MeraPahad Community Of Uttarakhand Lovers

Himalayan Art
Art in Uttarakhand
Garhwali Abstract Artists
Artists of Uttarakhand
B . Mohan Negi : An Abstract Artist, Cartoonist and Initiator of Poetry  Poster 
                                      Bhishma Kukreti
  When art critics, literature historians will remember William Blake, Mervyn Peak, Amanda Mathews, Victor Hugo, Thomas Fundora, Wilhelm Busch,  Rabindra Nath Tagore ,  Taras Shevchenko,  Italian Agnolo Bronzino, Whyndham Lewis , Michelangelo Buonarroti , , Edward Lear, Leslie Gillette Jackson, E.E Cummings, Munio Makkuchi , Maularam, , they will also cite the example of B .M Negi for his visual art and poetry creations.
Contribution in Uttarakhandi Journalism and Literature
   B Mohan Negi was born in village of Manyarsyun of Paudi Garhwal in 1949. After graduation, he joined postal department.
  Though, B Mohan Negi creates poetries in Garhwali and Hindi as well but  he is more interested in drawings . His main contribution to Uttarakhandi journalism and Garhwali language literature is to provide visual effects to the literature or reporting by his drawings,  mostly abstract form .
 Before the mergence of B Mohan Negi as an artist , before 1982 , there was no culture of providing drawings or visual effect to the literature among magazines, or newsletters of Uttarakhand. After emergence of B Mohan Negi in this arena, most of the magazines, newsletters request B. Mohan Negi for his paintings or drawings and without any hesitation , Negi obliged everybody.
Most of the Garhwali language literature creators use the drawings/paintings of Negi on the covers of their books. Now, B Mohan Negi is part and partial of Uttarakhandi literature and journalism. Mind! B Mohan Negi does not charge a single penny for his art
    Mostly B Mohan Negi uses black and white line drawings for his abstract paintings or  drawings. In his drawing , the audience  find more of women and those paintings or line drawings remind us the paintings  of Jackson Pollock, Marten Jenson , Howard David Johnson, James Abbott McNeill Whistler ,Wassily Kandinsky , Samuel Durkin, Helene Kippert, Harmony Nicholas Elena Ray Patricia  Ariel, who could show the high emotions of women in their colour abstract paintings . There is struggle, winning spirit , loneliness, hope, sadness, in the women of B, Mohan Negi and audience easily connect himself with the emotion of woman in the drawings of Negi.. There is humour, there is bravery, there is pathos, there is fatigue, there joy, there is agile, there is detachment, there is Vastly (parenting) , and all humanly emotions in the thousands of paintings/drawings of B Mohan Negi. However, this author is still to see abhorrence in the drawings of Negi.
When this author had a telephonic talk with B Mohan Negi on 28th April 2010 about his statement on painting about Garhwali women in his paintings, he said “ In my mind, though a painting is nothing more than a painting itself but simultaneously my childhood spent in villages of hills come in the mind. By nature,  I am poet . It's a touch of experiencing the conditions in Garhwali villages , the loneliness of Garhwali women whose husbands are gone to plains for service and their helplessness but with the struggling and winning nature of Garhwali women  I try to visualize their all emotions  and I feel it …and then paint …”
 B . Mohan Negi said to me that he dreams a lot and it seems that unconsciously, Negi follows  an artist Andrew Wyeth who said ,I dream a lot. I do more painting when I'm not painting. It's in the subconscious”
