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Cheriyal Scroll Painting is a stylized version of Nakashi art, rich in the local motifs peculiar to the Telangana. They are at present made only in Hyderabad, Telangana, India. The scrolls are painted in a narrative format, much like a film roll or a comic strip, depicting stories from Indian mythology, and intimately tied to the shorter stories from the Puranas and Epics. Earlier, these paintings were prevalent across Andhra, as also various other parts of the country, albeit flavoured with their distinct styles and other local peculiarities dictated by the local customs and traditions. In the same way, Cheriyal scrolls must have been popular across Telangana in earlier times, though with the advent of television, cinemas and computers it has been fenced into its last outpost, the Cheriyal village. Presently Cheriyal painting artist D.Vaikuntam nakash and his family living in Hyderabad (Boduppal) only. ==History== Scroll paintings have a rich history and play an important role in the Asian artistic tradition. In China, scroll paintings were part of the sophisticated traditions of the nobility and the courts. In India however, the scroll painting was the prerogative of the itinerant bard and the village artist, in essence a folk tradition of the villages. In India, each region and village developed its own scroll painting traditions, marked by characteristic content, form and technique depending on the local ethos, patronage and socio-economic conditions. Rajasthan is known for its ''Pabuji ki Pad'', ''Devenarayana katha'' as also stories from the legend of ''Dhola and Maru''. Goa evolved the ''Dasavathara'', as Maharashtra did ''Pinguli'' and the ''Chitra Katha'' traditions. Maharashtra and Gujarat are also known for a sophisticated scroll painting tradition called the ''Prasasti Patra''. Orissa and Bengal are famous for their ''Patachitra'' traditions.〔Scroll Paintings of Bengal: Art in the Village By Amitabh Sengupta published by AuthorHouse〕 While the above-mentioned traditions could have significantly influenced the Cheriyal scroll paintings and artists, the Cheriyal paintings were and continue to be a distinctly local invention, peculiar to the Telangana region, drawing mainly on local traditions. It can safely be said that the local temple art traditions and the Kalamkari tradition across Telangana in particular, and the graphic art traditions of the Deccan and South India in general were the major influences that shaped and guided the art of scroll paintings. However, it should also be remembered that the sphere of activity, subject and artistic idiom of every scroll painting including that of Cheriyal is peculiar and confined to the village or habitment. To quote from A. L. Dallaiccola's South Indian Paintings- A catalogue of the British Museum collection - ''Although in the past the majority of Indian people might have been illiterate, they were not uneducated. They were taught the principles ruling their religious and social life through the recitation of stories drawn from the epics, the puranas and other religious texts... In the past, the retelling of these stories provided the education of the unlettered, and the discourses were accompanied by visual aids: scrolls, painted cloth hangings, sets of paintings, and wooden boxes with folding, concertina-like doors painted with scenes from the 'career' of a deity, such as the portable shrine from Tirupati that is now in the Ashmolean Museum, Oxford... The earliest known reference to the picture showmen is found in Patanjali's ''Mahabhashya'' (2nd century BC). Commenting on the passage on the historic present in Panini's grammar, the ''Ashtadhyayi'' (c. 5th century BC), Patanjali takes as an example some picture showmen who are discussing the killing of Kamsa at the hands of Krishna... There is also a specific mention of a picture showing Kamsa being dragged by the hair and beaten by Krishna. Numerous references to picture showmen and painted scrolls occur in literary sources. The scrolls showing the torments of hell, ''yamapattaka'', seem to have been particularly popular.'' The Mandhets were the itinerant bards and performers of Andhra Pradesh while the Nakashis were the artists. The Nakashis of Telangana also made dolls, much like the Kinnal dolls of Karnataka, in addition to the painted scrolls. These scrolls were a very important part of the sociological and cultural setting of Telangana. As these paintings are now confined to Cheriyal village, they are called Cheriyal scrolls. In earlier times, the scrolls were a colourful backdrop to the equally interesting oral traditions of the common people, - the village hajjam-barber, toddy tapper, dhobhi-washerman, chamar-leatherworker, fisherman, weaver and farmer: (''Madiga, Goud, Mudiraju, Malas, Padmashali, Chakala and Mangali''〔Folk Painting Traditions of India by Sarita Chauhan Booklet series - 52 published by Institute for Social Democracy http://www.isd.net.in/Publication/Booklet/2012/Booklet_52.pdf〕) the seven working and marginalised castes and communities of the village. The scrolls set out the adventures and exploits of local folk heroes who performed on the fringes of the epics, Puranas, etc. of the Hindu 'Greater Tradition'. Each community had its peculiarities and its favourite heroes and heroines as also selection of stories from local Mythologies.〔http://jigyasa0.tripod.com/folk.html Jagdish and Kamla Mittal Museum of Indian Art〕 It was also customary to sacrifice a goat after the recitation of the story from the scroll in some communities. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Cheriyal scroll painting」の詳細全文を読む スポンサード リンク
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