Barahmasa

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The month of Ashadha (June-July), folio from a Barahmasa painting (c. 1700-1725) The Month of Ashadha (June-July), Folio from a Barahmasa (The Twelve Months) LACMA M.71.1.26.jpg
The month of Ashadha (June–July), folio from a Barahmasa painting (c. 1700–1725)

Barahmasa (lit. "the twelve months") is a poetic genre popular in the Indian subcontinent [1] [2] [3] derived primarily from the Indian folk tradition. [4] It is usually themed around a woman longing for her absent lover or husband, describing her own emotional state against the backdrop of passing seasonal and ritual events. [5] [6] The progression of months (according to the Hindu lunar calendar) is a fundamental component of the genre, but the number of months is not necessarily barah (Hindi : बारह, Urdu : بارہ) or "twelve" as similar poetic forms known as chaumasas, chaymasas and ashtamasas (cycles of four, six, and eight months, respectively) also exist in the same lineage of folk traditions. [7]

Contents

Although originally an oral tradition, the genre was incorporated into longer poems, epics and narratives by a number of Indian poets [8] across major Modern Indo-Aryan languages including—Hindi, Urdu, Bengali, Gujarati, Rajasthani languages, Bihari languages, Punjabi etc., and can be found in the folk poetry of the tribal people too. [9]

Origins

Etymology

The word barahmasa derives from the Hindi word barah (Hindi : बारह, Urdu : بارہ) meaning "twelve" and masa (Hindi : मास, Urdu : ماہ) meaning "month". [10] Similar cognates are employed to denote the same genre in other languages such as baromasi in Bengali. [11]

Literature

An illustration to the month of Bhadon. Bramahmasa series.jpg
An illustration to the month of Bhadon.

Hindi-Urdu

The barahmasas, along with saṭ-ṛtu (‘six seasons’) genre, were incorporated in the Awadhi premakhyans (‘romances’), [12] Rajasthani rasaus ('ballads') such as the Bisaldev-ras of Nalha Kavi [8] [13] as well as in the works of the renowned Braj Bhasha poet Keshavadas. [14] A few devotional barahamasa attributed to Tulsidas and Surdas themed mainly around the worship of Rama-Krishna have been found too. [15] [10]

The barahmasas first appeared in Hindi and then gradually in Urdu as well. According to Orsini, they were "perhaps the first substantial genre in the boom in commercial publishing in north-India of the 1860s." [16]

Bengali

In Bengali, baromasis were incorporated in the devotional literature known as Mangal-Kavya and Chandravati's adaptation of the Hindu epic Ramayana wherein Sita recollects her experiences with Rama through a whole year. [11]

Persian

The earliest and the only literary barahmasa in Persian was composed by Sad-i-Salman. The poet, who lived in Lahore, was probably influenced by Indian folk conventions. But its theme is neither a woman's longing nor union of lovers, and begins with the Iranian month of Parvardin. [12]

Gujarati

In early nineteenth century Gujarat, the poet-saint Brahmanand restructured Barahamasas and incorporated theology of Swaminarayan Sampradaya. His compositions fall under larger Krishna-bhakti poetry. [17]

Paintings

The genre was also used by artists & painting schools such as 'Bundi school of painting' to make several miniature paintings depicting different months of the year. There are about 138 Barahmasa painting in National Museum, New Delhi. Most of these paintings were belong to late 18th century to early 19th century. [18]

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<span class="mw-page-title-main">Hindi</span> Standardised variety of Hindustani used in India

Modern Standard Hindi, commonly referred to as Hindi, is the standardised variety of the Hindustani language written in Devanagari script. It is the official language of India alongside English and the lingua franca of North India. Hindi is considered a Sanskritised register of the Hindustani language, which itself is based primarily on the Khariboli dialect of Delhi and neighbouring areas. It is an official language in nine states and three union territories and an additional official language in three other states. Hindi is also one of the 22 scheduled languages of the Republic of India.

<span class="mw-page-title-main">Urdu</span> Language spoken in India and Pakistan

Urdu is a Persianised register of the Hindustani language, an Indo-Aryan language spoken chiefly in South Asia. It is the national language and lingua franca of Pakistan, where it is also an official language alongside English. In India, Urdu is an Eighth Schedule language, the status and cultural heritage of which are recognised by the Constitution of India; and it also has an official status in several Indian states. In Nepal, Urdu is a registered regional dialect and in South Africa, it is a protected language in the constitution. It is also spoken as a minority language in Afghanistan and Bangladesh, with no official status.