   Madan Duklan the editor of Hamari Chitthi , wherein B .Mohan contributes for each edition, says that apart Pahadi Aurat (woman of Hills), we may find Garhwal and its natural beauty in the abstract drawings of B.Mohan Negi and Duklan further says that when ever he sees the Garhwal’s geographical nature in the drawings of B Mohan negi , Duklan remembers the quote of famous French impressionist Paul Gaugun, “ Do not copy nature too much. Art is an abstraction." . Same way, when Manju Naithani Dhoundiyal (again one of the admirer of Negi’s drawing) sess the drwaing of Negi in Hamari chitthi, Uttarakhand Khabar Sar , Manju remembers the quote of  American painter Wayne Thiebaud ,"A conscious decision to eliminate certain details and include selective bits of personal experiences or perceptual nuances, gives the painting more of a multi-dimension than when it is done directly as a visual recording. This results in a kind of abstraction... and thus avoids the pitfalls of mere decoration."
  Girish Dhoundiyal , an admirer of B Mohan Negi’s creation, says that it seems that as if American expressionist Arshile Gorky (1904-1948), studied the drawings of B Mohan Negi who once, said,  "Abstraction allows man to see with his mind what he cannot physically see with his eyes. . . . Abstract art enables the artist to perceive beyond the tangible, to extract the infinite out of the finite. It is the emancipation of the mind. It is an explosion into unknown areas."
    Puran Pant Pathik (a Garhwali language poet and editor of Garhwali language weekly Garhwalai Dhai) says that the drawings of B.Mohan Negi are as said by American Expressionist  Robert Motherwell “ The need for abstract art is felt experience — intense, immediate, direct, subtle, unified, warm, vivid, rhythmic."
  No doubt, B Mohan’s most art works is in abstract form of art but there is realism in his art as said by Frank Stella ,” "Abstract paintings must be as real as those created by the 16th century Italians."
Initiation of Kavita Poster -Poetry Posters
If Lokesh Navani is credited for poetry movement in Garhwal , B Mohan Negi initiated Kavita -Poetry Poster Movement in Garhwal and Dehradun. The posters display the visual effects of poetries of various poets  written on poster . This experiments and exhibitions became a source of popularizing modern Garhwali poetry in Garhwal
   B Mohan Negi as first cartoonist of Garhwali Language
 B Mohan Negi is first ever cartoonist of Garhwali language and Hilans a monthly magazine from Mumbai published his cartoon first time in the history of Garhwali language cartooning world. His cartoons deliver full image of villages and persons and speak the wholeness of the atmosphere. Being a soft person by nature, the language of his cartoon is very sober or soft in wordings but capable of attacking the wrong happenings in rural Garhwal. The readers may see geographical nature of Garhwal in his cartoons.
B Mohan Negi as Poet of Garhwali and Hindi languages
B Mohan Negi also creates poetries in Garhwali and Hindi. The subject of his verses are rural Garhwal.
Conclusion:
 Most of the art critics from Uttarakhand say that as Wassily Kandinsky,  Jackson Pollock, James McNeil Whistler , John Constable ,J.M W. Turner, Camille Corot, George Braque, Pablo  Picasso Paul Gauguin , Georges Seurat , Vincent van Gogh, Paul Cezanne, Andre Derain, Raoul Dufy, Femand Leger, Man Ray, Frontisek Kupka, Nataliya Gorchakov , Marry Callery, Mikhail Larionov, Kasimir Malevich, Piet Mondrian, Manilo Rho,  Karel Appel, K Kabro, Kurt Schwitters, Marcel Duchamp, Fernand Leger, Hung Liu, Jacques Lipchitz, Robert Natkin , hiroshi Matsumoto, Max Ernst,  Hilton Edwards, Diane Lifroy, Christine Maudy, Shane Garton,  John D Graham, Monica Araoz, Feng Feng, Jhong Biao, Warawut revolutionized the art world by their abstract art works, B. Mohan Negi revolutionized Uttarakhand art world by his abstract art and B Mohan Negi popularizes tha abstract art by providing his black and white abstract art to local news papers, magazines and literature creative to publish on their books. Uttarakhandis will remember B. Mohan Negi for popularizing art among common people .
Copyright@ Bhishma Kukreti, Mumbai ,India 2010

