[Assam] Brindabani Bastra and the sentiment of the people of Assam

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Brindabani Bastra and the sentiment of the people of
Assam<http://www.assamtimes.org/Social/1885.html>
07 August, 2008 08:44:00
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Historical records provide ample evidence of glorious textiles tradition of
Assam. At the request of the *Koch king's brother: Prince Chilarai*, Sri
Sankaradeva took up the project of tapestry weaving for which he engaged the
weavers of *Tantikuchi or Barpeta*. Eventually, the Brindabani Bastra was
lost though the last place of resort for the Bastra was the Madhupur Sattra
in Koch Behar.

The *Brindabani Bastra *a figured silks from Assam: from the 16th – 18th
century (measuring 120 cubits long and 60 cubits broad) are rare silk
textile fragments depicting scenes from the life of Lord Krishna in a
floral, naturalistic and preciously elegant style are preserved at the *Blythe
House*, part of *British Museum. *Also in other museums like *Victoria &
Albert Museum, Chepstow Museum in Wales,* *Calico Museum of Textiles in
Ahmedabad*, *Newark Museum *in* New Jersey, Virginia Museum of Fine Arts in
Richmond, Museum of Mankind in London, Philadelphia Museum of Art, Centro
Internazionale delle Arti e del Costume *in* Venice *and* AEDTA Collection
in Paris.

*[image: london2_793647067.jpg]As *Richard Blurton*, the Curator at the
British Museum explains, it was *Perceval Landon*, a British journalist and
special correspondent for *The Times *who acquired the Brindabani Bastra on
his expedition to Tibet in 1903 – 1904 in a town called *Gobshi*. And he
gave the textile to British Museum in 1905 over a hundred years.

*Rosemary Crill*, the researcher & the author of the book *Vrindavani
Vastra: Figured Silks from Assam *is a Senior Curator for the Asian
Development at the Victoria & Albert Musem. Her suggestion is that it can be
linked examples some of which emerged from Tibet to Assamese Vaishnavite
rituals. The piece which is at British Museum can not be certain that it
belongs to the period of Sankaradeva. But pieces in other places could be
about Sankardev's time.

Museum would be very dull places if they could only display works that were
made in their own countries or ethnic areas. What is most important is that
art is displayed publicly not hoarded in private collections. Galleries upon
galleries of European and American museums can be seen filled by objects
from ancient *Egypt, Greece *and *Rome.*

The colonial powers as we like to call them were the ones that preserved
these treasures. Without them most of these artefacts would have disappeared
by neglect. Many works of art have been preserved better as a result of
being carefully handled in a foreign museum: there is the theory that
the *Elgin
marbles *would not have remained in their present condition in *Athens *because
of the high air pollution levels, and similarly, many treasures would have
been lost or destroyed for ever had they not been removed by outsiders.

*Perceval Landon *must have understood the importance of Brindabani Bastra
when he found it in Gobshi and decided to bring all the way from Tibet to a
safer home like British museum.

The world does seem a smaller place nowadays and to me these treasures do
belong to the world. Cultural artefacts were local then became national and
are now global. Civilisation is not a civilisation if you do not share with
others. British Museum has done a good job of looking after them and naming
its *original.*

As coming from Assam, I can feel the sentiment of Assamese people today
being emotional and stubborn to bring back Brindabani Bastra to Assam.

[image: london3_177191039.jpg] We can not do anything to conserve what we
already have. What about the wealth of historical treasures such as
monuments and artefacts from our deep past. In the name of preservation and
conservation of the *Majuli Sattra, State Archives, State museum, District
library *to name a few are in a dilapidated condition. *Archaeological
Survey of India *has often complained that lack of adequate funds is largely
responsible for its inability to protect the country's museums and
monuments.

Assamese has a very rich literary history, is known to have written
literature starting the thirteenth century before the printing press was
brought to Assam by Europeans. The books were written painstakingly in hand
on especially prepared paper from locally available resources. Some of these
documents stored in the museum of Assam and *Gauhati University library *in
various conditions, most not so scientific. And as a result of the natural
calamities, sheer neglect and lack of knowledge, the precious hand-written
books, dating back centuries are slowly getting destroyed.

A long year of neglect have taken its toll on a number of sites of
historical importance, the ancient monuments of the state have failed to get
the recognition that they deserve.

We demolish old temples. Not to speak of other sites, cracks on the famed *Rang
Ghar* and *Kareng Ghar*, have now endangered the very existence of this
structure. The *NorthBrook* gate in *Jubilee garden, Panbazar*, in the very
heart of Guwahati is facing the burnt of neglect, and big cracks have
appeared on the pillars. I remember as a child we used to play hide and seek
inside the gate. This gate was constructed near Sukreswar ghat on the bank
of river Brahmaputra, where NorthBrook got down from the ship to visit the
city in 1874. It also welcomed *Lord Curzon during *his visit to Guwahati
from Kolkata.

Another sad example: when we demolished *our old Cotton College *administrative
building, which was built in 1901 initiated by *Sir Henry Cotton*. It is our
heritage. Isn't it?

British maintained English Heritage. They aim to make people understand and
appreciate the importance of historic site to get the care and attention it
deserves, from the first traces of civilisation to the most significant
buildings of the 20th century. They feel that it is their job at English
Heritage to make sure that the historic environment of England is properly
maintained and cared for. In *Stratford -upon-Avon, Shakespear's cottage*,
the original structure of the building still stand as it is. They renovate,
redecorate but never change the structure.

Now both India and Assam wants to claim back the *Kohinoor Diamond and
Brindabani Bastra*. Good job *Taj Mahal *was not mobile! It might have been
on the other side of *Big Ben *today? This is sentiment!

Unfortunately this is like trying to rewind history. Where would you stop?
Would every *Roman *artefact in Britain have to be sent to Italy, along with
every *Roman or Greek statue? *Would the *French* want back statues that
were cast from the *bronze of their guns*, could the *South African's *claim
back all their *diamonds and gold?* Should all *Dutch paintings *be sent
back to Holland? It just wouldn't work.

[image: london4_889294135.jpg] In Victoria & Albert Museum one can see the
famous *Tipoo's Tiger *which had been damaged in the Second World War. Also
many works of Buddhist art from Central Asia was also damaged in Berlin and
lost forever. In such a volatile world where works of art be safe?

Who were to deny that Britain is a colonial misadventure of last century?
But Britain has also brought a morale system into the society.

We are no more than the summation of our experiences. For our experiences
define our identity. In case of Brindabani Bastra, the problem is how can we
establish the original ownership? So, far nothing has come up.

But again once the State Government is not in a position to preserve and
conserve the already existing artefacts, how can we be assured safe keep of
Brindabani Bastra in Assam.

The climate of Assam is very humid. It rains torrentially during the Monsoon
season. The Brahmaputra and the many hundreds of big and small rivers and
tributaries in Assam are prone to damaging floods almost every year.
Earthquakes are fairly common as well. There are hardly any scientifically
maintained archival sites.

However a temporary measure, for the public viewing of Brindabani Bastra one
can suggest in a place like *Srimanta Sankardev Kalashetra, Guwahati*,
provided it has any scientific method to preserve. The arrangement should be
for a limited period only.

Once more Brindabani Bastra in its current location is much more safer and
available for many more people who might be interested in arts and culture

As an Assamese, I feel fortunate that I am able to view this historic piece
of textile in British Museum where every care is taken to preserve and
conserve.

*Text & Photo: Rini Kakati, London*

*http://www.assamtimes.org/Social/1885.html
*