The Style and Motifs in the Art of Arunachal Pradesh : D. K. Durah

Arunachal Pradesh may be called as the land of arts.There are distinctive terminology for art, eg. Bitiyamo for Apatani. Similarly there are mythological concept behind production of a few items. The tales and songs related to the art and crafts are also current among the Arunachalee.

On the basis of the art and cultural pattern, the indigenous inhabitants of the State may be divided into three distinct groups, (i) the group comprising Bodic tribe like Monpa, Sherdukpen, Memba, Khamba, Khamti and Singpho, (ii) group including the Aka, Miri, Miji, Sulung, Nishing, Adi, Apatani, Hill Miri, Tagin, Mishmi, Tangsa, Nah, (iii) and the Nocte and the Wancho. All of these groups have some speciality in their art items. The members of first group are good in art of wood carving and painting works. The second group is widely known for their weaving and cane and bamboo works. The third group viz. Nocte and Wancho are also good wood carvers but their style and motifs are quite different from the other groups. They also specialise in beads works. Apart from these, carpet making, screth painting, tattooing, pottery, smithy and ivory works are also practiced by some of the tribemen which assume significance of their respective society.

The woman folk inspite of their busy schedule in household activities, agricultural operation and other pursuits, find time for weaving. The loom used by them are mainly simple loin loom which are called variously. The artisians are very much particular about colours and have a beautiful sense of colour combinations. The designs are simple and mostly geometrical and the most common motifs are zig-zag, diamond, triangle, cross etc. Each tribe has its own favourite colours and combinations. The colours are always bright and colour matching is always by contrast, thus giving a three-dimensional effect. The patterns are symbolic.

In the Adi textiles a number of beautiful motifs are observed and most of these motifs have an intricate connection between human being and nature. The Mishmis textiles reflect a large number of symbolic forms for various patterns. In the textile of the Sherdukpen, a number of conventionalized forms symbolising Mane (shrine), tortoise, eyes of Yak, a pair of tongs, flowers etc, have been noticed. It may be mentioned that the meanings of some symbolic patterns are gradually forgotten by them.

Wood carving is pursued by the tribes Monpa, Sherdukpen, Memba, Khamba, Khamti, Wancho and Nocte. They use indigenous tools, implements, technology and design, and the locally available raw materials.

The Monpa and Sherdukpen, Momba and Khamba who profess Mahayan sect of Buddhism, produce beautiful masks depicting facial part of different animals like yak, dear, lion etc. They also produce wooden bowls, flower vases, decorated tables and wide varieties of household articles.

The Khamti, a tribe belonging to the Hinayana sect of Buddhism, are also skilled wood carvers. The images of lord Buddha, animals and varieties of dolls are mainly carved by them.

The Wancho and the Nocte of the Tirap district are well versed in the production of the finest varieties of wood carving.

Tattooing is prevalent among the tribes like Wancho, Nocte, Apatani, Aka and Miji. While the Wancho and Nocte tattoo heavily throughout their body, the Apatani, Aka and Miji tattoo their facial part only. To the Wancho and Nocte, tattooing has some important social significance, as these marks indicate the stages in a women’s life and social status and achievements of man. As many as eleven different tattooing motifs are found among them. These are either geometric or anthropomorphic. The different designs have their own significance.

Among the Wanchos, the tattooing is locally called hu or chu and there are other special names signifying the part of the body, e.g. thunler for face tattooing, dinger for neck tattooing etc. The men tattoo the face, the neck, the chest, the calf; the women the chest, the arms, the back, the navel, the thigh and the calf. In case of women tattooing is done four times in her life. The first tattooing is done at the navel before puberty, or at the time of betrothal. The design is of the lines crossing at right angels at the navel. The second tattooing is done on attainment of puberty at the calf either by zigzag or diamond design over the tibia. The third tattooing is done on the thigh as soon as the girl goes to live with her husband. The fourth and last tattooing is on the chest on the seventh month of pregnancy or after the birth of the first child.

It may be summarized that the styles and motifs in the textile are of symbolic patterns. The wood carving is done with realistic conventional designs and the tattooing with geometrical patterns. It may also be said that the Arunachalee arts have some significance of their own with deep correlation with their cultural context and natural craftmen having indigeneous technology and design and motifs of their own. With the march of time, influence of modernity and commercialisation of some art objects, changes in styles and motifs have been observed, specially in the textile items resulting in scarcity of some traditional textile designs. The production technology for raw materials etc are developed. The state government has also patronised cottage industries in order to develop the socio-economic condition of the tribesmen.

 

[ Newsletter | List of Newsletter ]