<span class="mw-page-title-main">Hindustani language</span> Indo-Aryan language spoken in India and Pakistan

Hindustani is an Indo-Aryan language spoken in North India and Pakistan, and functioning as the lingua franca of the region. It is also spoken by the Deccani people. Hindustani is a pluricentric language with two standard registers, known as Hindi and Urdu which serve as official languages of India and Pakistan, respectively. Thus, it is also called Hindi–Urdu. Colloquial registers of the language fall on a spectrum between these standards. In modern times, a third variety of Hindustani with significant English influences has also appeared which is sometimes called Hinglish or Urdish.

<span class="mw-page-title-main">Languages of India</span>

Languages spoken in the Republic of India belong to several language families, the major ones being the Indo-Aryan languages spoken by 78.05% of Indians and the Dravidian languages spoken by 19.64% of Indians; both families together are sometimes known as Indic languages. Languages spoken by the remaining 2.31% of the population belong to the Austroasiatic, Sino–Tibetan, Tai–Kadai, and a few other minor language families and isolates. According to the People's Linguistic Survey of India, India has the second highest number of languages (780), after Papua New Guinea (840). Ethnologue lists a lower number of 456.

<span class="mw-page-title-main">Deccani language</span> Indo-Aryan language spoken in India

Deccani is an Indo-Aryan language based on a form of Hindustani spoken in the Deccan region of south-central India and is the native language of the Deccani people. The historical form of Deccani sparked the development of Urdu literature during the late-Mughal period. Deccani arose as a lingua franca under the Delhi and Bahmani Sultanates, as trade and migration from the north introduced Hindustani to the Deccan. It later developed a literary tradition under the patronage of the Deccan Sultanates. Deccani itself came to influence modern standard Urdu and later Hindi.

<span class="mw-page-title-main">Bhojpuri language</span> Indo-Aryan language native to India and Nepal

Bhojpuri is an Indo-Aryan language native to the Bhojpur-Purvanchal region of India and the Terai region of Nepal and it is chiefly spoken in eastern Uttar Pradesh, western Bihar, and northwestern Jharkhand in India, as well as western Madhesh, eastern Lumbini, southeastern Gandaki, and southwestern Bagmati in Nepal. Bhojpuri is also widely spoken by the diaspora of Indians descended from those who left as indentured laborers during the colonial era. It is an eastern Indo Aryan language and as of 2000 it is spoken by about 5% of India's population. Bhojpuri is a descendant of Magadhi Prakrit and is related to Maithili, Magahi, Bangla, Odia, Assamese, and other eastern Indo-Aryan languages.

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<span class="mw-page-title-main">Magahi language</span> Indo-Aryan language spoken in India

Magahi, also known as Magadhi, is a Indo-Aryan language spoken in Bihar, Jharkhand and West Bengal states of eastern India, and in the Terai of Nepal. Magadhi Prakrit was the ancestor of Magahi, from which the latter's name derives.

<span class="mw-page-title-main">Urdu literature</span> Literary works written in Urdu language

Urdu literature comprises the literary works, written in the Urdu language. While, It tends to be dominated by poetry, especially the verse forms of the ghazal and nazm, it has expanded into other styles of writing, including that of the short story, or afsana. Urdu literature is popular mostly in Pakistan, where Urdu is the national language, and in India, where it is an Eighth Schedule language.

<span class="mw-page-title-main">Awadhi language</span> Indo-Aryan language

Awadhi, also known as Audhi, is an Indo-Aryan language spoken in the Awadh region of Uttar Pradesh in northern India and in Terai region of western Nepal. The name Awadh is connected to Ayodhya, the ancient city, which is regarded as the homeland of the Hindu deity Rama, the earthly avatar of Vishnu. Awadhi is also widely spoken by the diaspora of Indians descended from those who left as indentured laborers during the colonial era. Along with Braj, it was used widely as a literary vehicle before gradually merging and contributing to the development of standardized Hindi in the 19th century. Though distinct from standard Hindi, it continues to be spoken today in its unique form in many districts of central Uttar Pradesh.

