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Manipur, known as the “Jewel of India,” is renowned not only for its stunning topography but also for its strongly established artistic and cultural heritage. Manipur’s art forms exhibit the history, spirituality, and identity of the state, where every piece represents a story about its people. Be it the complex fabrics of Khamen Chatpa, the lost visual histories of Subika paintings, or the fabled masterwork Khambana Kao Phaba, Manipuri art is always part of its rich heritage.
Manipuri art has traditionally been a storytelling medium, an expression of worship, and a way to honor, usually held in reserve by the aristocracy or bound up with religious and cultural traditions. From beginnings that extend millennia back, such artistic forms had been reserved primarily for royalty, scholars, and religious leaders in the past and were thus decorative as well as symbolic and holy.
The majority of these art forms, however, are in danger of going extinct since modernisation has taken over, which motivates cultural historians and artists to bring them back to their previous splendour and get wider recognition.
Three of the most important traditional arts of Manipur:
- Subika Paintings: A scarce, manuscript-based school of painting depicting Meitei myths and folklores.
- Khambana Kao Phaba: A renowned oil painting that freezes a legendary moment from Manipuri history.
- Khamen Chatpa: A royal fabric once limited to kings and scholars, now reinterpreted in contemporary fashion.
All these arts are the epitome of Manipuri heritage, encapsulating its history, ethics, and spirituality.
Subika Paintings: A Unique Art Form of Manipur
Subika paintings are a unique and culturally important Manipuri art form that is rich in tradition, deeply connected with the Meitei community. Though they have a rich history, Subika paintings are facing extinction because of a lack of awareness and conservation.
What Are Subika Paintings?
Subika paintings are a traditional form of painting that is closely associated with the Meitei people. Subika paintings are present in six ancient manuscripts:
- Subika
- Subika Achouba
- Subika Laishaba
- Subika Choudit
- Subika Cheithil
- Thengrakhel Subika
These manuscripts serve as visual records of Meitei cultural traditions, values, and beliefs.
Historical Background
The true origins of Subika paintings is not known, but scholars place them in the 18th or 19th century, overlapping the development of written traditions in Manipur. Although the Cheitharol Kumbaba, the Manipur royal chronicle, does not refer to a founder, it is certain that the art must have emerged with the recording of historical and cultural accounts.
Subika paintings were generally employed in Puyas, Meitei ancient manuscripts, which documented religious, historical, and mythological narratives. The paintings not only added visual beauty to the texts but also formed a means to keep and propagate cultural knowledge from one generation to the next.
Characteristics of Subika Paintings
Visual Language: The paintings consist of lines, forms, colors, and designs, each of them holding cultural significance.
Handmade Materials: Handmade paper or tree bark is used as canvases by artists, which are readied in the traditional way.
Symbolic Motifs: Every painting showcases Meitei beliefs, traditions, and worldviews and hence they are not art; they are cultural artifacts.
Subika Laishaba: The Most Authentic Manuscript
Subika Laishaba, being the most genuine manuscript of the Subika paintings, is the epitome of Meitei artwork and heritage. It is unique in that it utilizes handmade paper as a medium, which has been prepared with great care using traditional methods passed from generation to generation. The paintings are imbued with natural pigments and organic textures, guaranteeing their authenticity and strong affinity with nature.
Every painting has distinctive artistic elements that graphically illustrate the Meitei lifestyle, using symbols, motifs, and themes of culture which mirror the people’s beliefs, traditions, and historical events. The very care given to its creation makes Subika Laishaba a precious contribution to Manipur’s art legacy.
Conservation of Subika Paintings
Through the years, Subika paintings have deteriorated because of lack of attention. There is, however, an attempt to revive them. Dr. Sapha Yumnam, a well-known artist, has been a central figure in researching and reviving Subika paintings. His association with historian Wangam Somorjit has facilitated the production of new paintings in this art form.
Dr. Sapha has also depicted books such as ‘And That Is Why’ and ‘Feathers, Fools, and Farts: Manipuri Folktales Retold’, popularizing Subika art internationally.
