Jal Sanji: The Holi Art of Painting on Water

The temple is dedicated to Krishna, which is lovingly called “Govardhan” in Braj, where he was born. The hill is also considered to be the natural expression of Krishna. In a small room living in the temple, Vaishnav congratulated me with Prasad before preparing to demonstrate his water-based artistry, a practice that he believed that his family was given by a divine grace. There are about four square feet measuring natural pigments in a corner of space; Experienced stencils, their edges are worn by the use of hundred years, relax in the other. Two flats of water hold aluminum vessels as to whether there is a slight light filter, their surface shines before the sacred sculptures on the wall.

Rajesh Vaishnav belongs to an artistic dynasty that leaves 19 generations behind. The art of his magnificent ancestors – Hatriram Dasji, Chaturput Dasji, Behrud Dasji, Manla Dasji, and Ratan Dasji – Fall -Pali, who made a regular pilgrimage in the temple under the patronage of the Maharajas of Mewar. Today, Rajesh and his son Ankur represent the latest link in this unwavering 500 -year series of tradition.

Vaishnav begins by making layers in water using two fundamental colors: white and black. When working, he explains environmentally friendly practices and natural materials. “In water harmony, we have traditionally used colors obtained from stones, minerals and natural powder. While we are now the source of these natural pigments from special companies, my ancestors produced them by hand,” they explain. Sopstone pointing to the pigment, he describes its white, zinc qualities.

“These elements combine to create our base layer. For dark tones, I include coal powder,” they say. As the Vaishnava adds yellow and green in its water harmony to portray trees and plants, he mentions that Radha will make these water paintings to please Krishna during their moments using flowers and colors. Sunji compositions are prepared using an array of materials – flowers, leaves, colored rocks, pebbles, paper, and powder – add layers of meaning to each visual narrative.

“This is one of the most versatile story stories, which I have come,” says Nalini Ramachandran, writer, Lor of the Land: Storytelling Tradition of India (Penguin Random House India). “It can be built on the walls and floors, and then water is also harmonious – the form of an art with two variations. One involves painting the scenes from Krishna’s life using colored powder on the surface of water, while the other is built under water – thus exposing the fine creative development of the form.”

In a chapter established in Braj, Uttar Pradesh, it is believed that Sanji’s birthplace, Ramachandran’s book Nayak, Mohini and a young boy presents crafts through a conversation between Mohini and a young boy, named Gopal, who is a member of a Sanjee artisan family. As the story comes out, Mohini tried to understand the form: “I am a little confused. Is Sunji a design using flowers and stones or is this paper given to the paper stencil?” Gopal explains: “Look, the traditional images made with flowers and stones are called Sanji. Today, a paper stencil is used to make these designs like rangoli with colored powder.

Ramachandran estimates that the presence of Sunji in Udaipur can be connected to the nearby Nathdwara temple. “Krishna is worshiped in the form of Shrinathji, which was lifted to the Govardhan hill, it is possible that the Braj Parikram is associated with the people shown in the Sanji Nathdwara built at various places along the pilgrimage route,” she says. It also attracts attention to the symbolic importance of water in water grain. “There is a story of how Radha was mesmerized by Krishna’s reflection in a water body, decorated with a floral boundary, found a picture-moving. Water Sanji is believed to have originated from a very moment,” she says. The presence of water, especially the Yamuna River, is deeply tied to the knowledge of Krishna. Water harmony can be seen as a reflection of the qualities of the deity with water peace, is running parallel to the unwavering poem, necessary to create art, with which he kept Govardhan Hill.

“In Braj, a traditional Sanji is made on the floor or in water, with flowers and colors inside a shallow basin or plate. It developed in the art of a temple around the seventeenth century. Only a few temples continue to the tradition today, where the design is prepared throughout the day, but only on the dusk, it is revealed,” Ramchendran is said.

Sunji’s appeal lies in accuracy, with which artisans cut complex stencils, together with the expertise of the painter in late, ensuring that the background remains inseparable. In the temple of Udaipur, Vaishnav attains some of the oldest paper stencils from his personal collection carefully, and suggests that crafting is a time-temperature process that sometimes takes about 15 days. His own collection contains notable old pieces like 450 year old deer (Deer), Yashoda ji, a 250 -year -old Yashoda ji (mother of Lord Krishna), a mango tree, demons sent by Bakkasura, Kansa, children Krishna, to kill the palace of the city of Udaipur, and some 100 other pieces that are about 150 years old.

Vaishnav gently holds the city’s palace stencil, which is made of handicraft paper, which is on the surface of the water. He then presses the colors on it-to create a complex design on the same way to make a rangoli. “According to Vedic traditions,” he says, “Jal Sanji has a special relationship with unmarried girls during the reverence side, when they could not participate in auspicious activities. These girls started making artistic design using various materials – flowers, dried fruits, pulses, foods, and even cow cow dung.” He explains that while ‘Sanji’ refers to painting, ‘Sanj’ means ‘Sham’. “This art is deeply associated with Sandhya Mata, Goddess,” he says. He said, “Young women make these designs praying, praying to Sandhya Devi, expecting a good husband to find. The goddess herself represents the divine woman through this artistic expression,” she says.

Within an hour, Vaishnav has laid more than 12 colors and nine stencils on the water. He is organized in his system: first, the city palace; Next, a deer, peacock, bull and cow, then a monkey, a bird climbing through the sky, and the fish bottom fish. Lord Krishna sits in the heart of Rachna. It took about 90 minutes for the entire water to complete. Once finished, the painting became sedentary on the water until the Vaishnava reached a nearby pot and shook the surface, causing it to become animated. He also reflected on the ritual of boiling water in advance, a practice that symbolizes devotional purity.

Ramachandran reflects, “The image of emerging waves when the work is completed floats the image and it probably symbolizes the flow of devotion in the hearts of the devotees of Krishna.” Both Sanjhi and Jal Sanji reminds of the cyclical nature of life, which symbolizes the philosophy of improvement. “Only when a harmonious or water harmony is erased, a new one can be made the next evening. I remember that Jal Sanja was immersed in a temple in Vrindavan every day in Yamuna after evening. I am not sure if this ritual is still on,”.

Meanwhile, Vaishnav smiles proudly because he completes his piece. He will then take through an old book written in Gujarati and Mevari which exhibits his art. It has amazing depiction of Makhan Chori, Shranath ji and Krishna Leela. After making thousands of pieces through his life, he can now execute one in just two hours. These delicate water paintings usually last up to 24 hours, although they can be preserved to 72 by covering them with glass. “About 10 hours may be required to make large pieces,” they say. “During the five-day festival in Udaipur, we create these grand pictures for all the devotees. Beyond the festival, we have received prestigious invitations including the G20 summit-the biggest achievement yet,” he says.

Perhaps devotional art is now ready to go into the secular field as well.

VD Gait is an independent journalist.