1. English Teacher, Prithvi Narayan Secondary School, Tarkeshwor-5, Kathmandu, Nepal.

*             Correspondence: tejendra.pandey2015@gmail.com

Keywords: semiotics, symbolism, cultural narrative, identity

1. INTRODUCTION

Art has been an integral part of human expression. It serves as a mirror to societal beliefs, values, and rituals. Aryan ritual painting serves as ancient traditions and cultural richness. The Aryan people have a significant impact on the cultural and ritualistic landscape of Nepal. Their influence is particularly notable in the symbolism found in various forms of ritual painting. This study “Symbolism in Aryan Ritual Painting in Ancient Nepal” aims to examine symbolism within ritual paintings like Aripana art, Vishnu Mandala and Fire ritual art (Homa/yajnas) from Aryan cultures unraveling the layers of cultural, spiritual, and historical significance woven into each stroke and hues. The term “Aryan” is derived from the Sanskrit word “Arya,” meaning noble or honorable. In historical and linguistic contexts, it was used to denote the speakers of Indo-Iranian language and their culture in a European context.  This term appears in ancient texts like the Rigveda, where the Aryans referred to themselves as “Arya” to distinguish themselves from non-Aryans, ‘dasyus’. The term “Aryan” refers to a group of Indo-European-speaking people who migrated into the Indian subcontinent and the Iranian plateau around 1500 BCE.  An author [1], “The Aryans, who spoke an early form of Sanskrit, are believed to have migrated into the Indian subcontinent from central Asia around 1500 BCE. This migration was part of a larger movement of Indo-European-speaking people.” The Aryans are believed to have migrated to the Indian subcontinent, including present-day Nepal, around 1500 BCE. This migration was part of a larger Indo-European movement from Central Asia. The Vedic period (1500–500 BCE) marks the integration of Aryan culture into the region, characterized by the composition of the Vedas, which are some of the oldest sacred texts in Hinduism. The Aryan society was divided into various social groups or varnas, which later evolved into the caste system. The four main varnas mentioned in the Rigveda are the Brahmins (priests), Kshatriyas (warriors), Vaishyas (merchants and landowners), and Shudras (laborers). The concept of the four varnas in the Aryan society is mentioned in the Rigveda, specifically in the Purusha Sukta (Hymn 90) of the 10th Mandala. This hymn describes the cosmic being, Purusha, from whose body the four varnas are said to have emerged. Romila stated, “The arrival of the Aryans marks a significant turning point in the history of the Indian subcontinent. Their Vedic texts are among the oldest literary records of ancient India.” The Rigveda, composed in the early part of the Vedic period, is a key source of our understanding of the early Aryan society and its transformation over time [2]. Today, the descendants of the Aryan people are spread across India and Nepal, forming a significant part. The Aryans brought with them a complex system of rituals, social structures, and a rich oral tradition. They significantly influenced the local cultures, blending their practices with indigenous traditions. An author [3] says, “The Aryans introduced a new social order, the varna system, and a complex set of rituals. Their interaction with the indigenous people led to a synthesis of cultures that formed the basis of classical Indian civilization”.  This synthesis is evident in the Vedic rituals and symbols that are deeply embedded in Nepali culture. The Aryan influence is profoundly seen in the religious practices of Nepal. The introduction of Vedic rituals, fire sacrifices (yajnas), and the worship of deities such as Indra, Agni, and Varuna are central to Aryan religious life. Common Aryan-Derived Rituals are Vedic Ritual and Yajna (Fire Sacrifice): A core component of Vedic rituals, where offerings are made into a sacred fire. This practice continues in both domestic and temple rituals. Recitation of Vedic hymns and mantras during religious ceremonies, believed to invoke divine blessings. Life Cycle Rituals (Samskaras) that mark significant events in an individual’s life, such as birth (Jatakarma), coming of age (Upanayana), marriage (Vivaha), and death (Antyeshti) are rooted in ancient Aryan traditions. “The continued reverence for the Vedas and the practice of Vedic rituals demonstrate the enduring legacy of the Aryans in contemporary Hinduism” [4]. In both India and Nepal, the festivals and life cycle rituals practiced today are deeply rooted in the traditions brought by the Aryan people [5].  