Tag: paintings

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Surprise in Amarnath Mughal Painting

When the Mughals arrived in Kashmir in 16th century, in their early writings we see them looking at it as a mythical land where the locals tell of many miraculous tales surrounding various sites riddled all across the valley as manifestations of God’s existence. They tell of miraculous springs whose waters appear, disappear, boil at will, they tell of caves with no end, they tell of mountain passes that bow to command of holy men, streams that were commanded into existence by saints and they talk about ice pole in a cave based on movement of moon. Kashmir was the land of “Hairat”/surprise.

Abu’l Fazl (1551–1602) in Akbar’s time writes in his Ain-e-Akbari about Amarnath:

Between Great Tibet and the above-mentioned parganah [Dachchhinparah,the territory along the right bank of the Liddar river] is a cave in which is an image in ice called Amar Nat. It is considered a shrine of great sanctity. When the new moon rises from her throne of rays, a bubble as it were of ice is formed in the cave which daily increases little by little for fifteen days till it is somewhat higher than two yards, of the measure of the yard determined by His Majesty [about 4.8 feet]; with the waning moon, the image likewise begins to decrease, till no trace of it remains when the moon disappears. They believe it to be the image of Mahadeva and regard it as a means (through supplication) of the fulment of their desires. Near the cave is a rill called Amraoti, the clay of which is extremely white. They account it auspicious and smear themselves with it. The snows of this mountainous tract nowhere melt, and from the extreme cold, the straitness of the defiles and the rough inequalities of the road, they are surmounted with great toil.

(Ain-i-Akbari of Abul Fazl Vol . II , p . 360)

In a Mughal painting [with Aga Khan Museum, tagged MUGHAL MEN ADMIRING THE MIRACULOUS ICE LINGAM AT AMARNATH”] from around 1600 (or later) painted in Agra we see a visual depiction of Abul Fazl’s text.

While we can see the expression of surprise on the faces on men, oddly, here the moon is replaced by sun. In the note to the painting at Aga Khan museum it is assumed the sun is meant to alude the summers when the pilgrimage to shrine begins (in fact it starts in the rainy season at end of summer). I believe the sun in this painting (and the absence of cave) is an attempt by the unknown painter to provide a “rational” explanation for the phenomena. In that sense, the painting essentially has the same function as the footnote to Amarnath section in English translation by Jarrett of Fazl’s work. There the modern reader is told in note that the ice lingam – “The ice bubble was doubtless a stalacite”. [The translator was making a guess. We now know that it is infact a stalagmite, as it grows from floor and not the roof.] Just like the english translator had the need to explain the miracle, perhaps the Mughal painter too was reading the text and trying to explain how the ice bubble could decrease in size. His explanation: the sun was melting the ice while the people just looked at miracle with awe and surprise.

Surprise and its relation with Amarnath can be seen in another painting centuries apart drawn in Kashmiri school of painting. By this time Hairat – Surpise, had come part of local lore of Herath as Shivratri (when infact Herath the festival is Hararatri)

Devotees in the Amarnath cave temple
Jammu, Pahari, mid 19th century
Collection: National Museum, New Delhi

Came across this painting at a miniature art exhibition in Jammu in 2011.
There is a lot going on this painting: Gossains(?) drinking water (amrit) dripping from the ceiling of the cave; women devotees, one of them even carrying a child in her arms. On closer look one can see a Dejhoor dangling from this woman’s ear, a good indication that the lady depicted here is a Kashmiri Pandit woman in Pheran. And then outside all this delirious scene, one can see the Muslim Shepherds, one of them looking amused, and one of them looking outside the frame.