Hindustani is one of the predominant languages of South Asia, with federal status in the republics of India and Pakistan in its standardized forms of Hindi and Urdu respectively. It is widely spoken and understood as a second language in Nepal, Bangladesh, and the Persian Gulf and as such is considered a lingua franca in the northern Indian subcontinent. It is also one of the most widely spoken languages in the world by total number of speakers. It developed in north India, principally during the Mughal Empire, when the Persian language exerted a strong influence on the Western Hindi languages of central India; this contact between the Hindu and Muslim cultures resulted in the core Indo-Aryan vocabulary of the Indian dialect of Hindi spoken in Delhi, whose earliest form is known as Old Hindi, being enriched with Persian loanwords. Rekhta, or "mixed" speech, which came to be known as Hindustani, Hindi, Hindavi, and Urdu, also locally known as Lashkari or Lashkari Zaban in long form, was thus created. This form was elevated to the status of a literary language, and after the partition of colonial India and independence this collection of dialects became the basis for modern standard Hindi and Urdu. Although these official languages are distinct registers with regards to their formal aspects, such as modern technical vocabulary, they continue to be all but indistinguishable in their vernacular form. From the colonial era onwards, Hindustani has also taken in many words from English, with an urban English-influenced variety emerging known as Hinglish.

<span class="mw-page-title-main">Braj Bhasha</span> Indo-Aryan language

Braj is a language within the Indo-Aryan language family spoken in the Braj region in Western Uttar Pradesh centered on Mathura. Along with Awadhi, it was one of the two predominant literary languages of North-Central India before gradually merging and contributing to the development of standardized Hindi in the 19th century. It is spoken today in its unique form in many districts of west Uttar Pradesh, often referred to as 'Central Braj Bhasha'.

<span class="mw-page-title-main">Apabhraṃśa</span> Class of Indian languages

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<i>Rekhta</i> Early term for the Hindustani language

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<span class="mw-page-title-main">Ganga-Jamuni tehzeeb</span> Syncretic fusion of Hindu-Muslim cultures in northern India

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<span class="mw-page-title-main">Persian language in the Indian subcontinent</span>

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<span class="mw-page-title-main">Parsi theatre</span>

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Kavikalanidhi Devarshi Shrikrishna Bhatt (1675–1761), a contemporary of the Maharaja Sawai Jai Singh II of Jaipur, was an 18th-century Sanskrit poet, historian, scholar, and grammarian. He was an immensely accomplished and venerated poet of Sanskrit and Brajbhasha at the courts of the Kings of Bundi and Jaipur. He belonged to a reputed Sanskrit family of Vellanadu Brahmins from modern day Andhra Pradesh in South India who migrated to North India in the 15th century on invitation from various erstwhile princely States. His father's name was Laxman Bhatt.

Francesca Orsini, FBA is an Italian scholar of South Asian literature. She is currently Professor of Hindi and South Asian Literature at the School of Oriental and African Studies (SOAS), University of London. She previously lectured at the University of Cambridge, before joining SOAS in 2006. For the 2013/2014 academic year, she was Mary I. Bunting Institute Fellow at the Radcliffe Institute for Advanced Study, Harvard University.