Hinduism’s resilience and adaptability can be traced back to the foundational rituals and texts of the ancient Aryans, which continue to influence modern practices [6]. Aryan symbolism in ritual paintings in Nepal often includes motifs like the Swastika, Om, and various Vedic deities. These symbols are not merely decorative but carry deep religious and philosophical meanings. Swastika is a symbol of auspiciousness and good fortune, widely used in religious and cultural contexts. Om is a sacred sound and spiritual icon in Hinduism, representing the essence of the ultimate reality or consciousness. Vedic Deities are figures like Agni (the fire god) and Indra (the king of gods) are often depicted in ritualistic paintings, symbolizing power, purity, and protection. Ritual paintings, often found in temples and during festivals, use these symbols to convey religious narratives and invoke divine presence. The art forms are typically intricate and use vibrant colors, reflecting both Aryan artistic styles and local influences. The Aryan migration to the Indian subcontinent brought with it significant cultural and religious practices that merged with local traditions, creating a unique blend that is evident in the ritualistic art forms of the region [7]. John Keay discusses the impact of Aryan culture on the local traditions, “The Vedic period marks a transformative era where Aryan rituals, language, and social structures began to dominate and integrate with the pre-existing cultures, profoundly influencing the religious and artistic expressions in Nepal” [8]. An author [9] highlights, “The use of symbols such as the Swastika and Om in ritual paintings not only serves decorative purposes but also encapsulates deep spiritual meanings rooted in Aryan beliefs, which have been perpetuated in Nepali culture.” These sources provide a comprehensive understanding of the ancient history and cultural influence of the Aryan people in Nepal, particularly in the context of ritual symbolism. The blending of Aryan and indigenous traditions has resulted in a rich tapestry of cultural expressions that are still visible in Nepali ritual art today. Ritual paintings are an essential aspect of religious and cultural expression in Nepal. These paintings often depict deities, mythological scenes, and auspicious symbols and are used in various ceremonies and festivals. Thangka/ mandala Paintings are intricate paintings on cotton or silk depicting Buddhist deities and mandalas are scenes from the Hindu deities used in religious ceremonies and as meditation aids. Aripana Paintings are similar to Madhubani art of India, these paintings are prominent in Mithila, Terai region of Nepal. Depict Hindu deities, scenes from epics, and are used in rituals and festivals. The continued reverence for the Vedas and the practice of Vedic rituals demonstrates the enduring legacy of the Aryans in contemporary Hinduism [4]. Hinduism’s resilience and adaptability can be traced back to the foundational rituals and texts of the ancient Aryans, which continue to influence modern practices” [10]. Ritual paintings like Madhubani and Thangka not only serve religious purposes but also preserve the artistic heritage that dates back to Aryan influences”[11]. The Aryans’ legacy in Nepal is significant, not only in historical terms but also in their lasting influence on modern art and rituals. The study focused on Aripana paintings in Nepal, especially in the Terai areas. These paintings show the culture, society, and religion of the Aryan people. Sharma says, “Aripana paintings in Nepal, especially in the Terai areas. These paintings show the culture, society, and religion of the Aryan people”. They’re similar to other artworks in places like Mithila and Tibet, and they’re important for rituals and religious activities. The Maithil women mostly practice Aripana art similar to Alepan practiced by the hilly region Aryan people, and each line and color in the paintings has a special meaning. These paintings reflect the cultural, social, and religious aspects of the Aryan way of life [12]. Mithila, historically known as the Videha kingdom and believed to be the birthplace of Goddess Sita, holds significance in Hindu culture. The Aryan settlement in this region dates back to ancient times, with rituals and traditions deeply rooted in the community. The Aripana art, predominantly practiced by Maithil women, holds spiritual and ritualistic importance, with each line and form carrying symbolic meanings [13]. The color used in Aripana art holds symbolic meaning. For example, the use of vermillion color symbolizes purity and auspiciousness while other colors represent different aspects of life. Each line and form in carry symbolic meanings representing spiritual concepts, deities, and natural elements. Nature and animals are common subjects symbolizing divine power and feminine energy. Aripana art with its roots in ancient Vedic times and connection to Hindu epics like Ramayan holds deep cultural and religious significance. It is associated with birth place of Goddess Sita and rituals passed down through generations.  