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“A Muslim Pilgrim Learns a Lesson in Piety from a Brahman”, Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi 1597–98. Here, a Muslim pilgrim to Mecca meets a Brahman who travels to a Hindu temple by inching his way in a series of prostrations. Impressed by this religious zeal, the Muslim removes his own shoes and continues on his way barefoot. [metmuseum]

An early exploration on theme of meeting of two different forms of “faithfuls” in Akbar era painting. The Hindu way was still strange, but it was being understood and even adopted in part. A Sufi with a dog. A brahmin on way to Somnath [which had already been destroyed and rebult, destroyed again and rebuilt again by 13th century in which lived Khusrau]. By painter Basawan. The story of Brahmin pilgrim also occurs in an early version of Laila Majnu.

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Kashmiri Pandits in Miniature Paintings

Kashmiri Pandit. 18th century. SPS Museum, Srinagar.
Kashmiri Pandit. 18th century. SPS Museum, Srinagar.
Kashmiri Pandit Couple. 19th century. Mead Art Museum, Massachusetts. via: twitter @Yael_Rice
“a Grunthee or Sikh who reads the Grunth & a Kashmiri Pandit”, watercolours on watermarked paper, circa 1850.Via twitter: ਸ੍ਰੀਖੜਗਕੇਤੁ (@Kharagket)
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Five Yogis, Shankaracharya, Mughal Painting, 17th Century

One of the earliest instance of western art mixing up with Kashmir.

“Plate 231/ Harvard 1983. 620 recto Hindu Holy Men Artist: attributed to Govardhan Mughal school Circa 1630-1635 24,1 x 15,2 cm Watercolour on paper Private Collection, Courtesy of the Harvard University Art Museums. Govardhan’s miniature brings to life five Hindu holy men meditating beneath a neem tree near an early Kashmiri temple close to Srinagar, seen in the background. Each portrait represents a stage of life. In the foreground, a languid youth with a golden sea of curls reclines opposite the figure, a middle-aged sanyasi whose other-worldly gaze, self-grown shawl of long hair, and claw-like fingernails attest to his shedding of almost every mundane activity. To his left, sits an older devotee, whose expressive, disciplined face implies both intellectual power and spiritual grace. At the left of the miniature, momentarily distracted from his elevated state, a dark-bearded figure with a mala (rosary) and a turban wound from his own hair, looks out beyond the frame. Behind 124 the others reclines a holy man whose tense expression hints of troubled dreams. In the foreground, a fire smoulders, producing both warmth and the ashes worn instead of clothing by these aspiring saints. Nudes are rare in Mughal art, and most of those known to us depict holy men. Although the pose of the naked chela (apprentice) here was inspired by an engraving of Saint Chrysostom, interpreted as an Odalisque by the German printmaker Barthold Beham (1502-1540), Govardhan not only changed her sex but trimmed several years from her age. So convincing is the young sadhu that Govardhan’s adjustments to the western prototype must have been studied from life. Inasmuch as Prince Dārā Shikoh was so concerned with the varieties of religious personality, it is likely that this remarkable picture, one of Mughal art’s most serious investigations of the human spirits, was commissioned by him. Literature: we are grateful to Gauvin Bailey for discovering Barthold Beham’s prototype, for which see: Bartsch 1978, vol. XV [8], No. 43.”

~ Indian Paintings in the St. Petersburg Muraqqa by Stewart Cary Welch, 1996

The hill and temple depicted is probably Shankaracharya of Srinagar, the iconic symbol from the city. Although Welch identifies the tree as Neem, however, Neem is not that common in Kashmir and certainly not a common motif for art around Kashmir. It is possible the tree depicted is Brimji (celtis australis/Nettle Tree). Brimji is a common tree near holy sites of Kashmiri Pandits, this shade providing tree is considered holy by Kashmiris.

Asoka and Shankaracharya hill by Abanindranath Tagore, 20th century

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Govardhan was the son of Bhavani Das, a minor painter in the Mughal imperial atelier. Govardhan began his career during the reign of Akbar. Govardhan was a Khanazad (born in family), house born slaves, trained since birth for service to royal family.

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The Penance of Saint John Chrysostom by Barthel Beham, (1502–1540) was a German engraver, miniaturist and painter.

