Aipan is an auspicious ritualistic folk art, highly practiced in Uttarakhand specifically in the region of Kumaon where it originated and still prevalent. It symbolizes propitious occasions, festivals and even performed during the time of funeral rites. According to local belief, it provides protection against evil. In earlier times, it was painted on the floors and walls of the houses but with the passage of time, people started practicing it on objects as well as clothing pieces.
Aipan, a word derived from Sanskrit word ‘Lepana’ which means’ doing plaster’ and commonly called Likhai flourished in Almora district during the rule of the Chand dynasty established by Som Chand who ruled the kurmanchal from 700-1790 CE. It was later disseminated to different parts of Kumaon through the process of migration of communities who carried this art form with them.
This art form is made on a smooth platform or surface which is first cleaned and painted by applying wet ochre mud called ‘geru’ which is red in color. The designs are formed by applying a white paste which is made from grinded cooked rice mixed with water called ‘biswar’. The forms and patterns are made with the help of rings or fingers, mainly the three; index, middle and ring. On the doorsteps and tulsi or place of worship in particular long drawn lines are formed which are vertical in nature called as Vasudharas which is an integral part of aipan. These vasudharas are drawn in a pattern of odd numbers i.e. 5,7,9 or 11. This art is particularly done by women who transmit the knowledge to their daughters in seek of continuing the ancient ongoing legacy.
The procedure of painting the aipan starts and ends with a dot in the center which resembles the center of the universe from where all the other lines and patterns emerge showing the shifting form of the world around it. The motifs and symbols used are related to the religious beliefs and practices performed by the kumaonis and also some are picked up from their surroundings such as conch shell, creepers, floral patterns, swastika, goddess footsteps, geometric desires and most of the time gods and goddesses figurines.
There are several forms of aipan symbolizing different festivals and rituals. Saraswati Chowki is made during the puja when a child starts pursuing education. The main feature of this is 5 pointer stars with swastika, flower or diya made in the center. Chamunda Hast Chowki is made during the havanas or yagyas where two triangles interspersed with two diagonals line running across both and have a 5 pointed star in between which is enclosed by a circle and the remaining gaps are filled with lakshmi feet. Nav Durga Chowki is made during the Durga puja basically two times in a year where 9 dots represent Goddess Durga in her 9 forms. Shivarchan peeth is formed by placing 28 or 108 Parthiv linga on a copper thali which depicts the isht dev or clan deity of the Himalayas i.e. Lord Shiva and then aipan are drawn on the ground where 8 cornered designs with 12 dots are joined by 12 lines. Janeyu Chowki is painted during the time of sacred thread ceremony where the 7 stars depict saptarishis. Dhuli Arghya Chowki is essential during the time of wedding in which the dulha or bridegroom who comes to bride’s home barefoot stands on the chowki which depicts a tree with three branches symbolizing the trishul. Jyoti Patta is an ancient tradition which is mainly performed by Brahmins and Sah families of Kumaon who still make this aipan during the wedding rituals. In this practice, the Jyoonti, a local word for Jeev Matrikas; Maha Lakshmi, Maha Kali, Maha Saraswati, the murals are painted on the wall of the room where rituals and ceremonies will take place. However, nowadays, it is made on paper, hardboard and plywood also. An example of this can be seen in the Bagnath temple of Bageshwar which has a panel of Matrikas dating back to the 9th century. This form of aipan signifies an invitation to the gods and goddesses to attend the wedding and bless the newly weds. Bhuiyan refers to the negative and bad omen which are drawn on the outer side of soop in an ugly demon form and on the inner side lakshmi narayan. On a particular day this soop is beaten with a sugarcane stick which depicts the ousting of bad omen and welcoming of wealth, health and prosperity. The last but not the least is Lakshmi Yantra, a chowki made on diwali for the seat of Goddess Lakshmi.
With the advancement of science and technology, the humans are diverting towards the theme of modernisation by leaving their culture and tradition which remains untouched and later lose its significance. However, the youth of the Kumaon region has started preserving their legacy by using this folk art as a medium for generating income by selling and popularizing their culture through the innovative and advanced mode of technologies and promoted it on the social media platforms which provides a ray of hope to secure the long coming tradition and legacy of the Kumaon community.
