Manuscript Paintings and Mask Making of Assam
Assam has a rich and distinctive tradition of manuscript painting and mask making that grew out of the Neo-Vaishnavite movement of the Sattras. Questions on these arts are asked regularly in the art and culture sections of ADRE, APSC, Assam Police, DHS, SSC and Railway examinations. Candidates are expected to know the Sanchi Pat manuscript tradition, the famous Chitra Bhagavat preserved at the Barpeta Satra, the natural colours used by Assamese painters, the Pata Chitra scroll paintings, and the world-famous mask craft of the Samaguri Satra with its Mukha Nritya. Because these arts are linked to specific materials, places and people, a fact-by-fact revision of each term is the most reliable way to prepare this topic.
The Manuscript Painting Tradition
Manuscript painting in Assam developed in the Sattras as a way of illustrating religious texts for use in worship and in the Ankia Naat performances. The earliest Assamese manuscripts were written on Sanchi Pat, a writing material made from the bark of the Sanchi or Agar tree. The scribes and painters worked in the Sattras, and their art combined simple, bold drawing with bright natural colours and religious themes. This tradition preserved not only the texts of the Bhagavata and other scriptures but also a whole style of illustration that is unique to Assam. Manuscript painting is therefore both a devotional practice and an important part of the art history of the state.
Sanchi Pat and the Writing Material
The traditional Assamese manuscript is called Sanchi Pat because its pages are made from the bark of the Sanchi tree. The bark was treated, smoothed and cut into pages, and the text was written on it with a pen and ink made from lamp black and natural gum, often mixed with herbal extracts. Many manuscripts were also written on Tulapat, or palm leaf. The pages were bound between wooden covers, and the covers and borders were often painted with floral and geometric designs. The Sanchi Pat manuscript is important because it shows the high level of craftsmanship of the Assamese scribes and painters and because it gave the tradition its name.
The Chitra Bhagavat
The most famous illustrated manuscript of Assam is the Chitra Bhagavat, an illustrated version of the Bhagavata Purana. It is preserved at the Barpeta Satra, one of the greatest Vaishnavite institutions of the state. The paintings of the Chitra Bhagavat show scenes from the life of Krishna and other episodes from the Bhagavata, drawn in the bold Assamese style with bright natural colours. The manuscript is a national treasure and is frequently cited in examinations as the finest example of Assamese manuscript painting. Its preservation at Barpeta links the art directly to the Sattra tradition and to the devotional life of the people.
Colours, Pigments and Techniques
Assamese manuscript painters used natural pigments prepared from local materials. Red was obtained from Hingul, or vermilion, yellow from various mineral and vegetable sources, black or Kola from soot, and white from chalk or lime. The colours were mixed with a binding medium such as gum and applied with brushes made of animal hair. The paintings are known for their bold outlines, flat areas of bright colour and simple, expressive figures. Floral motifs, creepers, geometric patterns and mythological scenes were painted on the borders and the wooden covers of the manuscripts. Knowledge of these pigments and techniques is often tested in questions on Assamese art.
Pata Chitra and Wall Painting
Alongside manuscripts, Assam developed the Pata Chitra, a painted cloth or scroll that was used as a backdrop in the Namghar and as an illustrated scroll for narrating religious stories. Pata paintings were also used in the Ankia Naat, where they served as stage scenery. Wall paintings are found in the Namghars and Sattras, where the walls were decorated with religious scenes in the same bold style. The Pat and Pata traditions show that Assamese painting was not limited to books but was a living art used in worship, storytelling and performance, and this connection between painting and devotion is one of its most important features.
The Mask Making Tradition: Mukha Shilpa
Mask making, called Mukha Shilpa in Assamese, is one of the most celebrated crafts of Assam. It developed in the Sattras for use in the Ankia Naat and the Bhaona, where masks were worn to portray gods, demons and mythological characters. The masks are made in different sizes, from small face masks to huge figures that cover the whole body. The craft is closely associated with the Samaguri Satra in Nagaon district, which is internationally famous for its masks and has produced some of the finest mask artists of the state. Mukha Shilpa is a unique contribution of Assam to the performing arts of India.
Materials and Method of Mask Making
The traditional masks of Assam are made from bamboo, cane, clay, cow dung, cloth and natural colours. A framework of bamboo and cane is first prepared, then covered with a paste of clay and cow dung, and finally layered with cloth and painted. The masks are lightweight, strong and expressive, and they are made to suit the character being portrayed. The colours used are the same natural pigments as in manuscript painting, which gives the masks their characteristic brightness. The skill is passed down from generation to generation in the Sattras, and the mask makers are highly respected artisans whose work is collected and exhibited all over the world.
Bhaona and Mukha Nritya
The masks of the Samaguri Satra are used in the Bhaona, the traditional Assamese theatrical performance of Ankia Naat, and in the Mukha Nritya, the mask dance. In the Bhaona, performers wearing masks portray demons such as Bakasura, Narakasura and Ravana, as well as gods and mythological beings, which greatly heightens the dramatic effect of the play. The Ras and Bhaona festivals of the Sattras are the great occasions for the display of these masks. The combination of mask, dance, music and devotional story makes the Bhaona one of the most distinctive art forms of Assam, and it is frequently asked in examinations.