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On Khanazad


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An Evening with Triloke Kaul


The post from 2012 about evolution of modern painting in Kashmir:

 In 1947, just when geographic borders of Kashmir were getting re-defined, a bunch of artists started on a journey that was to alter the borders of Indian art. Six young artists founded the Progressive Artists Group in Bombay. These were FN Souza, SH Raza, KH Ara, MF Husain, SK Bakre and HA Gade. Around same time three men in Kashmir were also going Progressive mentored by the artists from Bombay group. These were S.N. Butt, Triloke Kaul and P.N. Kachru. When SH Raza reached out to these artists in Kashmir in August 1948, the result was formation of ‘Progressive Artists Association’ in Srinagar in October. It’s first exhibition was held in May 1949 and by October that year the exhibition traveled out to Delhi. The two progressive groups continued to inspire each other for many years to come. Raza famously went on to explore the Tantric symbolism in his paintings inspired by Kashmir. In 1950s, Raza went on to mentor one of the best known progressive artists from Kashmir, G.R. Santosh who too worked on Tantric symbolism. 

[can see the work of Bombay group here]

The post from 2011, giving the work of Kashmir Artist group from late 1940s:

VILLAGE SCENE by Trilok Kaul, 1948

Earlier this year I got married. I married someone related to Triloke Kaul. Kashmiri marriage formalities require that the new couple eat-out with relatives of each other. A meeting with Triloke Kaul is what I looked most forward to. I wanted the complete story of the art movement in Kashmir.
And I had something special for him: images from March 1955 issue of Marg: A Magazine of the Arts (Heritage of Kashmir Special Issue) edited by Mulk Raj Anand. The issue carried some of his early works along with that of his colleagues.

In his room the TV was on Tetris mode. I think he plays. He doesn’t follow news much. Classical India Music plays, he records it and neatly arranges them by the Ragas.

We talked about the magazine, turns out he helped Mulk Raj Anand edit the particular issue, he even ghost wrote the introduction to the issue He identified the sketches done by him in the issue…most of the sketches of Kashmiri ornaments.

In the magazine, he saw one of his early work: Ajanta. It was done during his Baroda days. He doesn’t have it with him. I have promised to send a scan to him. He also asked for a work of S.N. Butt.

And about that iconic self-portrait. I was happy to see that he had a sense of humor. He indulged me when I suggested that he offer me a pose with the cigarette. He even suggested the proper angle. He told me that back in 1950s when that portrait was exhibited in Jehangir Art Gallery, a photographer did capture him against the painting holding onto a cigarette between the lips.

No, he doesn’t have most of his old work with him. In 1990, he lost most of his early work to conflict when he was forced to shift to Jammu like other Kashmiri Pandits.

Left: the deity from his ancestral village talked art. 

He talked art and history. How he mentored Santosh and how young Raza greatly influenced all of them. The names of the Kashmiri artists of earlier generation and the politics of the later years.

Here’s the audio of the conversation (primarily in Kashmiri):

History of Progressive Art in Kashmir with Triloke Kaul

video link
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Breaking down Stones and Paintings

In Hindu lunacy circles, Kaaba is a Shiv temple. In some of the “proofs” is given the above image. it is a page from Bazil’s ‘Hamla-i haydari’. We see the idols of Kaaba getting destroyed by Ali. The place looks like a Hindu temple.

In the real story of the image, lies a certain beauty of how arts and cultures works.



‘Hamla-i haydari’ (Wars of Hyder) was written by Mirza Muhammad Rafi’ Bazil (d. 1712), in around 1654 AD. Bazil’s father came from Mashhad in Iran during the time of Shah Jahan. Bazil was a poet and sometimes governor of Gwalior and Bareilly for Aurangzeb. He wrote around 40000 verses detailing the war exploits of Islam and Ali (later expanding till the time of first four Khalifas) based on Shia tradition. He died before finishing the work and as the work became very popular, it was subsequently completed by some other poets. It came to be known as Bazil’s ‘Hamla-i Haydari’. At least 7 editions of the work were published.

