The Bundeli paintings are marked by their exuberance, verve and dynamism-attributes which reach us through a myriad of red, ochre, blue, green, yellow and grey colours and offer a fascinating glimpse of the multifaceted world of thoughts and beliefs that went on to define the various aspects of Bundeli culture - its ways of life as well as sometimes, what some social anthropologists would call, its 'ways of conflict'. Overdominantly religious in nature(though secular paintings are also present), the themes include the life stories of Rama and Krishna as well as Puranic tales and imageries. What is remarkable is that religion is exhibited in these paintings not in a narrow sense of the term, but encompasses a set of ethical and normative values and extols the triumph of good over evil- all of which are portrayed through a simple but impressive series of allegorical depictions.

The 'Bundeli Kalam', as the Bundeli School of paintings is commonly known as, impresses everyone through its artistic beauty which is maintained in almost all the subjects under view - be it the well proportioned image of gods, goddesses and sages welcoming the birth of Lord Rama in an atmosphere of musical festivities; the realistic depiction of the 'Sita Swayamvara'; the fierce coloured example of 'Taraka Vadha'; the finely lined juxtaposition of images in Rama's coronation; the fascinating portrayals of the challenge of Parashurama, Rama's journey to the forest and the stories of Sita Harana, Shurpanakha, Maricha, Jatayu, Sugreev and Bali; the ochre and greyish imagery of Rama and Laxman killing the demon; the dark and grim manifestation of the battle with Ravana; the beautiful contrasting colours in the 'Incarnations of Vishnu'; the mesmerizing depiction of the Chungul bird; the various facets in the life of Lord Krishna from his birth, childhood pranks like Makhanchor, his triumph over Putana, Shakatasura, Bakasura and Aghasura, redemption of the Yamuna from Kalia to the intermingling of the divine and the folk in Raslila paintings; the paintings of Vishnu on Sheshnag or the depictions of Ganesha, Bhima, Lord Brahma, Goddess Laxmi and so on.

What is interesting is that in Orchha, lord Rama is treated more like a King than simply a divine entity, true to the fact of his being housed in a palace ( Ram Raja Mahal), where till date worshippers are given 'paan' and 'itra' as 'prasad' in the typical courtly tradition. The feudal ethos of the Bundela regime permeates through many of the paintings of Orchha and Datia. Paintings of the ruler reclining under a canopy in a boat with female attendants or the grandeur and pomp of royal entourage are typical of the ostentatious feudal life style then prevalent.. On the ceiling of the right verandah of laxmi temple, a painting shows a King in his fort with a feudal nobleman in obeisance before him. This ethos is evident even in some depictions of Shiv and Parvati who are placed in the foreground of a palace. The divine entities are heavily ornamented like kings of the times. The Datia palace has beautiful paintings of hunting by princes. It is noteworthy that this feudal ethos is much more evident in the paintings of lord Rama where his kingly attributes are displayed in an opulent style. The paintings of the coronation of Rama by Sukhlal Kachhi are remarkable examples of the Bundela sensibility and artistry of the times. The paintings of courtly dance scenes in the Rai Praveen Mahal at Orchha are typical of the 'Shringar ras'that was the dominant theme of the 'Ritikal' poetry of the age. There are impressive paintings of the nayikas and one particular painting is noteworthy in having different nayikas arranged together to form an elephant. Keshav Das's 'Rasikpriya' and 'Kavipriya' and Matiram's 'Rasraj' were translated into visuals through both wall paintings and miniatures. The Datia Kalam boasts of a wide repertoire of miniatures based on Devkavi's 'Ashtayam', 'Bihari Satsai' and Barahmasa. The miniatures of Orchha were often

inspired by themes for Ragamala. The Bundeli miniatures are also distinct from the accepted styles of Mughal and Rajput art forms in having more elaborate scenes from the Ramayana as well as in the imparting of local flavour in the context of natural ambience and musical details.

Unlike many of the paintings of Rama, the paintings of Krishna and his life are deeply steeped in the popular culture of the times. Here the ornate splendour of Kingly court scenes and rituals are overshadowed by simple descriptions of pastoral life. Krishna is often shown with other herdsboys wearing simple clothes, anklets and bead strips. Even the divine attributes of Krishna are situated within the context of the popular semiology of the Bhakti movements of medieval north India where the unity of the lord and the devotee moves towards an obliteration of distinctions. The all encompassing bliss of Lord Krishna is exhibited in these paintings through a variety of postures, gestures and dance forms.

The disturbing days of the battle with the Mughals as well as the emotive connotations that the revolt of 1857 evoked have all been impressively depicted - directly or symbolically - in the wall paintings of Orchha. In the Laxmi temple at Orchha, there is a remarkable panel displaying the trials and tribulations of Rani Laxmibai of Jhansi within her fort as the British army marches on during 1857.

