The primary purpose of this article is to discuss the new (1995) book on Sikh calendar art. But it is considered here with the earlier one by McLeod. These are the only illustrated books on Sikh "calendar" art, and although McLeod's book appeared almost five years ago, it has not been widely noted. The two also differ widely in their scope and treatment of Sikh heritage. Surveying the two books together allows me to recast a book review into a commentary on "popular" art inspired by Sikhism.

Sikh art and architecture have long been the neglected stepchildren of Sikh scholarship. Much has been written about Sikhs - their theology, history, politics, culture etc. - but not about their architecture. Sporadic, incomplete attempts to define and discuss Sikh art exist as early efforts by Surjit Hans and Madanjit Kaur, brief references by Patwant Singh in his book on the Golden Temple, and a limited foray by the California-based Sikh Foundation in one issue of their now defunct quarterly Sikh Sansar.

McLeod's book evolved after he saw Hindu Epics: Myths and Legends in Popular Illustrations by Vassilis G. Vitsaxis, the former Greek Ambassador to India. In his introduction McLeod notes that popular art, like popular music, is easy to criticize. He is right. At first glance any minimally cultured reader will cringe at this collection of "bazaar" or calendar art. This was also McLeod's initial reaction. But he went beyond it to compile this book. Any Sikh who is aware of the controversy surrounding McLeod's writings would further wonder if these garish examples of "art" - his collection is truly tawdry - were collected to embarrass the Sikhs. Such gut responses should however be resisted.

When better and more sophisticated renderings of Sikh themes are available in all kinds of media and art forms - even abstract art - why focus on this lowest denominator of what is seen on calendars for the semi-literate?

Whether as images of Jesus, Madonna, Marilyn Monroe, or as spreads in Playboy, calendar art is never very sophisticated, or intellectually and emotionally gratifying. But this art form exists in all cultures. So it can't be entirely pointless and shouldn't be summarily written off. McLeod provides a thoughtful analysis of Sikh art.

McLeod's is also the first serious attempt to interpret Sikh calendar art. But he does more than that. He starts with a useful working definition of Sikh art. It could be produced by Sikh artists, created under Sikh patronage, offer a distinctive Sikh style, produced in a territory dominated by Sikhs, and/or highlight Sikh themes.

McLeod then presents a nice historical survey of Punjabi art and the influences on it - whether Mughal, Pahari or British. Tracing a simple, coherent story of Sikh history through posters, he explores how the predominant Hindu society has molded this art form, finally analyzing 54 examples of such poster art. It is interesting that the first collector of popular Sikh art was Lockland Kipling, the father of Rudyard of Jungle Book fame.

In McLeod's collection the artist is not always identified, perhaps he was not always known. Certainly not all examples are by Sikh artists, thus accounting for the mix of Sikh themes with non-Sikh perceptions. It is easy to see where attempts are made to mythologize the Gurus or Sikh martyrs.

In McLeod's collection the paintings are often two-dimensional with simple but vivid colors. Blue, saffron and yellow dominate. Baden-Powell (quoted by McLeod) speaking of the Punjabi had noted, "…his colour is often exaggerated but it is always warm and rich and fearless." McLeod finds little subtlety in their art but notes that Sikhs, predominantly fighters and farmers, had little peace since their inception. Village and folk art is often vibrant and unrefined, but it shapes and defines how folks view themselves. Also clear from the posters are examples of Punjabi embroidery, costumes, designs, colors etc.

The 1995 book conceived by Bains thoughtfully transcends most of these limitations.

Better artists like Sobha Singh and Thakur Singh have also produced their share of popular calendar art that was not included by McLeod because their technique and approach placed them outside the pale of popular calendar art. In 1969 Arpita Singh, working with Khushwant Singh, produced some interestingly detailed and rich illustrations to accompany hymns of Guru Nanak. Har Dev Singh (1987) produced abstract art to the poetry of Barah Maha Tukhari of Guru Nanak. They produced modern popular Sikh art but not calendar art, so McLeod has not included them.

Although he presents inferior art, McLeod's work is the first serious interpretation of an art of Sikh art. Although a lineal descendent of the same art form, the present collection by Punjab and Sind Bank is so different as to be worlds apart. Particularly during the past two decades, under the aegis of the Punjab and Sind Bank and, later PSB Finance, there was a significant change in the quality of popular "calendar" art on Sikh themes. This new genre of art is much easier on the eyes, showing improved technique and perspective. Although it is in the same class as pop art, McLeod fails to include it. It is this art, which forms the 1995 book conceived by Bains.