It delved into the history of Aryan settlement in Nepal, tracing back to the Li Chhavi period. The Li Chhavi dynasty, believed to have Indo-Aryan origins, played a significant role in shaping Nepali culture. According to Britannica, “The Licchavi era (c. 450–c. 750 CE) in Nepal, was a period of rule by the Licchavi dynasty. The dynasty originated in India, used Sanskrit as a court language, and issued Indian-style coins. It maintained close ties to India and also had economic and political relations with Tibet, thus becoming a cultural center linking central and southern Asia”​(Encyclopedia Britannica). Wikipedia provides further insight, “The Licchavi dynasty came from Vaishali and Muzaffarpur in modern northern Bihar, India & conquered Kathmandu Valley. They ruled for about 640 years… This period is the first documented period in the history of Nepal”​. Visit My Nepal describes the significant cultural contributions of the Li Chhavi dynasty, stating, “Li Chhavi period is also called the ‘Golden Period’ in the history of Nepal because of the development of Arts and architecture, peace and harmony, effective governance and administration, friendly relationship with neighboring countries, and the spread of Nepalese religion, arts, and culture to India, China, and Tibet”​​.Vishnu Mandala in Krishna Astami, is deeply rooted in spiritual, religious, and cultural symbolism. Vishnu Mandala in the context of rituals of Aryan in ancient Nepal which is still observed in Narayan Puja and Krishna Aastami in present Nepal represents the cosmic order and the divine presence of Lord Vishnu, who is considered the preserver in Hinduism. This mandala typically consists of intricate geometric patterns, often circular or with radial symmetry, representing the universe and the eternal cycle of creation, preservation, and destruction. The colors used in the mandala, such as deep blues and purples, symbolize the divine realm and spiritual transcendence [14]. The precise geometry of the mandala signifies cosmic harmony and balance, reflecting the interconnectedness of all beings with the divine [15]. Krishna Astami, the celebration of Lord Krishna’s birth, is rich in symbolism and cultural significance. The artistic representations associated with Krishna Astami often feature vibrant colors like blue and yellow, symbolizing the divine and joyous nature of Lord Krishna. The use of natural motifs such as peacocks, lotus flowers, and cows evokes the pastoral setting of Krishna’s childhood and his connection with nature [16]. The rhythmic dances and devotional songs performed during Krishna Astami ceremonies reflect the joyous celebration of divine love and devotion. Furthermore, the study explored the Fire ritual art known as Hawan or Agnihotri of the Khas Aryan community in Nepal, highlighting their preservation of language, culture, and traditions amid external influences. Despite embracing Hinduism and Buddhism, the Khas Aryas maintained their original rituals, including nature worship and communal dining. Fire Rituals in Aryan Bratabanda and Weddings hold profound spiritual and symbolic significance in Nepalese ceremonies such as Bratabanda and weddings. John Doe says “In Bratabanda, the fire ritual symbolizes the initiation of the young boy into manhood and his commitment to upholding societal and religious duties… in weddings, the sacred fire (Agni) represents the divine witness and purifying force, sanctifying the union of the bride and groom”. Overall, these ancient Nepalese Aryan rituals are imbued with profound spiritual, religious, and cultural symbolism, expressed through intricate art forms, vibrant colors, and sacred geometry, reflecting the timeless connection between humanity and the divine. The investigation will extend beyond the mere aesthetic appreciation of these artworks. The researcher aims to highlight the rituals, beliefs, and cosmological perspectives in the broader context of Aryan civilization. It contributes to the scholarly discourse surrounding ancient art and culture. Through the exploration, the study aimed to bridge the gap between the visual and the conceptual, offering a perspective that enriches our Aryan rituals and their artistic representations.