Satire and Fatkar     
              Producing a Garhwali Film
             Bhishma Kukreti
      Manmohan Jakhmola called Madan Mohan Duklan that he got a  financer for their dreamt project of a Garhwali film. man Mohan Jakhmola told Madan Duklan that the financer from Canada Mr Aswal  wants to meet with project team in Dehradun.
Within hours the project team was before Sanghvi
 Financer asked Madan Duklan,” how much is your budget?”
 Madan replied,” We Garhwali producers don’t make preplanned budget for our films . We do shootings as per the  financer’s pocket.”
Happily financer told,” Very good planning . What about the story? I  heard from my friends that  story is very important for the films.”
 Story writer Kulanand Ghansala answered,” The story is about the progress of Harijan communities in Garhwal that is ‘Utthan of Harijan and is definitely off beat story“
Financer commented,” Oh ! I was not knowing that Garhwali writers are also progressive in thinking who could think on better subjects than Saty Jeet Ray or Shyam Bengal ?”
Manmohan Jakhmola made him understand,” No ! No! We Garhwalis are intelligent but very rarely we use our intelligent in commercial purposes. Do not worry about off beat story “
 Financer told looking at Ghansala ,” Yes! We can not afford making film on too much regional subject”
 Ghansala replied,” Ok then I have ready stories and screenplays  based on Hindi hit films as Shole, Sangam, or Lagan and we will call them Garhwali Sholey, Garhwali Sangam, garhwali lagan or Garhwali Three idiots.”
 Financer said,” But those stories are too much Indian. There should be some impression of Garhwali and Garhwal. In my opinion you should write the story mixing the stories of Sholey, Pather Panchali, and stories of Mani Ratnam “
Ghansala confusingly asked,” How come will the atmosphere be Garhwal and garhwali if I mix these stories?”
Instead of financer , Manmohan Jakhmola replied and concluded.” Yar Ghansala Ji! The background is of Garhwal and hills of Garhwal and by that the aroma will automatically of Garhwal. Aswal ji don’t worry .tomorrow is Sunday and Ghansala ji will write complete story and screenplay in one day by mixing all hit films and some of new wave films.”
 Financer Aswal asked,” very fine !  then the worry of story is no more . What about music?
Music director Anil Molasi answered,” Madan Duklan has written seven very fine lyrics and all are best example of Garhwali culture and customs. I have perceived the  music based on our culture and customs and related to subject but now subject is changed I shall think again ”
Aswal cleared his views,” Yes! Forget about customs and culture .We are making a commercial film and you Garhwalis of Garhwal do not have even little bit sense of commerce. Madan Duklan Ji! You write lyrics based on current Hindi films and Molasi ji !  create music based on  Punjabi folk songs, south Indian folk songs and mix with  some English films.”
 Manmohan summed up,” Don’t worry Madan ji and Molasi ji are expert of mixing all types of creativity. What ever commercial sense will demand Madan Duklan and Anil Molasi will create .
Satisfied by statement of Manmohan, Aswal asked,” what about dialogues?”
Dialogue writer Hemat Bisht answered,” I shall write in pure Garhwali language according to scene an depth of the story.”
Aswal said, ”Oh ! You Garhwalis of Garhwal will never understand the value of commercial mind. Never write dialogues in pure Garhwali . The whole sentence should be in Hindi except verbs of Garhwali.”
Manmohan Jakhmola summed,” Don’t worry. Dialogues will have Hindi words except Garhwali verbs”
Aswal wanted to know,” Who is director?
Madan Duklan replied,” Ramesh Dobriyal and Janak Rawat will  direct the film  who have  directed more than twenty stage plays in Garhwali .”
Aswal remarked,” But film and stage plays are two different medium !”
Madan Duklan said,” Don’t worry sir! You have commercial sense, you will virtually direct the film and but on title , we shall put the name of Ramesh Dobriyal and Janak Rawat .”
Aswal pleasingly said,” Garhwalis are intelligent. That is why within half an hour you all understood my commercial  nature. Now deal is final and we shall meet on day after tomorrow  with complete story, screenplay, lyrics and music  theme”
(Story  is based on true incident but names are imaginary . If names tally with real persons, it is just coincidential )
Copyright@ Bhishma Kukreti , Mumbai, India, 2010

