Cultural syncretism: an investigative study of nineteenth century Sikh Fresco paintings in Baba Sir Khem Singh Bedi’s Haveli in Punjab/Pakistan

ABSTRACT

This paper is an exploration and investigation of the frescoes that decorate the majestic haveli (mansion) of Baba Sir Khem Singh Bedi (1832–1905), a Sikh social and education reformer and religious leader. The haveli was constructed in the late nineteenth century. The frescoes are beautiful and interesting in themselves and fill the walls with a plethora of colour and design. They are unique because they represent three religions and cultures, i.e. Sikhism, Hinduism and Islam. Thus this art work is evidence of cultural syncretism. This study used ethnographic field research of the subject at the site and analysis of secondary data. Through close examination of and interpreting these icons this study concluded that this collection must have been Baba Khem Singh’s tribute to the religious and historical personalities he admired; his intention to depict the Sikh religion in its truer sense of belief in a more inclusive theology and his own practical and benevolent religious idealism and also to promote cross culture/religious harmony. This study surmised that displaying these frescoes in his domestic environment gave this ‘pilgrim of the soul’ a transcendental sense of security, protection and certitude in portraying a broader and friendlier universe. The condition of the historic haveli is deteriorating rapidly and the government has not designated it as a heritage site so that it may be protected. Therefore, this study would like to suggest that perhaps UNESCO might consider this site worth conserving.

KEYWORDS:

• Aesthetic taste
• cultural syncretism
• ethnographic research
• fresco painting
• mansion

Disclosure statement

No potential conflict of interest was reported by the author.

Notes

1. With the decline of the Mughal court governors of Rajasthan and the Pahari (mountainous) regions took over patronage of painting from the 19th century onwards. There was greater East Indian influence and Indian deities and mythology also became a subject of these paintings. Kangra miniatures are one of the schools of Pahari miniature painting.

2. Dehin is an Indic term which refers to an ensemble of a form taken by the artist from natural life. It consists of three parts: pedestal, a vase poised on the pedestal and a bouquet of jhar (flower). Dehin was considered as an integral part of fresco paintings.

3. Both Hindu deities wearing chogha (a type of dress) but in two different colours with waistband and gold crown.

Additional information

Notes on contributors

Muhammad Asghar

Muhammad Asghar holds a PhD in Design from Muthesius University of Fine Arts and Design in Kiel Germany in 2015 and MS in Print and Publishing from Stuttgart Media University in Stuttgart, Germany in 2012 under Higher Education Commission of Pakistan (HEC) and German Academic Exchange Service (DAAD) Scholarships. He has published a book titled “The Sacred and the Secular: Aesthetics in the Domestic Spaces of Punjab/Pakistan” with LitVerlag Zurich, Switzerland in 2016. He has published widely in HEC indigenous recognized journals as well as in international impact factor journals on the variety of topics related to local visual arts. He has won HEC Thematic Research Grant of RKR. 4 million in 2016. He is a HEC approved PhD Supervisor in the discipline of Art and Design. He is currently working as an Assistant Professor at the Institute of Art and Design, Government College University Faisalabad, Pakistan.