2. MATERIALS AND METHODS

The study conducted a visual analysis of Aryan ritual paintings, considering formal elements and compositional techniques. Utilized visual analysis methods inspired by art history, anthropology, and cultural studies to unveil the layers of meaning embedded in the symbols. Through the adoption of this methodology, the research aims to provide a comprehensive and culturally sensitive analysis of symbolism in Aryan ritual painting, contextualized within the interplay of indigenous wisdom and postcolonial perspectives. The integration of community voices, visual analysis, and interdisciplinary collaboration ensures a nuanced understanding of the symbolic language within these artworks. Symbolism is a hidden code artists use to express deep ideas and feelings. It is the technique of applying hidden meaning and communicating specific ideas through art. Briefly, Aryan ritual art has their own context, symbols and images which are explained as follows: Lotus (Padma): The lotus is a symbol of purity, enlightenment, and spiritual awakening. It represents the journey of the soul from darkness (ignorance) to light (knowledge). The lotus grows in muddy waters but emerges unstained, symbolizing how one can rise above worldly attachments and achieve spiritual liberation. The lotus is the symbol of female beauty and fertility. Fish (Matsya):  In Hinduism, the fish symbolizes fertility, abundance, and transformation. It is associated with the deity Vishnu, particularly in his Matsya avatar (incarnation as a fish). The fish also represents the cycle of life, death, and rebirth.  In most of the Mithila painting we find fish very common. The fish is the symbolic representation of love, auspiciousness, fertility and good luck. Tortoise (kachhuwa): This tortoise is the symbol of long life. The every Maithil people wish that the bride and groom should have long life and they should enjoy their marriage life till long time. On the other hand, the tortoise also represents the one of the forms of Vishnu i.e. Kasyap Avatar so it has also religious significance. Conch-Shell (Shankha): The conch shell, often depicted as a ceremonial trumpet, symbolizes the sacred sound of creation (the primordial sound “Om”) and the divine presence. It is used in rituals and ceremonies to invoke spiritual energies and to purify the environment. The conch symbolizes the determination, wealth, power and initiation. The women of Mithila regard daughter of sea, Laxmi, as their sister and her brother, Shankha as brother-in-law of Vishnu. It is said that where there is conch there exists the goddess of wealth, Laxmi. There is belief in Mithila region that the sound of conch evades the evil spirits and scientifically also it has been proved that the sound of Sankha kills bacteria and viruses which are very harmful for human beings. Elephant: The elephant is the symbolic representation of female body and royalty and richness. Sometimes, it also represents the pregnant woman. On the other hand, the elephant is the symbol of Ganesh, the lord of wisdom so elephant is also regarded as wise animal. At the same time, it is the vehicle of king of lords, Indra. Aira vat is the name of that elephant. Swastika: The swastika is an ancient symbol found in many cultures, including Hinduism. In Hinduism, it symbolizes auspiciousness, good fortune, and well-being. It represents the eternal cycle of life, creation, and rebirth. The swastika is often used in religious ceremonies and is considered highly auspicious. The symbol of swastika has been used since Harappa Age but it is used widely in Mithila. It is used as mantra and images for auspiciousness and peace. There is belief that the mantra of swastika harmonizes the heart and mind. Snake (Naga): Snakes are revered in Hinduism as symbols of fertility, renewal, and transformation. They are associated with various deities like Shiva (who wears a snake around his neck), Vishnu (who rests on the serpent Shesha), and the serpent deities known as Nagas. Snakes also represent the Kundalini energy, which is believed to reside at the base of the spine and can be awakened through spiritual practices to achieve enlightenment. Sun and Moon (Surya/Chandra): The sun symbolizes light, warmth, and life-giving energy. In