व्यंग्य , मजाक, मसखरी
Satire and Fatkar

                         My Village Achieving 100 % Modernity

                                     Bhishma Kukreti

In our childhood, my cousin Chandu Bhaiji dreamt for the modern life in Mumbai and I dreamt for a college teacher in rural Garhwal. However, it happened the opposite. He is a lecturer in an Inter college near by my village and I do job in Mumbai.

Before mobile of telephone came , we used to share our experiences through letters not through post office but through our area men going to area villages from Mumbai or coming to Mumbai from villages. Most of the time, I tell my memories of village life of my childhood and he tells the tales of my village achieving modernity.

Like other day, he gave miss call on my mobile, I called him again and he said, “ Bhishma ! Now, our village achieved fifty percent modernity“

.Happily I asked,” That is fine . What is new achievement?”

Chandu Bhaiji answered,” This year on Vasant Pinkham , we stopped putting Hariyali on upper part doors.”

I said ,” That’s fine. By the way, what about common toilets for villagers?’

He said, “ No I don’t think we shall get grant for the common toilets for the villagers. The government is asking fifty rupees from each family and no body is ready for such a useless utility for this money.”

Another day, he gave a miss call, I called him and he said,” Bhishma ! We got fifty five percent modernity in my village. From this year, we villagers stopped celebrating Makar Samkranti but started celebrating Valentine day. And even the older men and women enjoyed Valentine day celebration. Really valentine day is very enjoyable festival. By starting Valentine day celebration, we progressed two percent in achieving modernity and by stopping Makar Samkranti celebration, we got three percent achievement in progressing towards modernity in our village ”

I asked,” Bhaiji! Is there any progress for Patti Canal ? If that canal would be completed , the whole area would be irrigated “

He answered, “ No ! no body in the area is interested to bring irrigation canal because, canal means agriculture, horticulture and both are the sign of non-modernity. We all villagers are now, bent to reach hundred percent modernity in each village”

Like that after getting his gave miss call, I called him and asked, “ Bhaiji ! What happened electrification in the area?”

He answered with enthusiastically , “ No body is interested in electrification because, electricity bills are more than burden on us. But we got progress by five percent in achieving modernity. From this year, we villagers stopped celebrating First Day of Shak Sambat or Goodi Padiva and by that we could attain three percent progress in achieving modernity This year only, we stated celebrating christian new year on thirty fist Decemebr and first January . We all enjoyed Christian new year eve by taking alcoholic drinks by all including women folks of villages and we all danced whole night. Christian New year is better than our Hindu new year celebration from enjoyment point of view. By this we got two percent advancement in accomplishing modernity in our villages”

Concluding he said,” Till now , we have achieved eighty five percent modernity in our village.

I came know that my Taiji (Chandu Bhaiji’s mother) expired and I called him. And came to know that he was in funeral and offering pyre to Taiji’s dead body. After an hour he gave miss call, as usual I called him and said sadly, “ I am sorry Tai Ji expired. She was my second mother for me”

Happily and applaud he answered,” Yes mother is no more but our village achieved hundred percent modernity. Now our village is hundred percent modern”

I confusingly asked,, “ How come by the death of ttaiji our village is hundred percent modern”

Chandu Bhaiji answered joyfully, “ You know ! Mother was the only person in our village who used to speak in our mother tongue that is Garhwali language and forcefully me and my wife had to speak in Garhwali language with her. Now she is no more and no body will speak in Garhwali language in our village. Now, every body will talk in Hindi only. Bhishma ! We improved fifteen percent in realizing hundred percent modernity in the village. Now you can call us modern too.” He further informed me, “ All villagers decided that we shall celebrate this biggest ever achievement of hundred percent modernity on Terhveen (thirteenth day of death) of my mother and we shall take thirteen types of alcoholic drinks on that day”

