'The Monkey Leader Angada Steals Ravana's Crown from His Fortress', a painting from the master painter Manaku's 'Siege of Lanka' folio, is a dynamic painting through and through, as the viewer is dropped straight into narrative action. The second artwork in this three part incomplete folio, this painting uses Pahari techniques with prominence to achieve this narrative in motion. The painting tells the story of the monkey warrior Angada, the son of warrior Bali, as he steals the demon King Ravana's crown to give to Vibhishana, Ravana's brother and the rightful King of Lanka. The movement of Angada is the prime exhibitor of Pahari elements in the painting, representing the erasure technique of letting go: with layers and layers of drawing and underdrawing, and final touches of outlines, though it is notable that the technique's incompleteness is evident in certain areas of detail, in comparison to the other two paintings in the folio. It adds to the brilliance of Manaku that parts of this painting was painted by memory, a testament to the artwork's fine artistry and watercolour beauty. Though creative liberties were taken in specific areas, like in the imagery of the crown, it is no less than greatness, that Manaku of Guler has achieved with 'The Monkey Leader Angada Steals Ravana's Crown from His Fortress'.
Manaku’s painting brings to life one of the most exciting moments in the Ramayana when Angada boldly enters the fortress of Ravana and steals his crown. What’s even more interesting about the picture is the sense of movement that runs through the entire scene. Angada appears in different places of the fortress, so the viewer can almost follow him while he is jumping, fighting demons, taking the crown and returning to Rama. Walls, buildings, figures, and the crowded fortress evoke a sense of chaos and adventure. The crown itself is more than a mere prized object. It is a symbol of Ravana’s power and authority and the removal of it is a symbolic sign of his rule starting to fall apart. This episode is also interesting because the story is not found in Valmiki’s Ramayana. It shows how artists and storytellers could adapt the epic and add new details to make its message more powerful. The painting remains unfinished in places, but that does not detract from its charm. Rather, the visible brushwork creates a sense of spontaneity, and makes the energy of Angada’s adventure more evident.
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By: Kamalika Das
The Monkey Leader Angada Steals Ravana’s Crown from His Fortress, from Manaku’s Siege of Lanka folio, is a dynamic painting that places the viewer directly within the action. As the second artwork in this three-part incomplete folio, it uses prominent Pahari techniques to create movement and narrative energy. The painting depicts Angada, son of Bali, stealing Ravana’s crown to present to Vibhishana, Ravana’s brother and the rightful king of Lanka. Angada’s movement is central to the composition and reflects Manaku’s skill in conveying action through gesture and line. The layers of drawing, underdrawing, and final outlines reveal the process of developing the figure, while the unfinished details distinguish this work from the more resolved paintings in the folio. Manaku’s reliance on memory in parts of the composition further demonstrates his artistic mastery. His creative liberties, particularly in the depiction of the crown, add to the painting’s individuality. Through movement, expressive draftsmanship, and watercolour, Manaku transforms this episode from the Ramayana into a vivid and compelling scene.
