Mohrakashi of Bhai Gian Singh Naqqash and his Legacy
00:23:38

Mohrakashi of Bhai Gian Singh Naqqash and his Legacy

Visual and Material Arts
in Video
Published on: 28 November 2018

Dr. Maneet Kaur

Dr. Maneet Kaur is a Researcher, Academician,Textile Artist and Designer. Under non-net fellowship, she completed her Ph.D. on Evolution of Motif and Colour of Ikat in Gujarat, Orissa and Andhra Pradesh from Design Department, Kala Bhavan,Visva-Bharati,Santiniketan. Prior to that she received fellowship on Small-study research grant on 'Bondo textiles' and 'Natural dyeing in Ikat Textiles from Lac and Jackfruit' from the Nehru Trust for the Indian Collection at Victoria and Albert Museum. Further she has submitted a documentary film on 'Bondo textiles of Orissa' to the handlloom office under Ministry of Textiles, Bhuwaneshwar, Orissa. She has attended a month long workshop on Chumar-Chitram (kerala mural art) under K.U.Krishna Kumar, Principal Guruvayur,Trishur and assisted kerala mural artist Anoop Gopi for his project of painting interior wall in Chumar-Chitram on theme 'Brikha-ropan' in the adminstrative office, Central building, Santiniketan. She has taught as a Lecturer for an year in the Architecture and Interior School, LPU, Phagwara and as an Assistant Professor for two years in Design Department ApeeJay College of Fine Arts, Jalandhar. Apart from teaching she was actively conducting workshops on natural dyes on Jute, Cotton, Silk using direct and resist method dyeing techniques like Batik. She has presented papers on 'Batik of Santiketan', 'Kodpad weavers','Telia rumal of Pochampalli by Chiruveru Ramalingum', 'Crochet for wearables', 'Punja Dhurries in Punjab' and 'Florals of Darbar Sahib' in seminars and conferences respectively. She has also been engaged in designing organic jewellery, souvenirs with the folk artists and aboriginals craft persons of Santiniketan; Dhurries in natural dyeing with Nakodar weavers and introducing new motifs in Phulkari of Patiala. On account of Gurupurabs of Bandhi Chor Diwas (at Gurudwara Sri Gurugranth Sahib Vidhya Kendraand) and Guru Nanak Jyanti (Gurudwara Sri Gurudev Nanak Dev Darbar,Greater Noida)she has exhibited her paintings with water colour on paper, influenced from the motifs of Mohrakashi at Darbar Sahib, Sri Harimandir Sahib . She is currently engaged in interpreting nature's culture in visual art through textile medium with three surface designing traditional technique of India i.e.Crochet, Phulkari and applique from 'katran',(using zero waste textile materials) for exhibitions.

This video is on Bhai Gian Singh Naqqash's mohrakashi at Sachkhand, Sri Harmandir Sahib and his artistic legacy bequeathed to his family.
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<p>In the legacy of the <em>Ustad-shagird</em> parampara Bhai Gian Singh Naqqash was the last Mohrakashi Artist, who worked as an Official Naqqash for 32 years till 1931 in Sachkhand Darbar Sahib, Amritsar. He was the son of Sardar Taba Singh (Comb Maker), studied till 5<sup>th</sup> standard and joined Ustad Bhai Nihal Singh ji for training in drawing and painting. He also kept himself involved In the field of documenting Heritage Art and Local Craft, by writing<strong> </strong>Books in Urdu, Punjabi and Hindi duly published at Amritsar by Bhai Buta Singh Pratap Singh Pustaka waley. In 1920 <em>Taj-e-Zargari</em> (Vol-I) was authored by him which contain&nbsp;Designs of Indian Ornaments and Jewelry. In the name of god in 1924&nbsp;<em>Nikashi Darpan</em>, was published which is a book containing&nbsp;line drawings of stylized flowers, birds, animals, different limbs and organs of the human body, border designs, vase stands, calligraphy of Punjabi alphabets with Urdu, Punjabi and English vernacular names. Further with the support of well-wishers in 1926 <em>Vishvakarma Darpan was published</em>&nbsp;in Urdu, Punjabi containing writing and illustration of Decorative, Architectural and Furniture Designs and became a part of renowned book stores. Due to much admiration of his illustrations and details in 1930; <em>Taj-e-Zargari</em> (Vol-II) Design of Indian Ornaments was published. The last book that he authored was in 1942 by the name of <em>Nikashi Art </em><em>Shiksha</em>&nbsp;about drawing that gives proportion and scale of ornamental forms. Besides this, he practiced as a framer of pictures, photography. After retirement from Sri Harimandir Sahib, Amritsar, In the last phase of his life, he colored Wooden Toys and sold these to earn his livelihood.</p>

<p>Bhai Gian Singh Naqqash’s two sons stuck it out during the thin and thick stage of his life at Amritsar. He lost his elder son S. Sundar Singh during Jallianwala Bagh firing on 13<sup>th</sup> April, 1919; his youngest son, G. S. Sohan Singh, in August 1914 joined his father’s legacy but his brushes and medium was more suited to the realistic works of oil on canvas. Gian Singh Sohan Singh (prefix father), son of Bhai Gian Singh Naqqash did learn the Sikh School Style of Painting from his father Bhai Gian Singh Naqqash. Now the family is in its second generation, the grandsons Surinder Singh, and<strong>&nbsp;</strong>Satpal Danish have an avid interest in art. The video documents insights into the art legacy of Bhai Gian Singh Naqqash his grandsons, further on great grandsons Surinder Singh and Satpal Danish &amp; calligraphy artist Hardeep Singh’s present practices.</p>

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