. The pictorial orbit of the manuscript painting compiles the style, influence and motif as human form to all abstract ideas. “It is interesting to note that the subtle and gross elements are all personified as human beings making them attractive to even to lay man unlettered in the intricacies of the philosophy of the cosmos” (Kalita 2001). The complex philosophical, cosmic and astrological narration of forms is expressed by the artists in stylish and simple motifs. The artist defines the pictorial orbit of various forms in numerous style and motifs (Plate-16). But these style and motifs are not seen in the figures. In fact the figures are less flexible and less dramatic in nature (Plate-16). The figures appear as stylish puppets with some squatting eyes motif. But the faces are expressive due to the wide-open fish eyes. In the representation of hills, hillocks, rivers, oceans, and also the background of the compositions is very stylish (Kalita 2001). “It is noteworthy to find that the treatment of the mount Meru has got its parallel in Jaina paintings. The influence of Jaina painting in an Assamese painting of late 18th century is really striking” (Kalita 2009). Like all other Satriya artists of Assam, Anadi-Patana derives its hues from the collection of the three primary colours- red, blue and yellow (Plate-17). The representation of colour is very bright and beautiful (Kalita 2001).



6.1 CONCLUSION The present research is based on both historical as well as empirical research. The Vaishnavite renaissance concealed the socio-cultural as well as the spiritual realm. It has contributed a lot towards the growth and development of the Assamese society. The Satras and its art form, the monument of socio-cultural and religious domain that should be treasured. The Government must make a detailed inspection on the preservation and protection of these worthy ancient treasures. Along with the other art various forms of visual narratives must be secularized. The art of manuscript painting is not academically explored and there are lots of aesthetical and philosophical aspects of this art that are yet to be acquired and explored. The manuscript painting can be considered as an important form of medium that records, gathers data both of past and present, to its outmost level as a form of visual narrative. Visual Narratives of manuscript paintings shows the values of religious beliefs externally, but it carries an internal resistance to the elite art practices through its direct communication with the regional folk. The manuscript painting resists the hierarchical practices of mainstream arts and has challenged the occupation of galleries over the visual psyche of the common people. The intention of the visual narratives is also to search in conventional medium against such stereotype high or classical art which is generally practiced in the urban culture. The practice of manuscript painting stands as a critique to the so-called norms of cultural stereo types and rigid religious aspects by making performance beyond the structure of religion and enhance the benevolence of humanism. Above all, the visual narratives are based on elements of cultural aspects of the Satra institutions and therefore they should be preserved and protected.



LISTS OF PLATES

Plate-1 King Parakshit and Sage Suka, Plate-2 Shiva-Nataraja, scene from Chitra-Bhagawata scene from Anadi-Patana

Plate-3 The composition and decorative configuration of the figures, Anadi-Patana



Plate- 4 Satriya dancers singing Plate- 5 Kaliya-Daman, Chitra-Bhagawata and dancing, Chitra-Bhagawata

Plate- 6 Bokashur-Badha, Plate- 7 Krishna playing with mates, Chitra-Bhagawata Chitra-Bhagawata

Plate-8 Vishnu resting on Seshnaag, Plate- 9 Deities, Chitra-Bhagawata Chitra-Bhagawata



Plate- Garuda fighting Naga, Plate- 11 Group of Deities Detail from Chitra-Bhagawata Anadi-Patana

Plate- 12 Representation of animal Plate-13 Abstract landscape, Figure, Anadi-Patana Anadi-patana

Plate- 14 Another abstract landscape, Plate-15 Lion seated column Anadi-Patana use of Mongolian motif,



Anadi-Patana

Plate- 16 Stylish composition with Plate- 17 Numerous Deities, Specific motifs, Anadi-Patana Composition with exceptional collection And use of colours, Anadi-Patana REFERENCES Acharyya, Nagendra Nath. The History of Medieval Assam. New Delhi: Omsons Publications, 2003. Barua, Brinchi kumar. A Cultural History of Assam. Guwahati: Bina Library, 2011. Baruah, Girish. Sankaradeva, A Critical Appraisal of His Philosophy And Religion. Guwahati: Purbanchal Parakshan, 2014. Borkakoti,Sanjiv. Mahapurusha Srimanta Sankardeva (1449-1568 A.D). Guwahati: Bani Mandir, 2005. Datta,Birendranath. Cultural Contours of North-east India. India: Oxford University press, 2012. Desai, Kalpana. Iconography of Visnu. New Delhi: Abhinav Publications, 1973. Gait, Edward. A History of Assam. Guwahati: Bina Library, 2013. Jaiswal, Suvira. The Origin and Development of Vaisnavism. New Delhi: Munshiram Manoharlal Publishers Pvt. Ltd, 1981. Kalita,Naren. “Art of Painting.” Assam: Land and People. Ed. Basanta Deka. Guwahati: KC Commerce College, 2008. 150-59. Kalita, Naren and Rabin Dev Choudhury. Manuscript Paintings from Kamarupa Anusandhan Samiti. Guwahati: Kamarupa Anusandhan Samiti 2001. Kalita, Naren. An Alphabetical Index of Illustrated Manuscripts of Assam. New Delhi: Indira Gandhi National Centre For Arts, 2009. Kalita,Naren. An Illustrated Anadi-Patana of Kuji-Satra. Guwahati: Directorate of Museums, 2013. Neog,Maheswar. Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times. New Delhi: Motilal Banarsidass Publisher, 1998.



Neog,Maheswar. Cultural Heritage of Assam. New Delhi: Omsons Publications, 2014. Neog,Maheswar. Aesthetic Continuum Essays on Assamese Music, Drama, Dance and Paintings. New Delhi: Omsons Publication, 2008. Neog,Maheswar. Pabitra Assam. Dhemaji: Assam Sahitya Sabha, 2008. Neog,Maheswar. Sankaradeva, The Great Integrator. New Delhi: Omsons Publication, 2011.

a critical study on the manuscript paintings of assam...

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