An Exhibition titled “Manipuri Mythology and Folklore” showcasing Subika Art by Dr. Sapha Yumnam
Picture Credit :: Khuman
See Archives News Photo @ https://t.co/ERhSsrhIxl pic.twitter.com/JBfeNiaTC0
— E-Pao Manipur (@epaomanipur) July 28, 2024
🎨 *EXHIBITION OF MODERN SUBIKA ART* 🖌️
Organized by the Department of Fine Arts, Manipur University, on 28th Jan 2025.
Experience the beauty of creativity and innovation through modern Subika art! 🌟✨ #FineArts #SubikaArt #ManipurUniversity pic.twitter.com/xUlZT4LTnt
— Manipur University (@ManipurUniverse) January 28, 2025
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Khambana Kao Phaba: A Legendary Painting from Manipur
Khambana Kao Phaba (meaning Khamba capturing the Kao bull) is a famous oil canvas painting created in 2001 by renowned Manipuri artists M. Betombi Singh and Gopal Sharma. This painting illustrates a dramatic scene from the legendary Epic of Moirang, where the hero Khamba tames a powerful bull named Kao.
The artwork gained national recognition when it was featured in the “Exhibit of the Month” series at the Indira Gandhi Rashtriya Manav Sangrahalaya (IGRMS) Museum in July 2019.
The Legend Behind the Painting
The painting narrates an important historical and mythological episode from the ancient Moirang Kingdom of Manipur.
The legendary tale of Khamba and Kongyamba is one of jealousy, rivalry, and ultimate triumph. Khamba, a brave and righteous warrior, found himself at odds with Angom Nongban Kongyamba, a wealthy and powerful nobleman who envied Khamba’s strength and growing reputation. In an attempt to eliminate his rival, Kongyamba devised a deadly plot, he challenged Khamba to capture the wild Kao bull, a ferocious beast feared by many.
The plan was sinister; Kongyamba hoped that the untamed bull would kill Khamba, ending his competition once and for all. However, what Kongyamba didn’t know was that Khamba had a hidden advantage, the Kao bull had once belonged to Khamba’s father’s cattle herd, a crucial detail that would turn the battle in Khamba’s favor.
With unwavering confidence, Khamba approached the mighty Kao bull, a beast feared by many for its wild and untamed nature. Instead of resorting to force, Khamba used wisdom and connection, he gently whispered his father’s name into the bull’s ear, a name that Kao still remembered. As he pulled out a silk rope, a familiar object from its past, the fierce bull recognized the bond it once shared with Khamba’s family.
In a moment of unexpected submission, Kao lowered its head in acceptance, acknowledging Khamba as its rightful master. This astounding act of trust and recognition not only thwarted Kongyamba’s sinister plan but also solidified Khamba’s status as a legendary warrior, celebrated for both his bravery and intelligence.
The Creation and Legacy of the Painting
The Khambana Kao Phaba painting, which immortalizes this legendary event, was masterfully completed by M. Betombi Singh at the age of 93 inside Sana Konung Palace, Imphal. The artwork’s historical and artistic significance led to its acquisition by the Indira Gandhi Rashtriya Manav Sangrahalaya (IGRMS) Museum, where it remains a permanent exhibit, admired by art lovers, cultural scholars, and historians. Over the years, the painting has drawn praise from numerous dignitaries, including R.K. Chaturvedi from the Union Ministry of Culture, further cementing its place in India’s rich artistic heritage.
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Khamen Chatpa: The Royal Textile of Manipur
Khamen Chatpa is a traditional Meitei silk loincloth (pheijom), known for its intricate purple scroll patterns stamped using wooden blocks. Historically, it was an exclusive fabric worn by royals, nobles, and scholars in Manipur. Today, it continues to hold cultural and religious significance, especially during Lai Haraoba, the sacred festival of the Meitei people.
The term “Khamen Chatpa” translates to “a line of work with the purple color of a brinjal” in the Meitei language. The purple or maroon patterns symbolize power, wisdom, and lineage, making it an essential textile for those of high status.