The above page comes from a manuscript claimed to have originated in Kashmir in around 1808. [Given by BnF Department of Manuscripts ]

And that explains the Hindu touch to the painting. The hands that painted it had painted in a local template. 
The 360 idols of Kaaba get placed inside the colonnades as is meant in a Kashmiri temple.
 

The Gandhara inspired colonnade at Buniyar temple in Kashmir in which traditionally idols of various deities were kept

The idols get painted like the way Hindu gods were painted by Kashmiri artists even uptill 20th century.

‘The Goddess and Shiva receive homage’,
in Chandhigarh Museum and believed to be from around 1900 A.D.
Hand drawn diety on a horoscope
Painted by a Pandit family guru
gifted to a client on the occasion of Gour’trie
20th century.

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Splendor of Ancient Kashmir in Alchi


In 9th century, Buddhism was in decline in trans-himalayan region due to persecution from Bon Tibetan rulers like Langdarma of Guge (A.D. 836 to 842). The faith was in decline until King Yeshe-Ö (A.D. 947-1024) came to the throne of the kingdom that consisted of the present Indian territories of Ladakh, Spiti and Kinnaur, and Guge and Purang in western Tibet.

To revive the faith, Yeshe-Ö sent 21 young men to viharas of Kashmir and other parts of India where Buddhism was still flourishing. They were to study and translate the texts of Mahayana Buddhism and bring them to west Tibet. Of these 21 men, only two survived the journey and returned home. One of them was Rinchen Zangpo who in 10th century is credited to have built over 100 monasteries all over Himalayan region from Ladakh to Sikkim. Of these building few survive, the best and the most famous remains Alchi about 10,500 feet above sea level in Ladakh, by the side of Indus.


At the entrance of Alchi a contemporary painting representing Lochen Rinchen Zangpo (958–1055) . He is said to have founded the Alchi monastery by planting a pipal tree here. Lochen means ‘the great translator’. 
Rinchen Zangpo was a student of Buddhist Bengali master named Atiśa (Born 980, Bikrampur, Bengal, Pala Empire (now in Bangladesh)). Zangpo is said to have spent quite sometime studying in Kashmir. His biography mentions that for building Alchi and other monasteries, Zangpo brought 32 artists from Kashmir. Thus, laying foundation for one of the oldest and the most unique monasteries of Ladakh. It is here, you can see scenes from ancient Kashmir – 900 year old glimpses left by those Kashmiri hands. Kalhana was to offer us such glimpses only some time later in 12th century. The best place to visualize his Rajatarangini is at Alchi rendered in a style mixing Indian, Kashmiri, Tibetan and central Asian artistic traditions.

Bodhisattva Avalokiteśvara in Sumtseg temple

The Kashmiri painters at Alchi have drawn these scenes around bodhisattva Avalokiteśvara in Sumtseg temple of Alchi. Avalokiteśvara, ‘the lord who looks down’, the buddha of compassion, is said to live on mythical mountain Potalaka which modern scholars say is in fact Pothigai hills of Western Ghats (Tamil Nadu/Kerala).

Site map of Alchi Chhoskhor
The monastery was abandoned in 16th century for some unknown reasons
It is now run by Likir Monastery, currently headed by the Dalai Lama’s younger brother, Tenzin Choegyal.

Although Ladakhi tradition places the monastery in 10th century and to Zangpo, inscriptions at the temple ascribe the monastery to a Tibetan noble called Kal-dan Shes-rab later in the 11th century. The various temples here are now dated to be between early 12th and early 13th centuries. A period of great religious and political upheaval for the entire region with the coming of Ghaznavid Attacks on the sub-continent, but miraculously, owning to its geographic location, left this place untouched.

Sumtseg/Sumtsek temple
made in stone and mud brick supported by wooden beams


Alchi temples are also the oldest surviving big wooden structures done by Kashmiris. 
Maiteya Buddha

Akshobhya Buddha

Bodhisattva

The upper floors are off limits for tourists

the caretaker monk
If you are a woman, there is a chance he will grab your hand and try to explain away the place.