References

  1. Raheja, Gloria Goodwin (2017). ""Hear the Tale of the Famine Year": Famine Policy, Oral Traditions, and the Recalcitrant Voice of the Colonized in Nineteenth-Century India". Oral Tradition. 31 (1). doi: 10.1353/ort.2017.0005 . hdl: 10355/65381 . ISSN   1542-4308. S2CID   164563056 via Project MUSE. This song was written in the traditional form of a barahmasa (a "song of the twelve months"). In central and northern India, this is almost entirely...
  2. Raeside, I. M. P. (1988). "Bārahmāsā in Indian literatures. Songs of the twelve months in Indo-Aryan literatures. By Charlotte Vaudeville with a foreword by T. N. Madan. pp. xvi, 139. DelhiMotilal Banarsidass, 1986. (Revised and enlarged English edition, first pub. in French, 1965.) Rs. 70". Journal of the Royal Asiatic Society. 120 (1): 218. doi:10.1017/S0035869X00164652. ISSN   2051-2066. S2CID   197840649.
  3. Dwyer, Rachel; Dharampal-Frick, Gita; Kirloskar-Steinbach, Monika; Phalkey, Jahnavi (2016). "Monsoon". Key Concepts in Modern Indian Studies. NYU Press. ISBN   978-1-4798-2683-4 via Project MUSE. Conversely, the sixteenth century tradition of Hindi poetry known as Barahmasa (lit. 'songs of the twelve months'), which also appears in...
  4. Wadley, Susan Snow (2005). Essays on North Indian Folk Traditions. Orient Blackswan. p. 57. ISBN   978-81-8028-016-0. Evidence indicates that the Barahmasa originated in folk poetry...
  5. Orsini, Francesca (2010). "Barahmasas in Hindi and Urdu". In Orsini, Francesca (ed.). Before the divide: Hindi and Urdu literary culture. New Delhi: Orient BlackSwan. p. 143. ISBN   978-81-250-3829-0. OCLC   490757928.
  6. Claus, Peter J.; Diamond, Sarah; Mills, Margaret Ann (2003). South Asian Folklore: An Encyclopedia : Afghanistan, Bangladesh, India, Nepal, Pakistan, Sri Lanka. Taylor & Francis. p. 52. ISBN   978-0-415-93919-5. The primary focus is on the human year, as formed and mediated by the climatic year and its associated...through the psychological shoals of the annual cycle.
  7. Alam, Muzaffar (2003). "The Culture and Politics of Persian in Precolonial Hindustan". In Pollock, Sheldon (ed.). Literary Cultures in History: Reconstructions from South Asia. University of California Press. ISBN   978-0-520-92673-8. The succession of months is a fundamental component, but the number of months is not necessarily twelve. The songs known as chaumasas, chaymasas, and astamasas (cycles of four, six, and eight months, respectively) belong to same category. These are in some cases mere catalogs of seasonal festivals and read like a kind of calendar.
  8. 1 2 Orsini, Francesca (2010). "Barahmasas in Hindi and Urdu". Before the divide : Hindi and Urdu literary culture. New Delhi: Orient BlackSwan. p. 147. ISBN   978-81-250-3829-0. OCLC   490757928.
  9. Wadley, Susan Snow (2005). Essays on North Indian Folk Traditions. Orient Blackswan. p. 54. ISBN   978-81-8028-016-0.
  10. 1 2 Srivastava, P.K. (2016). "Separation and Longing in Viraha Barahmasa". The Delhi University Journal of the Humanities and the Social Sciences. 3: 43–56.
  11. 1 2 Bose, Mandakranta; Bose, Sarika Priyadarshini (2013). A Woman's Ramayana: Candrāvatī's Bengali Epic. Routledge. pp. 30–32. ISBN   978-1-135-07125-7.
  12. 1 2 Pandey, Shyam Manohar (1999). "Brahamasa in Candayan and in Folk Traditions". Studies in early modern Indo-Aryan Languages, Literature, and Culture : research papers, 1992–1994, presented at the Sixth Conference on Devotional Literature in New Indo-Aryan Languages, held at Seattle, University of Washington, 7–9 July 1994. Entwistle, A. W. New Delhi: Manohar Publishers & Distributors. pp. 287, 303, 306. ISBN   81-7304-269-1. OCLC   44413992.
  13. Vaudeville, Charlotte (1986). Bārahmāsā in Indian Literatures: Songs of the Twelve Months in Indo-Aryan Literatures. Motilal Banarsidass. p. 12. ISBN   978-81-208-0185-1.
  14. Sodhi, Jiwan (1999). A Study of Bundi School of Painting. Abhinav Publications. p. 54. ISBN   978-81-7017-347-2. Amongs all these poets, the most popular was Keshavdasa, the renowned poet laureate of Raja Inderjit of Orchha. He gave new meaning to the Barahmasa...The Baramasa motif in Brajbhasha poetry not only gave freshness...
  15. Vaudeville, Charlotte (1986). Bārahmāsā in Indian Literatures: Songs of the Twelve Months in Indo-Aryan Literatures. Motilal Banarsidass. p. 41. ISBN   978-81-208-0185-1. ...traditional barahamasas form in their religious works to the glories of Rama and Krishna...in fact a barahmasa attributed to Tulsidas...
  16. Orsini, Francesca (2010). Orsini, Francesca (ed.). Before the divide: Hindi and Urdu literary culture. New Delhi: Orient BlackSwan. p. 169. ISBN   978-81-250-3829-0. OCLC   490757928.
  17. Swaminarayan Hinduism : tradition, adaptation and identity. Williams, Raymond Brady., Trivedi, Yogi. (1st ed.). New Delhi, India: Oxford University Press. 2016. ISBN   978-0-19-908657-3. OCLC   948338914.{{cite book}}: CS1 maint: others (link)
  18. Beach, Milo Cleveland (1974). "Rajput Painting at Bundi and Kota". Artibus Asiae. Supplementum. 32: 55–56. doi:10.2307/1522680. ISSN   1423-0526. JSTOR   1522680.