Those Vintage Expressions - India

Ajilamu, yak and deer. Indeed, Arunachal Pradesh has a veritable treasure trove of art and cultural antiquities. We explore the inspired masks and maskmakers of yore.

The peoples of Tibetan origin Arunachal Pradesh have a tradition of making masks that, according to the few connoisseurs of this subject, are unrivalled among Himalayan masks in terms of style, detail and elegance. These masks are highly individual and expressive, in that their execution features artistically fine representations of facial lines and wrinkles and exquisite treatment of eyes, the nose and the mouth. Often, portions of hair, felt or fur are tastefully applied to the relatively massive wooden masks. Several, such as the famous Ngonpa (the hunter) or Nyapa and Nyaro, the evil demons, are made entirely of felt with applications of fur.

The surfaces, volumes and proportions of the Arunachal highland masks are executed with skill and reflect their creators’ inspiration and respect for canonical rules. Human, demonic and animal figures are scrupulously reproduced by entire schools of masters, and artists have given them life at various stages in history. Different styles may be recognised and various interpretations may be given to related subjects. A variety of masks can be associated with the colorful dramas in which they feature, and are often interchanged as their characters appear in more than one drama. These masks were usually carved by lamas and then sold to theatrical groups although, occasionally, they were made by laymen skilled in this art. They are proof of a unique theatrical genius and figure among the most outstanding examples of Himalayan art. Monpa-Sherdukpen masks are famous, but the Memba-Khamba masks, due to the even greater inaccessibility of their artisans’ territory, are still almost entirely unknown.

These masks mirror the two important traditions prevalent in the mountainous region adjac ent to Tibet—Buddhism and shamanism/animism. Masquerade performances are basically of two kinds—the monastic Cham dances and the folk plays based on local and imported lore. In the northern areas of Arunachal Pradesh, however, no absolute distinction between the two is made, and the themes merge.

Thus, one marvels at the multitude of character masks stored in monasteries of the
Memba, for instance, which exceed the typical Charn canon known from Tibet. Masks depicting monkeys, bears, boats, cows, dogs, snow lions, tigers, serpents, birds, rats and deer are all used by the monks to express the Buddhist philosophy of non-violence against any living being (Pado or Sethoh Charn among the Khamba, Losker Chungiye Cham among the Monpa). Among the Sherdukpen, lay people are permitted to perform these pantomimes in the monastery courtyard during festivals. Thus, a mixing between the ‘sacred’ and the ‘profane’ takes place. 

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