Paubha Painting: The Traditional Art Of Nepal

Author: Renuka Gurung (Pradhan)

Description of Paubha

"Paubha" the traditional art of Nepal is believed to have been practiced from time
immemorial. Due to the lack of documentary evidences it has become difficult to pin
point exactly since when and how the painting was practiced and originated in the
valley. The word "Paubha" is derived from a Sanskrit word Patrabhattarak. This
means depiction of god and goddesses on a flat form. There have been some
paintings found where instead of Patrabhattarak or "Paubha" the painter has written
Patibahar. However these evidences prove that the word "Paubha" must have
travelled a long way from Patibahar to Patrabhattarak and however, a very intensive
research is required to explore the original and development of the words "Paubha".
This very old traditional art form was practiced from a historical time when there was
a tradition of oral transfer of knowledge from father to son or the member of the
family of their own caste or clan, and the knowledge was kept secret within the circle
of their family. Sometimes the knowledge was also passed on to the devout pupil
from a learned master, so it was a master to disciple tradition (guru sisya parampara).
On the basis of historical evidences "Paubha" painting tradition goes beyond 7th
century. The use of mineral pigment and the process of making color signify its
historic origin. To describe the method and historical time of practice of "paubha"
painting a passage from an important tantric text "Manjushree Mulakalpa" dating
from third century A.D is given below.

"A cloth is to be woven by a pure virgin and its presentation is accompanied by an

elaborate ritual. An officient (Sadhaka or Acharya) who may either do the work
himself or employ a painter who works under his direction conducts the whole ritual.
Pure colors are to be used. The Painter beginning his work on an auspicious day
should work only from sunrise to mid-day. Seated on a cushion of kusha grass facing
east his intelligence awakes, his mind directed toward the Buddha and Bodhisattvas.
He takes in his hand a delicate brush (Vatrika) and with his mind at ease begins to
paint. After the prescribed divinities have been figured he should depict the efficient
himself in a corner of the canvas according to his actual appearances and costume,
kneeling with bowed head holding an incense burner."

This is the earliest known description of the process of painting on cloth which has a
great similarity with the basic process of "Paubha" painting. Therefore this statement
suggests that the "Paubha" painting was practiced by traditional painters as early as
during 3rd century A.D. However, due to certain reasons such as fragility of the
medium, political disturbances and cultural practices (for instance, there was a
tradition of replacing old "Paubhas" with the new one) earliest "Paubhas" have not

1
survived till present time nor have been discovered so far. However among the oldest
known "Paubhas" one of which is still surviving is an image of "Ratna Sambava" is
now in Los Angeles County Museum. This "Paubha" belongs to the early 13th
century.

"Paubha" faced a threat of extinction toward the end of Malla era. The political
disturbances led to decline in paubha painting. As a result the painters looked toward
other way to explore and introduce "Paubha" painting, so over historical time there
has been inflow of various art forms in Nepal. Nepalese art form such as "Paubha"
also travelled outside the valley towards Tibet. The Chitrakars (the Newar traditional
painters) believe that "Paubhas" taken to Tibet from the valley became as an
inspirational tool or a basis for the development of the Himalayan Buddhist
devotional art known as Thangkas. Because of the reason, Newar traditional artists
regard "Paubha" as the precursor of Thangka.

Tradition of "Paubha" painting

The Ritual

"Paubha" is always painted for a spiritual reason and the painting process embraces
painter's spiritual contemplation and guidance from learned master (Bajracharya
priest). Therefore, the "Paubha" painters are advised to work in a quiet and secluded
environment without outwardly disturbances accompanied by his master (Sadhaka).

The sastra says the painter has to be humble, meditative, detached from materialistic
world and patience. He has to be devoted to his craft of skills and contemplated to
the spiritual space "a real master of craft". A Buddhist text describes a quality of a
painter as follows, 'A painter must be a good man, no sluggard, not given to anger,
holy, learned master of his sense, pious, benevolent, free from avarice such should be
his character. An auspicious day, date and time is fixed by the Bajracharya priest to
start "Paubha" painting. Before starting to paint there was a tradition of "Hasta Puja"
(worshipping the hands) of a painter and his tools. After the ritual of hasta puja the
painter would remain under the strict discipline for example, he would fast and eat
only vegetarian food, remain holy and observe brahamacharya.

The painting is initiated with short prayer and meditation to the deities. Once the
work is finished the painting is consecrated (given life to) by the Bajracharya priest.
This signifies that the deity is alive. It has been suggested that the "Paubha" should
not be unrolled in presence of strangers; it has to be worshipped by the initiated
owner only. However this practice is long lost and very few traditional painters at
present are struggling to continue this tradition of "Paubha" painting alive.

Method and Methodology of "Paubha" painting

"Paubha" the traditional art of Nepal has its own unique method of painting and a

2
reason to be painted. The painting process need to be strictly according to the
principles and guidelines of holy sastras. Therefore it is indeed a time consuming
process.

First, a canvas has to be prepared by a painter which takes about a week. For canvas
making a cotton cloth is stretched on a rectangular wooden frame where a mixture of
glue (Saresh) and white clay (Sapeta) is applied uniformly on the surface. Then it is
allowed to remain under a shade for a while to dry.

cotton rope, iron needle & stone for brushing the canvas Prepared canvas

Once it is dry, the cotton surface is burnished with a smooth stone to give it a final
appearance. Burnishing is also a time consuming and tiring task. One has to rub the
cotton cloth with the stone regularly about 4/5 times a day at repeated interval. Once
the cotton surface becomes like animal hide then the canvas is ready to be painted.

Second step is color preparation:-

All the color for "Paubha" paintings is prepared from minerals and plants materials.
These minerals are broken down and are made into a fine powder; the process
requires lots of manual work while grinding in a mortar and pestle. The mineral is
hand ground for months to achieve good result. The mineral for color preparation
are available in Nepal however some of the minerals for supplementary color are
imported from India and Afghanistan as well. Traditional "Paubha" is painted with
five basic colors - red, blue, yellow, black and white. Saresh is used as a binder.

Saresh

3
White color of Nepal was very famous in ancient time. The color of each deity needs
to be according to the principle of holy sastra. Sketching is also another very
important part of the "Paubha" painting. The painter must have a sound knowledge
of iconographic and iconometric principles. The painter cannot sketch any deity out
of mere imagination but it has to be according to the principles set by the realized
sages and Mahasiddhas, who had recorded visions of the different deities in their
meditation. After the initial coat of color is applied the painter then gives fine lining
to give a perfect shape to the deity. Then he starts shading and gradation, which is a
time consuming part of the painting process. Painters also apply gold and silver to the
painting as an act of contemplation to the deity. It has been learnt in the earlier times,
the painter used to sketch the drawing by a measurement done by "Angul" (finger
breadths). The eyes of the deity are opened in the end which signifies that the
painting is complete.

Pure gold Pure silver

The process of "Paubha" painting is very different. The ritual which is carried out
during the process of "Paubha" painting is long lost and is not practiced nowadays. In
this regard, this art form is already extinct. At present, the paintings are usually not
created for any religious reason, because of shortage of time, intensive workmanship
and unavailability of an initiated painter who knows the sastras and remain under
strict discipline. However some traditional painters are struggling hard to continue the
tradition so that everyone would get an opportunity to observe, understand and enjoy
the ultimate bliss thereby attaining the Buddhahood.