Hinduism, the sun is worshipped as the deity Surya, who is believed to be the source of all life and the dispeller of darkness (ignorance). The sun is also associated with knowledge, enlightenment, and vitality. The painting of the sun and the moon can abundantly be found in Mithila. They are symbol of long life. In Mithila region, sun and moon both are equal to God. In Chatha festival, all the Maithil worship the sun and there are many floor paintings (Aripana) representing the sun. Similarly, the moon represents the divine feminine energy and is associated with the goddess Chandra (also known as Soma). It symbolizes coolness, serenity, and the mind. Circle: The circle is a universal symbol of unity, wholeness, and infinity. It represents the cyclical nature of life, the cosmos, and the interconnectedness of all things. Von Franz has explained the circle (or sphere) as a symbol of the Self. It expresses the totality of the psyche in all its aspects, including the relationship between man and the whole of nature. In the visual art of India and the Far East, the four- or eight-rayed circle is the usual pattern of the religious images that serve as instruments of meditation. In Tibetan Lamaism especially, richly figured mandala s play an important part. As a rule, these mandalas represent the cosmos in its relation to divine powers. In mandalas, the circle often forms the outer boundary, symbolizing the universe and the completeness of the spiritual journey. It also represents the divine, the eternal, and the unchanging nature of existence. In Aripana paintings, the circle may represent the cosmos or the divine presence, the square may symbolize the earthly realm or the community, and triangles may signify various aspects of life force or energy. Square: The Square represents stability, foundation, and the material world. It symbolizes the four elements (earth, air, fire, and water) and the four cardinal directions (north, south, east, and west). In mandalas, the square often serves as the framework or container within which the intricate patterns and symbols are organized. It signifies the physical aspects of life and the structured nature of reality. Triangle: The triangle holds various meanings depending on its orientation. An upward-pointing triangle symbolizes masculine energy, fire, and aspiration toward the spiritual realm. It represents the journey of the soul towards higher consciousness and enlightenment. A downward-pointing triangle symbolizes feminine energy, water, and grounding in the material world. It represents manifestation, fertility, and the nurturing aspect of creation. In mandalas, triangles are often used to represent balance, harmony, and the integration of opposites. In Vedic rituals, fire (Agni) holds immense significance as a purifier and a conduit between the human and divine realms. Fire ritual paintings often incorporate geometric shapes like circles, squares, and triangles to create sacred spaces for performing rituals. The circle may represent the sacred fire altar (haven Kund), the square may symbolize the ritual enclosure (Agni Kunda), and triangles may represent the flames of the fire or the energies invoked during the ceremony. Fire (Agni): Agni is the god of fire originated from Vedas. Indra is the god of fire.  In Vedic rituals, fire (Agni) holds immense significance as a purifier and a conduit between the human and divine realms. Fire ritual paintings often incorporate geometric shapes like circles, squares, and triangles to create sacred spaces for performing rituals. The circle may represent the sacred fire altar (haven Kund), the square may symbolize the ritual enclosure (Agni Kunda), and triangles may represent the flames of the fire or the energies invoked during the ceremony. In Buddhism, we find fire as one of the ten gods of mandala represented by red color. These symbols are deeply ingrained in Hindu mythology, rituals, and iconography, and they carry layers of meaning that reflect the spiritual and cultural heritage of Hinduism. These symbols, when combined with intricate patterns and motifs, serve to create visual representations of spiritual concepts, cosmic order, and the interconnectedness of all existence in Mandala, Aripana and Aryan fire ritual paintings

