“Noble life demands a noble architecture for noble uses of noble men. Lack of culture means what it has always meant: ignoble civilization and therefore imminent downfall.” – Frank Lyod Wright
Kumaon has a unique style of architecture, which is to be seen on the one hand in scattered settlements of the higher Himalaya and populated agricultural valleys, and on the other in the temples, naulas-bawaris (water tanks), forts and dharamshalas (inns). Most of the old houses of Kumaon have stone walls, mud floors, slate roofs and patangans (courtyards of gray stone) and their doors, windows and Kholis (main entrance to the house) have intricate figures of Ganesha and other Gods – Goddesses. The wood carver or carpenter never forgets to make closed nestles for birds. Although brick and concrete houses are now being constructed in Kumaon, very often, depending on the availability of the material, people still prefer to use stones, slate and wood for the construction of their houses.
The temples, which have been constructed over a period of about a thousand years, follow a local style known as the ‘Himadri’ style of architecture. The temples at Jageshwar, Almora, Katarmal, Thal, Baijnath, Someshwar, Dwarahat, Gangolihat, PatalBhuvaneshwar and Marsoli are very good examples of the local style, which is often termed as post Gupta architecture.
Along with architecture, Kumaon has also had a distinctive style of sculpture. One finds many idols in temples and even outside temples. The idols at Jageshwar, Dwarahat, Baijnath, Katarmal, Kasni and Champawat bear ample testimony to Kumaon’ s rich tradition of sculpture. The bronze or astdhatu statues are also worth seeing. Similarly, the EkHathia (literal meaning, ‘one handed’) Deval near Thal and the EkHathiaNaula near Champawat are unusual expressions, not only because of the stories attached to their creation, but also from the point of view of their architectural design. A few statues bear influence of Buddhist art. The region is also rich in epigraphic and numismatic expressions.
There are Beerkhams or victory pillars (one piece) scattered all over Kumaon, and a few forts or ruins of various forts, are still to be seen at Almora, Champawat, Pithoragarh, Karnkarayat, Sira, Gangolihat and Kuti.
The word “Aipan” is a derivative of ‘Arpan’. A commonly used word for it is “Likhai” (writing), although it is a pattern made with the fingers. Aipan are used as ritual designs for Pujas, festivals and ceremonies connected with birth, janeu, marriage and death. Aipan are usually drawn at the place of worship of the houses and the main entry doors of the houses or in the front courtyard. The Chowkies of mango wood are painted with Aipan’s special designs, each valuable for a special occasion. The raw materials used are simple ochre (Geru ) colour and rice paste. Mostly women paint the designs on the floors and walls of their homes using the last three fingers of the right hand. However, the ones with Geru patterns are drawn by a free hand.
‘Pichhauras’ or dupattas are also decorated are Aipan designs and patterns. During the time of the Harela festival of the Kumaon, there is a tradition of making clay idols (Dikaras). The Swastik pattern has immense significance in Aipan patterns as well. It is drawn in some form or the other. Most of the religious rituals are carried out by drawing Swastika. In Hindu mythology, Swatika represents all gods and goddess. Pichhauras which are worn by Kumaoni women during festivals and marriages carry Swastik Aipan design quite aesthetically.
Now a days, Aipan patterns are used on varied items like greeting cards, wall hangings, cushion covers, table cloths, even T-Shirts. The decorative patterns used to adorn doorways that have been adapted for gift tags, bookmarks, clay items, wooden boxes, trays and coasters.
Aipan are known by different names and are quite popular in many parts of India. These are called Alpana in Bengal, Satiya in Gujrat, Rangoli in Maharashtra, Chowk pooran in Uttar Pradesh, Kolam in South India, Madne in Rajasthan, Arichan in Bihar and Bhuggul in Andhra Pradesh.
There are three styles of Aipan namely Siddhu, Davia and Loukika.
Siddhu: It is the style of Aipan which are drawn on floor and chowkies.
Davia: It is the form drawn in the form of ‘patta’ or strip. It has astrological motifs, manual designs and ‘dwar’ or door pattas.
Loukika: It is the style of ‘bar boondh’. These are drawn on walls.
The medium selected for drawing Aipan may be different depending upon the purpose or the occasion and variety of patterns and their combination may be used at different occasions. The classification of Aipan depending on the medium it is drawn on is given below:
Floor Painting- These are further divided into two categories; Aipan drawn at door steps (creepers and filler design) and Aipan drawn at the place of worship (Shivpeeth, Laxmi peeth, Asan).
Wall painting-There are two traditional forms of wall painting; one for the kitchen (Nata and Laxmi Narayana) and other for the place where ritual ceremonies are performed (Patas).
Wooden Chowkies- These are worship seats of the deities prepared through Aipan and used on different occasion of worship, ceremonial occasions or on festivals.
Aipan on the door steps: Aipans drawn on the doorsteps are beautifully designed and decorative with great aesthetic value. It is a combination with ‘Vasudhara’, the vertical lines made by dripping the ‘biswar’ (rice floor solution made by soaking the rice and then grinding it which is used for drawing aipan).
Vasudhaara: Drawn on Pooja vedika, door steps of the house, place of worship, tulsi (A structure made around the Tulsi plant) with Vasudhara. Without vasudhara, Aipan are considered to be incomplete. These are made by painting the place with ‘Geru’ (filtered red color soil) and thereafter making vertical lines by dripping ‘Biswar’. The dripping of ‘biswar’ is carried down by Anamika (Ring finger).
