Paubha emerges as an exquisite artform from the valleys of Kathmandu. It’s more than just being visually appealing, it’s in fact a profound spiritual and cultural journey. Paubha uniquely captures the essence of Hindu and Buddhist philosophies, offering artistic expressions as well as spiritual insights.

Understanding Paubha

‘Patrabhattraka’ evolved to become the term ‘Paubha’, which according to Nepal Brihat Shabdkosh refers to the divine depictions. It is a traditional style of painting that primarily features deities from Hindu and Buddhist traditions. The essential aspects of this painting style includes: the rules of painting, the tradition itself, its purpose and its benefits.

As per the history, Paubha Paintings were made through the collaborative efforts of priests, patrons and artists. For example, Keshraj Chitrakar made the paintings of ‘Bajradhateshwori’ and ‘Manjubajra’ in C.E. 1409 for Harsaram Chitrakar, with guidance of Priest Kul Bhadra. In the same way, ‘Vishnu Mandal,’ painted by Jaya Tej Pun in 1420 CE for Tejoram Sharma and his brothers, exemplifies the sacred and ceremonial nature of these works. These paintings were not just decorative; they served various traditional purposes such as recording significant events, worshiping deities, aiding meditation, and seeking blessings.

Paubha vs Thangka Paintings

Even though Thangka and Paubha paintings may seem similar, they differ significantly. Thangka, a part of Tibetan tradition, showcases Buddhist or pre-Buddhist Bon deities and vibrant scenery. In contrast, Paubha, from Kathmandu, blends Hindu and Buddhist imagery, characterized by intricate details and stylized forms, often within mandalas representing the cosmos. Paubha art is noted for its precise linework and darker colors, while Thangka is recognized for its vibrant hues and scenic elements. Moreover, it is said that Paubha artists use a coarser cloth to paint as opposed to Thangka paintings. In short, the key difference lies in their stylistic execution.

Paubha as a cultural heritage

The painting style of Paubha is deeply etched with the cultural heritage of the Newari community in Kathmandu. This tradition is a testament to the legacy of the historic cities of Patan, Bhaktapur, and Kathmandu, as it still flourishes there. This art style reflects the spiritual teachings of both Hindu and Buddhist tradition. According to Vajrayana Buddhism, every being possesses inherent Buddhahood and can achieve enlightenment by overcoming ignorance and cultivating Bodhicitta, the awakened mind. Paubha art visually represents this path to enlightenment, guiding practitioners toward spiritual realization.

In Hindu as well as Buddhist traditions, this painting holds a sacred status akin to that of idols of the deities. In fact, the artist and painters themselves are considered as the celestial beings despite their material existence. 

The History of Paubha Paintings

The origins of this artform can be traced back to around the 7th century, and its development is closely related to the vibrant cultural traditions of Kathmandu. However, due to the fragility and disposable nature of the materials used, as well as the culture to replace the old paintings with the new one, only a few examples remain. It is said to be developed in Kathmandu, with one exception of Pala, which was a part of the ancient Indian empire. One of the oldest surviving Paubha Paintings is an image of Ratna Sambhava from the 13th century. It is now on display in the Los Angeles County Museum of Art.

Over the years, this artform has regained its popularity and is experiencing a resurgence in Nepal and the West.

Iconography & Artistic Techniques

The art of Paubha Paintings have strict iconographic rules that one needs to adhere to. This includes depiction of the number of hands, limbs and heads of the deities and its position. But the freedom lies in painting and decorating the clothing and the background.

Understanding the shastra before painting is crucial. It is believed that if an artisan fails to paint the deities according to the rules of iconography and iconometry, they will suffer dosha, which may result in the loss of a loved one, wealth, and health

The eyes of the painting are painted at the end. It is so because eyes are a symbol of life, and by painting the eyes, life is infused into the painting.

The Color Philosophy

Color plays a major and crucial role in Paubha Paintings, adding and expanding on its deep spiritual meaning. The traditional color scheme includes five core colours – red, blue, yellow, black and white, also known as the pancha ranga karma. Green is a secondary color that is made using the color yellow and blue. Key buddhist paintings including Pancha Buddha, use all these colors except black to paint Buddha, associated each of these with a specific direction and meaning. For instance,

• Vairochana, one of the five Dhyani Buddhas, is painted using the color white facing center and representing all-encompassing Dharmadhatu Wisdom.
• Similarly, Akshobya is painted using the color blue facing east and representing mirror-like wisdom.
• Ratnasambhava is painted using the color yellow facing south and representing the wisdom of equality.
• Amitabha is painted using the color red facing west and representing discriminating wisdom.
• Amogsiddhi is painted using the color green facing north and representing all-accomplishing wisdom.

Despite its rich history, Paubha is facing challenges in keeping up with the digital era, when art itself is digitized. Though, efforts are underway to keep the traditional art flourishing by including it in University curricula, and with prominent artists upholding and adapting the artform to contemporary contexts.

Conclusively,

The color philosophy, artistic techniques and the history is not only vast but intriguing. Adding to the fascination is the incorporation of both Hindu and Buddhist philosophy, which enriches the art style with a mesmerizing cultural and spiritual significance. In all honesty, it’s absolutely beautiful to understand an intersection of art, spirituality and tradition with just a single piece of art.

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By Vidhi Ojha