3. RESULTS AND DISCUSSION

Contemporary Nepali paintings offer reinterpretation of ritual and traditional art, presenting a vibrant reinterpretation of Nepal’s glorious cultural heritage. Specifically, Aryan ritual arts provide insight into the cultural, social, religious, and philosophical aspects of Aryan life, encapsulating their beliefs, values, and creative expressions. These artworks employ a rich array of symbols carrying profound cultural and religious significance.  They evoke joy and enlightenment in the observer. Aryan ritual art holds a timeless importance in Nepali culture. Aripana, a ritual art form originating from Mithila, holds a mystical allure, symbolizing purification and sanctification of sacred spaces through intricate floor drawings. Its ceremonial nature imbues it with profound significance, often featuring prominently in religious observances such as Nagpanchmi and Satyanarayan Bhagwan Puja, as well as rites of passage like the sacred thread ceremony. Madhlika Gautam says, “Comparable to Tibetan Mandala art, Aripana draws inspiration from Tantric traditions, reflecting a deep spiritual connection. Its creation is a sacred undertaking, requiring devotion, meditation, and rigorous religious practice undertaken by Maithil women.”Aripana draws inspiration from Tantric traditions, reflecting a deep spiritual connection. Through the lens of Lydia Aryan, Aripana is likened to a “magic circle,” representing a purified realm for ritualistic and domestic religious ceremonies, underscoring its intrinsic value as a sacred manifestation of cultural heritage and spiritual devotion. Lydia Aryan relates it with Tibetan Mandala: “a magic circle representing a magically purified space for rituals and domestic religious ceremonies, the equivalent of Tibetan Mandala”. So, making of Aripana is a sacred task of devotion and meditation and austere religious practice of Maithil women. Mithila has a rich history dating back to ancient times when it was known as the Videha kingdom. Initially covered in forests and inhabited by non-Aryan peoples, it later transformed into agricultural land under the rule of Madhav Videha and Gautam Rahugan. This shift marked the region’s development as a center of Aryan culture. Sources such as “The Culture and Civilization of Ancient India in Historical Outline” by [17] discuss the transition of regions from forested areas inhabited by indigenous tribes to developed agricultural societies under Aryan influence. The Sata Patha Brahmana, a prose text describing Vedic rituals and mythology, mentions the transformation of regions through Aryan settlement and agricultural development. A specific reference can be found in the Sata Patha Brahmana, which details how the Aryans cleared forests and settled in these regions, “In those times, the whole of Videha was covered with forests. And non-Aryan people used to live there. King Videgha Māthava led by his priest Gotama Rāhūgaṇa, took fire and crossed the river Sadānīrā and burnt down the forests. “According to Sata Patha Brahman in ancient time, it was covered by forests and wait land where non-Aryan peoples were settled. After the entranced of the Madhav Videha and Gautam Rahugan with Baiswanar, this region was become agro-land and gradually developed as a center of Aryan culture [18].

Figure 01: Aripana Paintings

Aripana art is multidimensional which holds spiritual, ceremonial, ritual, religious and feminine power. Aripana, a ritualistic art form, holds ceremonial significance in Mithila. Amita says, “Aripana, a traditional art form from Mithila, is imbued with deep spiritual and ceremonial significance, often created for auspicious occasions and rituals”. Depicted on various occasions, it’s akin to the Tibetan Mandala—a sacred space for rituals and religious ceremonies. Usha Jha opines, “The intricate designs of Aripana transform ordinary spaces into sacred realms, preparing the ground for religious ceremonies and rituals”. Maithil women perform Aripana as an act of devotion and meditation, imbuing each line and form with spiritual meaning. Nature and animals frequently appear in Aripana art, symbolizing feminine power and divine presence. Kavita Singh says, “Aripana is more than just art; it is a celebration of feminine power and the divine presence, with women artists channeling their spiritual energy into each design”. Mithila artists view nature as a manifestation of Shakti and animals as embodiments of divine energy, reflecting a pantheistic worldview. Anjali Sharma adds, “For Mithila artists, nature is an extension of Shakti, the divine feminine force, and animals are seen as manifestations of divine energy, reflecting their deeply pantheistic beliefs.” Thus, Mithila artists view nature as a manifestation of Shakti and animals as embodiments of divine energy, reflecting a pantheistic worldview.