Inside the temple:
Pattern drawn on the beams is now believed by scholars to have patterned on the design of Kashmiri textile, 
making it the only surviving sample of Kashmiri cloth design of medieval times. 
West niche of Sumtsek temple
Bodhisattva Avalokiteśvara
the most interesting part of Alchi complex
Avalokiteśvara’s painted clay dhoti

Scholars like British anthropologist David Snellgrove and German art historian Roger Goepper have suggested that the scenes depict ancient pilgrimage sites of Kashmir or famous sites of Kashmir known to the artists (depicts 13 places in all and a place). It is a map of Kashmir.

A Shiv Temple
And
the Riders

The figures in the painting look too Kashmiri, with typical nose, beards and half-closed eyes. But the over-all feel seems a bit Islamic.

Not just Trans-Himalayan and Indian subcontinent, 10th, 11th and 12 century Kashmir was also going through some major changes.

The Hindu Shahi Kings in Kabul were going to rise and then fall under Ghaznavid blade. Kashmir of Lalitaditya Muktapid ( 724- 761 A. D.) when Hinduism and Buddhism flourished together in Kashmir was past but its legacy in form of architecture was still alive (One of the oldest Kashmir text from the era, ‘Nilamata Purana’, mentions Buddha was one of the lords worthy of worship).

Queen Didda (979-1005 AD), grand-daughter of Bhimadeva, Shahi ruler of Kabul, arrived to rule Kashmir. Shivaie Abhinavgupta wrote the great work of Kashmir Shaivism, Tantrāloka. Mahmud Gaznavi couldn’t get Kashmir due to its remoteness. For the moment valley was safe from outsiders. But, wasn’t safe from insiders.

Kashmir was to see the reign of Harsha (ruled 1089-1111 AD),  a destroyer of Hindu and Buddhist temples. He had many ancient temples destroyed, had their golden statues melted for financial reasons. In fact, for his temple destroying ways, Kalhana calls Harsha a ‘Turushkas’. Apart his temple destroying ways, Kalhana (whose father was a minister for Harsha) in his Rajatarangini also remembers the King as a patron of arts and music. It is mentioned that under his rule new fashions of dress and ornaments from foreign were introduced. His ministers were always luxuriously dressed. In his army were employed Turk soldiers (foreign Muslims, in Rajatarangini any Muslim from Central Asia was a ‘Turk’). Can these be the riders seen in the paintings at Sumtsek?

Rajatarangini, mentions that the scale of Harsha’s temple destruction was immense, but some temples did survive. Among those saved was one at Parihaspora, left untouched as a favor to a singer named Kanaka. The year was 1097.

Parihaspora was the capital of Lalitaditya. Here he had built five large buildings viz.,(1) the temple of Mukta-keshva with a golden image of Vishnu, (2) the temple of Parihasa-keshava with a silver image of Vishnu.(3) the temple of Mahavaraha with its image of Vishnu clad in golden armour, (4) the temple of Govardhanadhara with a silver image and (5) Rajavihara with a large quadrangle having a large copper Buddha. At the site, was also a stupa built by Chankuna, Tokharian minister of Lalitaditya.

The site has earlier been plundered by S’amkaravarman (A.D. 883-902), son of Avantivarman. But, obviously some of it must have survived. The silver image of Vishnu Parihasa-keshava was carried away and broken up by King Harsha. Rajavihara was not touched. The site was finally destroyed by Sikandar But-Shikan (A.D. 1394-1416). However, even up to the year 1727 A.D. the Paraspur plateau showed architectural fragments of great size, which were carried away as building materials.