Copyright@ Bhishma Kukreti, Mumbai, India, 2010

History of Himalayan Literature
History of Garhwali , Kumauni Literature
History of Garhwali poetry
Gwathani Gaon Bate: A Poetry Collection of  New Generation Poets
                                  Bhishma Kukreti
  The first collection of poetry collection in Garhwali language was Garhwali Kavitavali where the poems were of various Garhwali poets of that time. In between , eight poetry collections came in light where various poets contributed. Shailvani (1980) is a historical poetry collection, wherein poems of around eighty poets are published.
                         Gwathani Gaon Bate a poetry collection of various poets published in 2002 has different significance. All poets of this volume are of new generation and none is from Delhi. From 1947 to 2000, no Garhwali literature as this volume (collection of various poets) was not possible without contribution of Garhwali literature creative of Delhi. The contributing poets of Gwathani Gaon Bate are either from Dehradun or Garhwal region. The volume is witness of shifting of Garhwali literature capital from Delhi to Dehradun too. The poets of this volume were of new generation barring a couple of poets and most of them are the result of Uttarakhand movement. Therefore, this volume has very specific significance in Garhwali poetry world.
   Yong poet, editor of Chitthi Patri Madan Duklan is the editor of this volume. Samay Saxy is the publisher. Again, the publisher Ranu Bisht is of new generation and perhaps she is the first Garhwali female coming in the field of publishing regional language literature. Emergence of Ranu Bisht is also an historical aspect that a female Garhwali entered in the business of publication of regional language literature.
     The poems are representatives of new thinking, new way of watching the world, endurances by poets for bringing new style in Garhwali poetic field, conveying the realism with bold but emotional ways and means and at the same time caring for diminishing of beneficial old culture. The poems show clear difference between the old thinking and new thinking. The pets of this volume  seem to be more sensitive to the time changing than their  predecessors and see the world with realism than by the eyes of preachers.
   There are poems of following poets in Gwathani Gaon Bate
1- Narendra Negi
2-Madan Duklan
3-Chinmay Sayar
4-Devendra Prasad Joshi
5-Preetam Apachhyan
6-Veena Pani Joshi
7-Girish Sundriyal
8-Niranjan Suyal
9-Balbir Singh Rawat
10- Harish Juyal Kutz
11- Neeta Kukreti
12-Sanjay Sundriyal
13-Shashi Bhusan Raja
14-Sukhdev dard
15- Hemwati Nandan Bhatt Hemu
16-Ganesh Khugsal Gani
  The poems are of varied subjects and varied styles too. This volume also shows the transformation of Garhwali poems from conventional style towards free style or the contemporary style of poetries of other Indian language.
    The poems deal with humanity, complexities in life because of new changes taking places all over world and frustrating state of common men. Many poems deal with finer images of rural Garhwal and again different way than the past poets.  The subjects vary from inspiring Garhwali youth for own identity (Dainu Hwe ja), daily struggle  and sacrifice of a rural Garhwali woman (Va Bhi) , images of rural Garhwal ( daphnia ki Chhai) philosophy (Maya 1 and 2, Kya Sochi Chhau) , the autocracy of Uttar Pradesh government for suppressing the Uttarakhand movement (Rampur Tiraha) , confusion between hope and hopelessness (Ainsu Sal), new way of experiencing and explaination of spiraled or philosophy ( Aj Kilai, beech kwadad …, Khidki) , the specific sacrifice of mother (Bwai), frustrating state in rural Garhwal even after getting new state Uttarakhand (Raj Milan par), struggle of untouchable and indifference with them by upper caste people  in rural Garhwal (pahad par nyutana), the importance of deep rooted culture and parenting (Jalada), the importance of protecting environment (Gaura Bani ge Dali), the arts of Garhwal as our heritage and protecting the arts ( Hamara Kuda) , a daily life and dream of Garhwali female in village, struggle of females  (Vai holi, Cheena ki danI), love and pian of separation (Mel muskil) pain of separation from husband  by a Garhwali women( Vo ainsu bi ..), the development on papar but not in reals sense ( Sadak ar Vikash) , frustrating state of common man in Garhwal (Pahad ma ) satiric way of telling the meaning of national anthem (mulyankan) different emotions and figure of speeches in poems of Gisrish Sundriyal , images of village  describing through description of different flowers (rang), a will power of Garhwali (bhinchol), importance of touch a philosophy ( Tala), a love for son and waiting for his coming from plains by a Garhwali mother (lata), the indifferences by migrated Garhwalis for their villages (Boda Ji and Nibudu)  , the increase in consumption of alcohol in rural Garhwal, (Om Namo guru ko Adesh), humorous and satirical  poems by Harish, praises for spiritual wisdom in Garhwal (Dev Bhumi), descrition of seasons differently than Baramasha (saun ki..nad Vasant geet), wrong development in Garhwal (Sadak), various wrong happenings in rural Garhwal in the poems of sanjay Sundriyal, diminishing cultural values in the era of globalization ( Bhagwan ji, Adim, Degree), pains of migration from rural Garhwal and no alternates to stopp migration (Geet, Kothi Dehradun banan, Aulu mi, Voon ma boli de, kuchh bwana chhan),
      Before this volumes from 1975 till 1990, the poets were either influenced by Abodh Bandhu Bahuguna for intellectuality and Kanhya Lal Dandriyal for realism. This volume demonstrates that the poets are in search of their own style and ism rather than depending on Bahuguna or Dandriyal. The poets of this volume , brought new symbols, images unheard in literature but were available in Garhwal.
  Gwathani Gaon bate proved that it is a mile stone in the history of Garhwali poetic world from freshness  and bringing new way of modernization in terms of subjects and style in Garhwali poetry
Gwathani gaon Bate
Editor -Madan Duklan
Asst Editor: Girish Sundriyal
Publisher : Samay Saxy, 15 Faltu Line Dehradun
Year of publication: 2002
Copyright@ Bhishma Kukreti, Mumbai, India, 2010