In the book conceived by Bains there are 119 paintings in all. Sikh history from the Gurus to Maharaja Ranjit Singh is well represented. There is even one plate from the period of the Gurdwara reform movement. A set of paintings illustrates the Barah Maha Tukhari of Guru Nanak. Sikh themes have been carefully and wisely selected - such as the dignity of labor, equality of women, love of mankind, helping the needy, Kaar sewa, Amrit ceremony etc. Each scene beautifully illustrates a lesson from Sikh history and drives it home clearly and forcefully. Each painting is accompanied by a tastefully written and informative commentary in English describing the scene. An appendix provides the same information in Punjabi and Hindi.

The paintings commissioned by the Punjab and Sind Bank over the past two decades graced calendars distributed by the Bank. So this is the new Sikh calendar art in the footsteps of the collection by McLeod. But in this book there are no mixed themes, no Hindu idols of gods and goddesses. Here the art is much more sophisticated, the artists are significantly better. Ten artists - both Hindu and Sikh - are represented. The artists are listed on the inside cover of the book. I think the book would be more useful if some information was provided on each artist and his style, and if each painting's artist was individually identified. Unfortunately this is not done. Except for a very general introduction by Mulk Raj Anand on the basic tenets and teachings of Sikhism, the book contains neither a coherent summary of Sikhism nor any discussion on Sikh art or artists.

The glossy reproductions are superb and expensively produced. The clearly highlight the labors of first-rate artists, skilled and devoted to their craft and to Sikhism. Bains suggests that an exhibit of the original paintings is planned; it should arouse significant interest.

Besides the natural embarrassment suffered by a cultured mind when confronted by inferior art such as presented in McLeod's book, Sikhs have been reluctant to endorse pictures of Gurus for two sensible reasons. No authoritative likeness of any Guru exists, and the danger that a picture will become an icon. The latter would be contrary to Sikh teaching.

However, popular art like popular writing - even dime store stuff - remains a powerful window into popular notions and understanding of a people, in this case Sikhism, the Gurus and Sikh history. In that sense they are no less valid sources of history, particularly social history, than many first person accounts written by non-historians. History doesn't come to historians in neat packages. They create the discipline by interpreting data from such artifacts as art, diaries or letters. For instance, a most powerful document on seventeenth century London is Samuel Pepys' diary, and of the persecution of Jews under Nazism, the diary of Anne Frank. Notwithstanding Andy Warhol, pop art and pop history are important to both defining and understanding a people.

Calendar art, which illustrates parables and events from Sikh history, thus becomes a logical continuation of the illustrated janam sakhis. In Sikh art, therefore, Gurus and martyrs are highlighted.

Both books deal with Sikh calendar art. But there is such a world of difference between McLeod's selections and the ones in the Bains book in terms of the quality of art as well as the thematic content that one wonders if they are talking of the same religion. The problem, of course, is rooted in the Indian society, which is highly stratified along lines of education and economics. In every sense of the word it remains a society of unequals. McLeod's collection represents Sikh calendar art, which is still found in small towns and the countryside, whereas the Punjab and Sind Bank book derives its inspiration from the very rich tradition of Christian art in the best of European cathedrals. This two tier view of history and Sikh heritage exemplified by these two books is illustrative not of any dichotomy in Sikh heritage or history but is reflective of an unfortunate reality. It poignantly defines India as a land of "haves and nave nots."

Whereas McLeod's book was better at discussing art, Bains collection is an excellent coffee-table book providing very palatable and pleasant capsules of important events in Sikh history. McLeod concludes by opining that the current struggle of the Sikhs in India will also find expression through pop art. In that he is right. Bains' selection includes one painting from the days of the Gurdwara reform movement. I am sure the events of 1984 will be reflected in Sikh folk art as soon as the political climate in India becomes less repressive.

For each poster, both books present an accompanying parable from the lives of the Gurus or the martyrs, illustrating some vignette or lesson of Sikh history and religion. What emerges from the books is a straightforward account of Sikhism as the Sikh masses and their friends see it. It is not a historian's view - weighed, measured, distilled and refined, yet imperfect.

Sikh history has been most colorful. From the Gurus to martyrs like the sons of Guru Gobind Singh or Baba Dip Singh, figures larger than life have dominated the canvas. They live through Punjab's folk art, however unformed it may appear. In the popular view there are few "cunning passages or contrived corridors" to history.

This review was written in December 1993.

Dr. Inder Jit Singh is Professor & Co-ordinator in Anatomy, New York University. Among other publications, he is the author of two books: 'Sikhs and Sikhism: A View With a Bias' and 'The Sikhs Way: A Pilgrims Progress'.

I.J. Singh is on the editorial advisory board of 'The Sikh Review', Calcutta and 'The Encyclopedia of Sikhism', Punjabi University, Patiala.

Feedback is welcome: ijs1.