Caitya of Cankuna which housed Brhad Buddha
1915, Parihaspora

The scholars now suggest that these Buddhist sites of Parihaspora can be seen depicted in the paintings on the west niche of Sumtsek temple.

west niche of Sumtsek temple.

representation of Lalitaditya chaitya at Parihaspora
Stupa built by Cankuna at Parihaspora
In the center
Green Tara in varada mudra
Born of Avalokiteśvara’s tear
protects from ‘unfortunate circumstances’
Style in which her eyes are drawn can be seen in Ellora murals (8th Century), Aurangabad, Maharastra
Manjushri
Right wall
Dhoti depicting scenes from life of Shakyamuni
Mahakala
Lotsa Temple 
Mahakaal Inside
Gate of Manjushri temple

Red Manjushri Inside
Bodhisattva of wisdom
Saraswati of Hindus,
the goddess of Kashmir

Outside the temple, there are some monk cells meant for meditation.
The inside of the monk cells tell another interesting tale.

the designs and paintings
inside the monk cell

Notice the flying apsara…now see this:

Photograph of the Meruvardhanaswami temple at Pandrethan near Srinagar, taken in 1868 by John Burke. Pandrethan, now mostly in ruins, is one of Kashmir’s historic capitals, said by Kalhana in his poetical account of Kashmiri history called Rajatarangini to have been founded by king Pravarsena in the 6th century AD.

The ceiling of the temple:

Copy of Pandrethan ceiling prepared by one R.T. Burney was presented by W.G. Cowie in his 1865 paper ‘Notes on some of the Temples of Kashmir, especially those not described by General A. Cunninghan’ (Journal of The Asiatiic Society of Bengal Volume 35, Part 1. 1866)

The design on the ceiling was first copied by Alexander Cunningham in around 1848 after a tip-off by Lord John Elphinstone. When Cunningham visited the temple, there was evidence that one time the ornamentation, the designs and the figures of the temple must have been profusely plastered over to cover its naked idol beauty. [for details read: Ceiling of Pandrethan]

By 13th century, the Buddhist Kashmiri Pandits in Ilkhanate court where heading back to Kashmir as Iran became Islamic. But, by the end of 14th century, Kashmir also became Islamic. The famous Bodh vihara of Nalanda in Bihar was destroyed by Muhammad Khilji. It’s last head a Kashmiri named Shakyashri Bhadra (1127­-1225) headed for Tibet and then retired to Kashmir.

Later Rajataranginis tell us that temples with beautifully painted walls were found in Kashmir till Akbar arrived in 16th century. The area around Hari Parbat in Srinagar was full of such temples. But, these got lost or destroyed and none remain. Around 16th century Alchi monastery was abandoned for unknown reasons. The stories on its walls remained etched and untouched for centuries. A little time capsule, storing the glory of ancient Kashmir and its artists.
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References and further reads:
Mural paintings of Alchi by Dr. Monisha Ahmed

Glimpses of the Lost World of Alchi By Jeremy Kahn

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Lake by G. Strahan, 1894



Shared by Beth Watson via email. She writes, “A painting by G. Strahan. It was given to my Great Grandfather Rev.William Morrison in 1898. The painting is of Sonear Nag Lake- Kashmir.”

Colonel Geoffrey Strahan (1839-1916 was Deputy Surveyor General, Trigonometrical Branch. Although there is a spring named Sonar Nag in Kashmir (Shall Mohallah at Waripora, Pehlipora, Shopian), this looks like famous Sheshnag Lake.

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Paintings of Kashmiri Water Deities and Origins, 1882


Two rare Kashmiri painting collected by David J. F. Newall in 1850s and presented in his book ‘The Highlands of India’ (1882) and Preliminary Sketches in Cashmere; Or, Scenes in “Cuckoo-cloudland.” By (D.J.F. Newall.) [With Illustrations.] (1882).

“Hindoo Picture Emblematic of the Draining of the Cashmere Valley
The Water Demon Juldeva overwhelmed by Suttee (or Siva) below the hill of Harrie Parvat”
The only depiction of the deity that I have seen in which the bird is part of the scene

In the story, the goddess Sharika [Tripursundari] kill the demon Jalodbhava by taking the form of a Myna (Haer in Kashmir, hence the name of the hill. Identifiable in the painting) and dropping a pebble on the head of the demon (hence setting the precedent for stone throwing in Kashmir).