History of Himalayan literature
History of Garhwali, Kumauni Literature
History of Garhwali Literature and Art
Importance of Barrister Mukandi Lal Smiriti Granth for Garhwali Literature and Art           
                      Bhishma Kukreti
  The best  part of any memorable book on a great personality does not only deal with the personality only but it provides many inside stories about the subject for which the personality is related. The memorable book on great Uttarakhandi personality and father of Garhwali Art history Barrister Mukandi Lal is such book which not only deals with finer points in the life of Mukandi Lal but also provide sufficient scope to know about Garhwali Literature and Garhwali Art.
    There are a couple  books which provide the history of Garhwal, Garhwalis and historical aspects of literature and art. Garhwal ki Divangat Bibhutiyan edited by Dr Bhakt Darshan , Garhwal ki Jeevit Bibhutiyan edited by Mohan Babulkar , and Barrister Mukandi Lal Smriti Granth ( Garhwal Chitra Shaili ke Unnayak Barrister Mukandi Lal :Janm Shatabdi Smriti) edited by Bhakt Darsha are such collections which provide the detailing of history of art and literature together and provide the work of literature and art creative too.
     There are four main parts of this heritage book Garhwali Chitr Shaili ke Unnayak Barrister Mukandi Lal . The first part deals with the comments of chairman of Barrister Mukandi Lal Smiti Granth Bhakt Darshan, editorial, compliments from many great personalities of India for the book, and pictures, drawings and photographs.   
    The second part deals memories of tens of great personalities from India and abroad and from all sects of society.
  There are thirteen chapters on the life of Barrister Mukandi Lal in this book which tell us the struggle and acheivement of Mukandi Lal in length .
 Third part is very important as this chapter deals with the important articles published by Mukandi Lal
 The third part of this book ‘Garhwal ki Kalayen aur Sahity -The Art and Literature of Garhwal’ is an imrtant chapter for the historian and critic of Garhwali art and literature
There are following chapters in this part :
1- Garhwali chitra Shaili ( The history , critical aspects and commentary on Garhwali Style and Form of Garhwali Art) by Dr Yashvant Katoch:
2- Garhwal Khsetr ki Murti Kala (The Idol art of Garhwal region) by Shiv Bahadur Singh
3- Garhwali Lok Nritya (The folk dances of Garhwal) by Dr Shiva Nand Nautiyal
4- Gorakh Panth ke Paripexy me Dhol Sagar ( The reality of literature on Dhol Sagar in the context of Garakh Panth sects in Garhwal) by Keshav Anuragi
5-Garhwal ki Lok Kalayen : jaunpuri Lok Kalayon ke Sandarbh me ( The folk art of Garhwal in te context of Jaunpuri folk Drawings ) by Mohan Lal Babulkar
6-Garhwali Chitra Kala ke Bare me ek Sujhav (Glimpse of Garhwali Paintings) by Budhiballabh Dyundi and Srimati Durgaavati Dyundi
7- Garhwal Himalaya Ki Mandir Vastu Kala (Critical article on Temples of Garhwal and their Characteristic Styles) by Dr Yashvant Katoch 
8- Dhol Sagar Par mere Sujhav ( History on the researches and  availability of Dhol Sagar related Literature )by Mohan Lal Babulkar
9- Garhwal ki Kalaon ka Vikas ( Development and progress of Garhwali Art) by Budhiballabh Dyundi and Srimati Durgavati Dyundi
10-Garhwali Sahity Ki Parampara ( brief history of Garhwali Language  Literature ) by Abodh Bandhu Bahuguna
11- Garhwali Natak avm Rangmanch :Ek Vihangavlokavan (History of Garhwali Drama and Staging ) by Dr Hari Datt Bhatt ‘Shailesh’
12- Garhwal ki Lalit Kalayen ( the General Art of Garhwal) by Sarla Raman
13- Garhwal ke Kavi Lekhak aur Kalakar by Bhakt Darshan : Bhakt Darshan briefed about the life sketches, works Garhwali poets, prose makes an d artists . This is very important chapter for the historians of Garhwali literature and art.
14- Garhwal ke Vartman kalakar : this chapter deals with the life sketches of various Garhwali artists (Drawings and paintings, sculptures, etc)
  The book is very informative and provides references for Garhwali art and literature . Mostly the articles are in Hindi except a few  articles of Mukandi Lal The book is collective book and every art and literature lovers should keep a copy with them for references and brief hstory of art and literature of Garhwal.
Garhwal Chitr Shaili ke Unnayak Barrister Mukandi Lal
Editors:
Chief Editor: Bhakt darshan
Pitamber devrani
Awtar Singh Panwar
Year of Publication -1986
Available at : Ved Prakash Maheshwari, Maheshwari Petrol Pump
Kotdwara , Pauri Garhwaal, Uttarakhand
Copyright@ Bhishma Kukreti, Mumbai, India, 2010