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Historical and Cultural Significance
During the monarchical era, Khamen Chatpa was a symbol of honor and privilege, exclusively worn by royals and high-ranking officials. This exquisite silk fabric, adorned with intricate purple scroll patterns, was reserved for individuals of noble birth or remarkable achievement. It was often gifted by the Maharaja to scholars, warriors, and esteemed individuals as a mark of distinction and recognition.
The common people were strictly prohibited from wearing Khamen Chatpa, reinforcing its status as a garment of prestige and a reflection of power, wisdom, and lineage in Meitei society.
Beyond its royal significance, Khamen Chatpa holds deep spiritual and ritualistic value in Meitei culture. It is an essential attire for Pena singers (traditional musicians) and Amaibas (priests), who play a crucial role in religious ceremonies and sacred performances.
The design motifs of Khamen Chatpa are inspired by the legendary serpent god Pakhangba, a revered figure in Meitei mythology, further elevating its spiritual significance. Due to its sacred association, women do not wear Khamen Chatpa during their menstrual period, as a mark of respect and reverence toward its divine origins.
Design and Craftsmanship
Unique Patterns and Techniques
Khamen Chatpa is distinguished by its intricate hand block-printed designs, crafted using dark purple or maroon dyes on silk fabric. The patterns consist of stylized floral scrolls and motifs, which are deeply symbolic, representing divine power and noble lineage. Traditionally, Khamen Chatpa was exclusively made of pure silk, enhancing its luxurious and sacred appeal. However, with evolving times, artisans have begun incorporating cotton and silk blends, making the fabric more accessible while retaining its cultural essence.
Variants and Usage
The exquisite patterns of Khamen Chatpa are featured on various traditional garments, each serving a unique purpose in Meitei cultural and religious practices. The pheijom, a loincloth, is primarily worn by men during religious ceremonies and festivals. The innaphee, a shawl, is draped over the shoulders, signifying grace and respect. Nobility and high-ranking individuals adorn phurit (shirts) and kokyet (turbans), while kwangchet (waistbands) are used as a mark of distinction and honor. Additionally, the seven different color variants of Khamen Chatpa correspond to the seven clans of the Meitei community—Mangang (Ningthouja), Luwang, Khuman, Moirang, Angom, Khaba Nganba, and Sarang Leishangthem—further embedding ancestral identity and heritage into the fabric.
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Sacred Handling of the Fabric
Due to its spiritual and royal significance, Khamen Chatpa requires special care and handling. It cannot be washed with ordinary clothing, as it is considered a sacred textile. Instead, it is washed separately and handled with reverence. When a Khamen Chatpa cloth becomes old or worn-out, it is not discarded casually. Instead, it is either buried underground or submerged in water, following a ritualistic process that aligns with Meitei beliefs about purity and respect for sacred objects.
Modern Adaptations and Revival
Once an exclusive fabric worn only by royalty and nobility, Khamen Chatpa has now found its way into contemporary fashion, blending tradition with modernity. While the original silk-printed fabric remains a symbol of prestige, artisans have begun using cotton and cotton-silk blends to make Khamen Chatpa more accessible to the general public.
Today, its intricate patterns are seen in modern clothing, accessories, and decorative textiles, allowing a wider audience to appreciate this rich cultural heritage. Despite these adaptations, the silk-printed Khamen Chatpa continues to hold immense cultural and religious significance, especially during Meitei festivals and sacred ceremonies, ensuring that its legacy remains intact.
RKCS and the Tradition of Manipuri Historical Art
Within the realm of Manipuri fine arts, Rajkumar Chandrajitsana Singh (RKCS) is a name that stands out as a pioneer of historical and mythological paintings. Born in 1924 in Keishamthong, Imphal, RKCS devoted his life to visually narrating the history of Manipur. He established the RKCS Chitralaya Art Studio in 1947, producing an astonishing 10,000+ paintings that brought to life the rich history, folklore, and traditions of Manipur. His most notable work, a 72-painting series depicting Manipur’s history from 1709 to 1949, was exhibited in 1990, earning widespread acclaim.