The stone depicting the goddess on Hari Parbat. 2008.

“Hindoo Picture emblematic of the creation of the river Jhelum or Vetasta.”
The only depiction of the river deity that I have seen

The story as collected by Newall and presented in ‘Notes on Pilgrimages in the Country of Cashmere’, Journal of the Asiatic Society of Bengal, Volume XXXV, Issue IV, 1867

I now come to the last pilgrimage of which I Have noted the details, and which may perhaps be almost more properly called a fabulous account of the river Vetusta, as I am not aware that it is at any time undertaken by the Hindus of Cashmere, and as I rather think that some of the places named are under waters of that river. I extract exactly as I find it in my notes.
“Fabulous account of the origin of the river Jhelum or Vetusta.”
“Mahadeo being here engaged in self-contemplation, Raja Bhagerut arrived, and prayed for a Nag or spring in which to bathe and be cleansed from his sins. A stream then issued from the head of the destroyed which, on arriving at Wamoo, was swallowed by a certain demon, rejoicing in the name of Kalneemie Assur. A second spring was in like hammer swallowed by the thirsty demon. Whereupon Raja Bhagerut descended from his place of prayer at Vetusta Khoond, and engaged the demon, whom, after a brisk encounter (described in the graphic language of the Sanskrit ring (sic in MS.) he is stated to have injured, but was unable to destroy or drive away. (Kalneemie Assur probably graduated in the Vedic art of self-defence!) In fact it seems a polite way of stating that the Raja got the worst of it, as the demon is stated to have given chase, and to have come as far as Hurnag (Virnag) in pursuit. At this however, the wrath of the destroyer was aroused. He encountered the demon, and slew him, got his head in chancery and finally grassed him. I have in my possession a picture of this event where Mahadeo is represented as literally sitting on his face! Lion (or Mahdeo) then commanded the spring to follow Bhagirat Raja, who, descending the valley, passed successively.
1. Kanibul
2. Sumbooderi Tirat
3. Deokieyar
4. Bejbeharie
5.Sungum
6. Shriya
7. Mullyar
8. Gunputyar
9. Soomyar
10. Baramoola, the residence of Raja Bhagerur, where the pilgrimage terminates.”

Newall had no knowledge of Sanskrit, in fact the story was narrated to him by his source in Persian reading from a Sanskrit Manuscript.

Kalanemi, a very popular demon from Vaishnav stories, a perennial enemy of Vishnu, even Kansa is said to be a incarnation of Kalanemi. The story of birth of Vitasta seems to draw upon the stories of birth of Ganga (the reference to Raja Bhaghirath) and slaying of Kalanemi by Vishnu/Shiva in multiple puranas.

The imagery of the demon was uniform in Kashmiri style irrespective of story from which culture was being drawn.

An illustration to the Shahnama (“Book of Kings”): Rustam and the White Div,
Kashmir, circa 1800 
Verinag.
Feb, 2014

From Newall’s writings it is clear that he had collected a lot more of such paintings but sadly only these two seem to have been published.

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The painters
‘Group of Hindu artist’ from ‘Afoot Through the Kashmir Valleys’ (1901) by Marion Doughty.

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Bala’yan Cha heng aasaan

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Ganesha Iconography and Mubarak Mandi Gate

Frontispiece of the book ‘L’art des cuivres anciens au Cachemire & au Petit-Thibet (1883)’
[Art of Antique Brass of Kashmir & The Little Tibet by Ch. E. Ujfalvy,  drawings  by B. Schmidt]
Captioned as: ‘The god Ganesha served by two young girls’ [available here at archive.org]
(These early European collectors obviously had no idea what they were hoarding, proper studies started only much later)
In the above image, the deity sits like an emperor 
Mubarak Mandi Gate (Darshani Deodi), Old Jammu

Painting on top of the gate
Ganesha with wives Riddhi and Siddhi

On top of another gate to a building complex in Mubarak Mandi

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