By Chandramani Singh - The conception of mapping the Universe at various scales grew up in human mind with its evolution. Bhuvankosh an ancient text has always been an important subject of the oldest Indian thought and literature. Ancient authors have communicated their concepts and facts of space through their composi¬tions which have come down to us in oral and written forms. No doubt, they must have illustrated their findings by menas of crude lines and drawings before committing them to written language. Instances can be quoted from Puranas, Kavyas and dramas where in drawing mapping have been used as a graphic language and an inspiring instrument for explaining various situations. Maps and car¬tographs often serve as powerful medium to revive forgotten personalities and historical events. Maps are necessary for a systematic study of history and geography, paintings and town planning.

Ancient Indian literature reveals that the Indians had a developed knowledge of geography but unfortunately there is not a single cartograph to provide a visual example. One cartograph engraved on stone slab is re¬ported to be in the collection of the British Museum, London. It is believed that the very old ones are, either lost or destroyed because of the humid climate of this country. The earliest examples which we come across are mythical or religious ones, from the 15th century. They are cosmological paintings or maps executed in old Hindu and Jain traditions: at this stage a number of large cloth paintings can be referred to, their subject being Jambudvipa and panchtirthi pata. They are mythological in nature and imaginative in their appearence; representing the common Indian concept of the Universe and its sacred geography.

The realistic examples which can be called geographic representations are available to us only from the later part of the 16th century and more from the 17th.

A map from the collection of M. (Maharaja) S. Jai Singh (1699-1743) could be men¬tioned here. Tjis multicoloured map is painted on cloth. All important places are la¬belled in and these labels indicate that it is not an original work but a copy of an Euro¬pean map which is perhaps lost. Treatment of water, nature and symbolism is fully European, but comments written at places presents other side of the coin - that the painter was aware of what he painted, he did not copy blindly. He also writes that `the world as it was seen in 1669'; he further adds that the firangee say that the world as they knew it.

The map shows longitudes and latitudes; India is shown in this map but the positions of places are not correct, for example a medieval town of Bengal, Sonargam is depicted in extreme North while it should be in the East. The script and mode of writing suggest that it is an early 18th. C. work and prepared at Amber/Jaipur. The palette is also close to the other maps of the period of M.S. Jai Singh. A similar cloth painting showing pla¬nets also indicate that the painters at the court of Sawai Jai Singh were familiar with Western motifis used for such paintings. The nature of maps available in collections

1. For surveying land and people - Maps prepared for survey purposes are austere in their look. They have only black lines and sometimes place - names are written in red ink, while in most cases place-names are also in black. In some cases contours are also shown. A sketch map of Gujarat indicate places of importance for various reasons. For example, port of Amrai; marshy land of kutch full of sand where good horses and camels (are found): chiefs of this land were yadavas and at present Jadejas (rule here); a lake which is thirty kos broad; salt is made with river water and sold in Jhalawar; Idar town is under Rathores; Anhilpur, fort of Girnar, Jain temple, fort of Junagarth etc. land of Rajputs; Baghelas live here, beautiful bandhanis (fabric with tie-dyed patterns) are sold; fort of Surat, Port of Ghogha, important port Patan and Prabhas Tirth, where SriKrishna left for heavenly abode (passed away).

Above mentioned notes are written in different coloured ink.

Plan of Gujarat Province (a detail)
17th century Gujarat 64 x 43.4cm
Drawn on paper, collection Maharaja of Jaipur

2. Detailed maps were made for military campaigns. Possibly Mughal cartographers mapped the entire Indian sub continent including Afghanistan and Burma. A number of them are still available to prove their skill and expertise in this field. It is said when Raja Man Singh was sent to subdue Afghans in Orissa in the last decade of the 16th cen¬tury, he followed a map, prepared by local cartographers.

A map illustrating Orissa (Jagannath) might have been prepared for a military expedition. But hard to say to what extent it is related with Raja Man Singh's expedition to orissa. Because it needs proper study in historical perspective.

After a war was over, report was sent to the Emperor alongwith a map showing land and forts captured. After the treaty with Shivaji, Mirza Raja Jai Singh 1612-1667) sent a report to the Emperor Aurangazeb alongwith a map. He also reported about the route he took for the Deccan. Two maps showing forts of Deccan and one depicting the route taken by Mirza Raja Jai Singh are prized possession of the former ruler of Jaipur. Maps are useful for studying the history of warfare also as it shows the route of the Imperial army, that followed, with names and location of the nobles and generals who participated in this battle. The qiladar (incharge of the fort) Rayaji Panwar's name is prominently written in it.

Forts of Shivaji the Maratha Chief
Mid. 17th century, 240 x 157cm
Painted on paper, collection Maharaja of Jaipur

3. Land was measured and a blue print prepared when it was transferred from one hand to the other. A survey type simple map was made for a Jaipur ruler when he wanted to buy a large piece of land in Varanasi. The plan bears place-names along with conditions of land owners, who wanted to sell on, for example, (land) of Revati Brahman (who) is willing to sell only if he gets a plot of land in exchange; in some cases the owner does not want to sell his land at all. Some of the important spots in the plan are - shops, bazars, bathing ghats constructed by the rulers of Mysore in South India; (a temple) of Mahadeva (Lord Shiva) of Deccanis (word by people by people from Southern India); Manikarnika Ghat - bathing place on the bank of the river Ganga where cremation takes place; road to the ghat Manikarnika; villa of Bhupalrai, land of Atmaram; Villa of Agrawalas; mosque at Gyanvapi; a lane called Kachaurigali; quadrangle and land of Raja Todarmal, a minister at the Mughat Court, measuring approximately 22000 sq. yards; house and land of Abdul Bari, villa of Rajab Ali, residence of Sweet - sellers and perfume market.

Plan of a Kunj (villa) a detail
Amber late 17th century, 229 x 226cm
Painted on paper, collection Maharaja of Jaipur

Whenever a new building was constructed, a repair took place or a city wall was erected, plan was prepared, measured drawing was made and then execution took place. Jaipur collection is immensely rich in architectural drawings. It includes plans of Man Mandir at Varanasi, buildings at Rajoregarh near Aiwar, proposed placed at Ranthambhor which perhaps were never constructed. The Ustagar (chief architect), which is a corrupt form of Sanskrit Vasfukar, was responsible colour schemes, patterns for carving and designing doors.

Plan of Kashi (a detail)
Mid. 17th century, 150 x 124.5cm
Drawn on paper, collection Maharaja of Jaipur