Krishna with gopis
This is Krishna playing his famous flute under a Kadamb tree while gopis carrying 'mayurpankh', food and water seem entranced. The elongated eyes, the attire of the gopikas and the colourful floral decorations surrounding the painting are typical of the Krishna paintings of the Bundeli Kalam where love for the divine is situated within a context of the popular Bhakti movement of Medieval north India. (Raja Maha/, Orchha)
War Scene
This painting probably depicts a battle during the revolt of 1857 between the British and Rani Lakshmi Bai, the legendary queen of Jhansi. While the Bundela and Maratha infantry and cavalry have been shown wielding arms and cannons on the ramparts of the fort and inside it, the British soldiers dressed in their typical style are shown as marching towards the fort with their horses, muskets and cannons. The detailed and picturesque elaboration of the theme, as illustrated in this painting, is a marvel in itself and also underlines the political sensibility of the Bundela artists. (Laxmi Mandir, Orchha) Plate II
Hanuman and Bharata
The painting shows Bharata making Hanuman fly while seated on an arrow. Hanuman is shown holding a hillock in one hand. This is the pictorial depiction of the story about Hanuman, who while coming back with the Gandhamadak hillock (having the essential medicinal plants to cure Lakshman who was rendered senseless by Meghnada) was first mistaken for a demon and obstructed by Bharata, but later when Bharata realised his mistake he made amends by using his bow & arrow to make Hanuman fly towards Lakhsman. This painting is esp. noteworthy for its warmth and intimacy which comes through a dexterous use of brushwork. The detailed decorations surrounding the theme are rich and varied and add to the enlivening of the ambience of the narrative. (Laxmi Mandir, Orchha)
Varah & Narsingha Incarnations
The painting depicts two incarnations of Vishnu - Varah and Narsimgha. Narsimgha is shown here as bursting out from the pillars of the court and after seizing Hiranyakashyapu and laying him across his lap, he is ripping his belly. According to the story, Hiranyakashyapu could be killed neigher by animal or man, neither indoors or outdoors, neither during day or night and not by weapons. Therefore, this novel strategy of killing him in twilight on the threshold between doors was devised by Narsimgha. On the right hand side of the painting is the Varaha incarnation where Vishnu as Varaha is shown vanquishing a demon as well as lifting the earth, thus symbolically representing him as a saviour of earth from evil. (Raja Mahal, Orchha)
Ganesha
This is a beautiful illustration of Ganesh worship. Lord Ganesh is seated on a throne flanked on one side by a female attendant holding a f1ywhisk while another lady stands in front holding a platter of ingredients for worship. The top and bottom spaces of the painting have impressive floral decorations. (Raja Mahal, Orchha)
Chungul Bird
Locally, this strange creature with the head of an elephant and the body of a lion, was called the Chungul bird. A peacock pokes at its head while this flying creature uses its four legs, trunk, tail and teeth to capture elephants who are unable to escape from the stranglehold. Symbolically, this is a representation of a destructive or evil force. (Raja Mahal, Orchha)
Dwadashnari Kunjar
This spatial arrangement of nayikas or gopikas to form the shape of an elephant is commonly known as 'Navnari Kunjar' in the Krishna leela. However, here the number of nayikas or gopikas is twelve, and hence the title 'Dwadashnari Kunjar'. The artistry of Bundeli painting is particularly evident here in both the treatment of outlines as well as in the combination of colours (Raja Mahal, Orchha).
Nayika
A typical example of shringar ras, the nayika in this plate is shown as 'Ragini Saurathi', holding a peacock in her hand. The attire of ghaghra and choU has been depicted in detail and particular attention has been paid to exhibit the three coloured pattern of the ghaghra. (Raja Mahal, Orchha)
The Court of Rama
More than a divine lord, Rama is treated as a king in Orchha and therefore, this painting shows all the opulence and grandeur of a royal court. Rama & Sita are placed on a large throne, while the three brothers stand behind looking exactly like princes or nobles in a feudal regime. Laxman holds a flywhisk and Bharat the wooden sandals of Rama, and all the three brothers are fully armed. In front of Rama & Sita, stand Hanuman and Jamwant in obeisance. (Raja Mahal, Orchha)
The Peacock Decoration
This is an extremely well crafted work of art where in the midst of a dense floral decoration we have two beautifully executed peacocks. In between the two is a vase or flask with floral designs. The influence of the Mughal style of painting is quite evident here. (Birsingh Deo Palace, Datia)
Balram
The blue grey painting shows Krisha's brother Balram holding a glass while the other hand is touching the head. Balram is seen here carrying his plough and pestle. Shades of Nathdwara style of painting can be seen here. (Raja Parichhat's Chhatri, Datia)
Decorated gate
This supreme example of artistry belongs to the gate of Rani Kamalapati's tomb in Dhubela. The detailed execution of floral and creeper patterns in green and red remind one of similar designs in many Mughal buildings of note. The pilasters of the gate have symmetrical decorations of leaflets which is quite impressive. (Kamalapati's tomb, Dhubela, Chhatarpur)