To freeze or not to freeze?
NANDINI NAIR
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Opposing views towards conservation can be found in two splendid havelis in Nawalgarh, Rajasthan.
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PHOTO: GOPAL SUNGER
The Morarka Haveli in Nawalgarh, Rajasthan.
Should history be preserved or should it be continued? This debate finds form in the havelis of Nawalgarh. Situated 250 kms from Delhi in Rajasthan, these havelis are often described as large "open-air art galleries". The cityscape is dotted with them; some are guarded secrets to be chanced on. Others stand on alleyways like loud announcements.
The two main attractions are the Morarka Haveli Museum and the Dr. Ramnath A. Podar Haveli Museum. The Shekhwati Rural Festival initiated by the Morarka foundation has helped bring attention to these havelis.Built in 1900, the Morarka Haveli is characterised by its frescoes of religious, mythological and secular themes. Its touted uniqueness is a fresco of Jesus Christ. Located on the underside of an awning, it can be easily missed. But exists, maybe, as a personal victory of an adventurous painter. Dr. Hot Chand, Director (Conservation), passionately explains that the art of frescoes originally passed from the Italians down to the Mughals.
Paint and plaster
The frescoes in the Shekhawati region followed the buon fresco method first used in the Basilica of St. Francis in Assisi (early 13th Century). Here the design was painted while the plaster was still wet. This required great coordination between the painter and mason. It is probably for this reason that the artists of these havelis, the Chejaras, are often understood to be masons.
The Morarka haveli is special, as the frescoes have remained frozen.
As Dr. Hot Chand explains, "We just add the missing letter, we don't write the word." The Italian method tratteggio is used to fill in faded spaces. In this method, colour is applied through light brushstrokes or through pinpoint dots, which cannot be discerned from afar.
Podar Haveli.
The restoration work here is largely limited to cleaning. Using an ionic detergent, the dust and dirt are frothed out, ensuring that the colours don't bleed.
While the Morarka haveli follows in the footprint of the original, the Poddar haveli seems to dance in those footsteps.
The Podar haveli has incorporated a different philosophy toward restoration. The haveli is striking for its profusion of paintings and freshness of colour.
Bhairulal Swarnakar, a painter by profession, has chosen to adapt the traditions. Hailing from Bhilwada he has been working here for the last 10 years. Swarnakar has maintained and carried forward the artwork of the haveli, which was built in 1902 by Dr. Ramnath A. Podar. He has painted frescoes in the blank spaces in the 52-room haveli. While using the original natural colours he has adapted the traditional with the contemporary.
In one panel, Krishna and Radha swap roles by appropriating each other's dress. In another panel women figures fill into the shape of an elephant.
Swarnakar enthusiastically displays his colours. Felicitated by presidents and awarded by states, he is now carrying on the tradition of the frescoes.
Today, essentially, the lack of demand has killed the old profession of the Chejaras. At least in Podar haveli, the tradition is persisting with respect to the past.
But an equally valid counterpoint Chand expresses is, "Conservation is good intervention, whereas restoration is bad intervention." New artists, he believes, should be present in new galleries.
But at least these two havelis are being attended to. At the same time there are other havelis asking not to be forgotten.
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