The Renowned Mask Artist and the GI Tag
The Samaguri Satra is especially associated with the renowned mask maker Sri Sri Pradip Kumar Goswami, whose work brought international recognition to Assamese mask making. The mask craft of the Samaguri Satra has also received the Geographical Indication, or GI, tag, which protects and promotes the traditional craft of the region. The Assam State Museum in Guwahati and the Kalakshetra museum house many examples of manuscript paintings and masks, and the traditional crafts are taught in the Sattras and in art institutions. The GI tag is an important current-affairs fact that candidates should remember along with the name of the Satra and the artist.
The Legacy of Assamese Painting and Mask Making
The manuscript painting and mask making traditions of Assam are living heritage. They grew out of the devotional needs of the Sattras, they used local materials and natural colours, and they expressed the religious and social life of the people in a bold and colourful visual language. Today these arts are preserved in museums and Sattras, promoted through the GI tag and exhibitions, and taught to new generations of artists. For students preparing for competitive examinations, they offer a rich set of questions that combine art, religion, craft and current affairs, and the key facts about Sanchi Pat, the Chitra Bhagavat, Samaguri Satra and the Mukha Nritya should be learnt together as a single group.
Key Facts at a Glance
- Sanchi Pat is the traditional Assamese manuscript made from tree bark.
- The bark of the Sanchi or Agar tree is used to make the manuscript pages.
- Tulapat is the traditional Assamese palm-leaf book.
- The Chitra Bhagavat is the most famous illustrated manuscript of Assam.
- The Chitra Bhagavat is preserved at the Barpeta Satra.
- Pata Chitra is the traditional Assamese scroll painting.
- Hingul is the natural red pigment used in Assamese painting.
- Kola is the black pigment, traditionally made from soot and gum.
- Mukha Shilpa is the traditional Assamese art of mask making.
- The Samaguri Satra in Nagaon district is famous for mask making.
- The Samaguri Satra has received the GI tag for its masks.
- Sri Sri Pradip Kumar Goswami is the renowned mask artist of the Samaguri Satra.
- Bamboo, cane, clay, cow dung, cloth and natural colours are used to make masks.
- Masks are used in Bhaona to portray gods and demons.
- Bakasura, Narakasura and Ravana are popular mask characters.
- Mukha Nritya is the mask dance of the Sattras.
- The Ras and Bhaona festivals showcase the mask dance.
- The Assam State Museum and Kalakshetra house many manuscript paintings and masks.
- Manuscript painting and mask making both grew out of the Sattra tradition.
- The Ankia Naat made use of both Pata paintings and masks.
Quick Revision Points
- Fix Sanchi Pat with tree bark, Chitra Bhagavat with Barpeta Satra and Pata with scroll painting.
- Remember the pigments: red from Hingul, black from Kola.
- Link mask making with the Samaguri Satra in Nagaon district.
- Remember the GI tag and the name of the mask artist Pradip Kumar Goswami.
- Keep the terms Mukha Shilpa, Mukha Nritya and Bhaona distinct.
- Note that both painting and mask making grew from the Sattra tradition.
How to Prepare This Topic
- Draw a table with columns for term, meaning and associated place or person.
- Write short notes on Sanchi Pat, the Chitra Bhagavat and the Samaguri Satra.
- Make a list of the natural colours and the materials they come from.
- Learn the steps of mask making and the materials used.
- Note the GI tag and the name of the famous mask artist.
- Revise manuscript painting and mask making in two separate sittings.
Common Exam Traps
- Confusing Sanchi Pat with Tulapat; one is bark, the other palm leaf.
- Mixing up Pata, the scroll painting, with the mask craft.
- Attributing the Chitra Bhagavat to the wrong Satra.
- Forgetting that the mask craft is linked to the Samaguri Satra in Nagaon district.
- Confusing Mukha Nritya with the Bhaona performance.
- Writing that artificial colours are used, when the tradition depends on natural pigments.
Frequently Asked Questions
What is Sanchi Pat and which tree bark is used to make it?
Sanchi Pat is the traditional Assamese manuscript made from tree bark. The pages are made from the bark of the Sanchi or Agar tree, and the text is written on them with ink made from lamp black and natural gum.
Which is the most famous illustrated manuscript of Assam and where is it kept?
The Chitra Bhagavat is the most famous illustrated manuscript of Assam. It is an illustrated version of the Bhagavata Purana and is preserved at the Barpeta Satra.
Which satra is famous for mask making in Assam?
The Samaguri Satra in Nagaon district is famous for mask making. It has received the GI tag for its masks and is associated with the renowned mask artist Sri Sri Pradip Kumar Goswami.
Which materials are used to make the traditional masks of Assam?
The traditional masks of Assam are made from bamboo, cane, clay, cow dung, cloth and natural colours. A bamboo and cane frame is covered with clay and cow dung paste, layered with cloth and painted with natural pigments.
What is the Mukha Nritya and where is it performed?
The Mukha Nritya is the mask dance of the Sattras, performed by dancers wearing large masks. It is presented at the Ras and Bhaona festivals and at the Samaguri Satra, where masks portray gods and demons such as Bakasura and Ravana.