Uneasy defence

It has been an uneasy defence for sure. The umbrella formulation that the death penalty should only be accorded in the “rarest of rare cases”, put forward in 1980 by the Supreme Court in Bachan Singh v. State of Punjab, has remained an uncertain talisman with Indian courts interpreting it in an astoundingly variegated manner, but it has remained a talisman nevertheless. Indian Presidents, too, have routinely dragged their feet over rejecting mercy pleas. The country has also, incidentally, seen attempts to institutionally “reform” the administration of the death penalty. The ‘Model Prison Manual for the Superintendence & Management of Prisons In India' (2003) recommends that all prisoners going to meet their fate at the gallows be made to wear “a cotton cap with flap” so that he/she will not be able to see the gallows — an highly ineffectual aid, surely, under such circumstances.

Internationally, India continues to remain in an ambiguous position. It is party to the International Convention on Civil and Political Rights that requires countries to move towards the abolition of capital punishment, but has desisted from ratifying the Second Optional Protocol to the Convention and last November it voted along with China and Saudi Arabia to oppose a UN resolution for a moratorium on the death penalty.

So while there may be some curling of toes over the prospect of denying criminals on death row their right to life, the Indian State has consistently balked at doing away with the hanging option. By and large, the argument put forward by the Law Commission of India in 1967 continues to hold sway. In its 35th Report, the Law Commission pronounced that “Having regard… to the conditions in India, to the variety of the social upbringing of its inhabitants, to the disparity in the level of morality and education in the country, to the vastness of its area, to the diversity of its population and to the paramount need for maintaining law and order in the country at the present juncture, India cannot risk the experiment of abolition of capital punishment.”

Different schools of art compared

Table 1

Mughal Pahari Rajasthani/Rajput

Madhubani/Mithila

Manjusha/Angika

Tanjore

Origin Earlier Persian blend. Became Indian under Akbar.

Originated in the sub-Himalayan kingdoms of 19th century.

Early 16th century. Various sub-schools existed

Done traditionally by the women in the villages near the town of Madhubani. It originated as floor and wall paintings.

Essentially a folk tradition

17th century under the patronage of Tanjore’s Maratha rulers

Type Mostly in miniature form

Mostly done in miniature form

Themes Document of life at the Mughal court, battles, hunt, arrival of embassies, festivities

Portrait paintings developed under Jahangir

Love of man for woman. Symbolised by Krishna and Radha

Strongly influenced by the contemporary literary and musical forms, and draw upon their motifs

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Nature and Hindu religious motifs

Usually portrayed deities. Vishnu,Shiva and Krishna

Exceptional Point

Was originally practiced by Brahmins and Kayasthas. Later SC women also adopted it. But the themes of the two are different. While

higher castes depicted mythological themes, SCs experimented with day-to-day scenes.

Characteristics

Realism is the keynote of this style

Artists had made contacts with Western art. Influence can be seen.

Bold and intense – BasohliDelicate and lyrical; Tones subdued and lines exquisitely fine - Kangra

Decorate in their composition and colour scheme

Landscape lacks the naturalism of the Mughal school

Two dimensional imagery. Colors derived from plants.

No space is left empty. Gaps are filled by painting flowers, plants animals and even geometric shapes.

Snakes are a prominent feature

Artists adhered strictly to iconography as these paintings were made for ritual and worship and not for display as is mostly the case today.

Technique Used wider canvas

Traditionally done as murals on mud walls. Now is also done one cloth, paper and canvas

Made on jackwood pasted with unbleached cloth to which a mixture of limestone, chalk powder, gum and honey are applied in layers on a sketch of the icon. Extra coats given to raise some parts of the

painting. Jewellery etc are put.

Major Artists

Basawan, Daswanth, Kesudasa, Mansur

Jagdamba Devi, Mahasundari Devi

Major Works

Akbarnama illustrations; rare birds and animals – Falcon (CS Museum, Bombay), Red Blossoms – floral painting

Jodhpur and Nagaur paintings.

Major schools

Basohli, Guler, Kangra

Malwa, Mewar (Ragamala paintings), Marwar, Kishangarh, Jaipur, Bundi, Kotah

Bharni style, Kachni style

Patrons Akbar, Jahangir

Raja Kripal Singh (Bahsoli)

Sarabhiji 2, Shivaji 2, Mummadi Krishnaraja Wodeyar

Rajasthani Art SchoolsMewar (Ragamala)

themes from the life of Krishna and his frolic with the gopis; heroes and heroines of Hindi poetry.

Scenes from Bhagvata and Ramayana Landscape lacks the naturalism of the Mughal school

Marwar

Genuine Rajput style evolved under this school Equestrian portraits of the royal house and the nobility. Show bold types of expression with broad, fish eyes in human faces This school is essentially Hindu

Jaipur

Raslila was painted. It became ‘an earthly erotic amusement’

Manjusha Art Manjushas are temple shaped boxes containing eight pillars The boxes often contain the paintings of gods, goddesses and other characters The boxes are used in Bishahari Puja This is practiced in the Bhagalpur region of Bihar

Handicrafts Channapatna toys

o Wooden toys from Karnataka Nirmal Toys

o Wooden toys made in the town of Nirmal in Adilabad district Tanjore doll

o Bobblehead made of terracotta

Sandpainting

Kolam

Drawn using rice powder by female members in front of their home Mainly in South India

Rangoli

North India. Using sand colors, flour or flowers

Other fine arts Mehandi Pichhwai

o Intricate paintings that portray Lord Krishnao Exist in the town of nathdwara in Rajasthan

Tarakashio A type of metalwork from Cuttack

Indian Art Awards Kalaimamani

o By Tamil Nadu Iyal Isai Nataka Manram Kalidas Samman

o Presented by the MP govt Sangeet Natak Akademi Award Sangeet Natak Akademi Fellowship

Shilp Guruo By GOI to a master craftsperson. Started in 2002.

Tulsi Sammano By MP govt. In fields of art, theatre, dance and music.

Varnashilpi Venkatappa Awardo By Karnataka govt for excellence in painting