Thursday, March 26, 2020

Meena Art of Rajasthan


Meena Art of Rajasthan

The Minas also known as Meenas, are the largest Schedule Tribe of Rajasthan. They are mainly concentrated in Jaipur, Alwar, Bharatpur, Sawai Madhopur, Tonk and Bundi districts of Rajasthan. They trace their descent from Meenavatar, believed to be an incarnation of Lord Vishnu in the form of a fish.

The Minas also referred to as Ujla Minas and are subdivided into Zamindar Mina, who are agriculturist, animal herdsman and Chowkidar Mina. The Chowkidar Minas did not surrendered to Rajputs and kept in carrying out guerrilla warfare. The Minas have traditional art form (graphic and drawing) by which wall of the houses and floors are decorated. Peacock is the favourite of a Mina Artist. Besides painting of gotrejes, they also draw variety of deities. Paintings are mostly drawn by ladies.

The Minas are expert in preparation of Mandanas. It means kriya or sanja that is a decorative design with a definite meaning or hypothesis. It is the regional folk painting of Rajasthan and its adjacent states. However Mandanas are acclaimed for its distinctiveness and beauty.

The females of the Mina community decorate their walls and courtyards of the houses with painting of a number of Mandanas which are known under different appellation like Mandana of marriage, Mandana of Govardhan Puja, Mandana of other festivals and occasions and so on. However, drawing Mandana during Holi and Govardhan Puja is most important.

In rural areas, females before drawing of Mandana, prepare the base where they draw Mandana or any form of drawing. The base is prepared by plastering the wall with mixture of cow dung or yellow mud locally known as peeli mitti. Combination of both the material gives the colour of Indian red. Sometimes two or three times plastering is being made to give the base of painting elegant look. After plastering, no painting is done for one or two days to allow the place completely dry up. The painting is done with index finger and thumb. Some females use twig of date palm as painting brush. In such case, front part of the twig is crushed with the help of stone or brick. In some other occasions, it is also observed that females wrap the index finger and thumb with a thin piece of cloth while they are engaged in painting.

For painting, white and Indian red colour are used. White colour is obtained from locally available lime or white clay while Indian red colour is prepared from mixing cow dung and yellow mud. To make distinctive contrast at the time of preparing painting with Indian red colour, the base is prepared by plastering the area with white clay or lime. In urban areas, Mina females sometimes draw paintings by using chemical colour especially acrylic or oil colours.

It is believed that drawing during auspicious occasions like marriage keeping the house without painting of Mandana is a sign of bad omen which led to misfortune. They paint number of animals, plants etc. In the Mina village more than one hundred fifty variety of peacock can be seen. Besides animals, birds etc., some geomorphic and anthropomorphic designs can also be noticed in their creative work. Dots and circles are frequently observed in their drawings.

Besides painting, a very few Mina houses and grain containers are provided with relief work or relief Mandana. In relief work, abstract and symbolic designs are seen. Apart from it anthropomorphic, zoomorphic, geomorphic and geometric designs can also be envisaged.











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Bharatpur Bird Sanctuary: Where Water, Wings, and Time Meet Some places announce themselves with mountains or monuments. Bharatpur does not. It reveals itself slowly — in ripples of water, in the sudden lift of wings, in the quiet patience of a bird waiting for the right moment to strike. Located in eastern Rajasthan, Keoladeo Ghana National Park, popularly known as the Bharatpur Bird Sanctuary, is one of those rare landscapes where nature and history have grown together. It is not untouched wilderness, nor is it purely man-made. It exists in between — shaped by geography, altered by humans, and perfected by birds. A Land Shaped by Geography Before It Was Shaped by Humans Bharatpur lies at an ecological crossroads. To the west stretch the ancient Aravali ranges, among the oldest mountain systems in the world — worn down, rocky, dry, and quiet. To the east begin the fertile Gangetic plains, flatter and more water-abundant. Between these two regions lies a gentle depression in the land, where seasonal rivers like the Gambhir and Banganga once spread their monsoon waters. This region was never meant to hold deep water. Instead, it absorbed floods, released them slowly, and returned to grassland. That natural rhythm changed in the 18th century, when the rulers of Bharatpur constructed the Ajan Bund, an earthen dam built to protect nearby settlements from flooding. Unintentionally, a wetland was born. Water lingered longer than expected. Silt settled. Aquatic plants appeared. Fish followed. And soon after, birds began to arrive — first seasonally, then in vast numbers. From Royal Hunting Ground to Protected Sanctuary During the 19th and early 20th centuries, this wetland became a favored duck-shooting reserve for the Maharajas of Bharatpur and British officials. Ironically, this exclusive use prevented farming and urban expansion, allowing the habitat to survive while many other wetlands disappeared. 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More Than Birds: The Invisible Web of Life While birds are the most visible residents, the sanctuary’s foundation lies beneath the water. Fish recycle nutrients and sustain higher predators. Amphibians and reptiles control insect populations. Wetland plants purify water, trap carbon, and stabilize soil. Even microorganisms play their role quietly, maintaining balance. This unseen life is what allows the spectacular bird diversity to exist. A Wetland That Needs Care, Not Neglect Unlike untouched forests, Bharatpur survives through active management. Water must be released at the right time. Invasive plants must be controlled. Seasonal rhythms must be respected. Climate change, upstream water diversion, and declining rainfall pose new challenges. The sanctuary today is a lesson in modern conservation — showing that protection alone is not enough. Understanding ecological processes is equally vital. Why Bharatpur Matters Today In a country where wetlands are rapidly disappearing, Bharatpur stands as proof that: Man-made wetlands can support rich biodiversity Landscape-level conservation is essential Migratory birds connect continents, not just countries Water is the most powerful driver of life in dry regions Leaving Bharatpur When you leave the sanctuary, it does not follow you loudly. There are no dramatic cliffs or roaring rivers to remember. Instead, there is a quiet realization — that life persists not through force, but through balance. Bharatpur teaches patience. It teaches listening. And above all, it teaches that when water is allowed to stay, life will always return.

  Bharatpur Bird Sanctuary : Where Water, Wings, and Time Meet Some places announce themselves with mountains or monuments. Bharatpur does n...