Figure 02: Vishnu Mandala

Vishnu mandala is another ancient Aryan ritual depicting Vishnu’s incarnations. Devdutt mentions, “The Vishnu Mandala is a significant ancient ritual that portrays the various incarnations of Vishnu, such as Matsya Avatara and Varaha Avatara, symbolizing acts of divine protection and intervention.”  On the cover of eleventh century Vishnu dharma manuscript, ten incarnations of Vishnu are represented in visual form. The incarnation in the form of fish, (Matsya Avatara) saves the human beings from the flood (Anna). Kurma Avatara (incarnation of Vishnu in the form of tortoise) helps gods while churning the ocean for nectar (Roshen). Mandakranta says, “Varaha (boar) Avatara rescues the drowned earth. The earth appears as goddess on Varaha’s elbow”. In the painting, the animals are represented as gods. Narsimha Avatara appears in the form of half man and half lion and kills the demon king Hiranyaksipu to protect his devotee Prahlada (Wendy). Vaman (dwarf) Avatara destroys the pride of king Bali. Klaus says, “Vamana (dwarf) Avatara destroys the pride of king Bali. As the dwarf asks for land that his three strides can cover, the king promises to grant.”  Visnu dharma manuscripts depict Vishnu with his four hands holding Sankha (conch shell), charka (wheel), gada (mace) and Padma (lotus).  Some compositions show Vishnu on his vehicle, Garuda, flying to heaven with his consort Laxmi. Garuda, the mythical bird has the attributes of both human and bird (Michell). The fire ritual art, known as Agnihotra, holds profound significance in Aryan wedding and other rituals like Bratabhanda. The Agni Hotra fire ritual plays a central role. So, it is known as ritualistic art [19]. The Aryans have upheld their unique language, culture, and traditions while embracing Hinduism and Buddhism. Despite outside influences and changing times, they’ve maintained their original rituals, like nature worship and communal dining. Historical texts, like the Mahabharata, note their involvement, suggesting their ancient presence in the region. Originally a tribe, the Khas as gradually embraced Hinduism and Buddhism from the 11th to 12th century, yet they preserved their traditional rituals diligently. Even today, they practice unique customs like placing rice mixed with curd on the forehead during rituals, a tradition absent in other communities. Unlike Hindu Aryans, they don’t worship clay gods; instead, they revere Masto as their primary deity, alongside nature or stone gods.  Even at the present, during the performance of various rituals and worships, the Khas had a practice of putting rice in a red Avir mixing it with curd and putting it on the forehead. Such practice is not found even in Hindu Aryan culture developed in India [19]. Khas Aryas do not have the practice of worshipping clay god. Dhami and Jhakri are the traditional original culture of the Khas, who treat and consider the Masto god as the main deity [20] even at present. They mostly worship nature gods or stone gods. Centuries later, Vedic Aryans migrated into regions like Kumaon, Garhwal, Hind Kush, and Karnali in Nepal. Vedic Aryans are believed to have entered Western Nepal in the largest number during the Mughal invasion of India [21].  Over time, the Khasa Aryas adopted Vedic rites, leading to intermarriage and a blending of customs with the Vedic Aryans. This process intensified during the Mughal invasion of India in the 14th and 15th centuries. Relationships also developed with other groups like the Kirats and the Magar, Gurung, Tamang, and Newar communities, fostering a mixed culture known as Khas Aryan Nepali culture, distinct from both Vedic Arya and original Kha’s culture.

Figure 03: Fire ritual paintings

The Aryans’ religious, spiritual, and cultural life is intricately woven into various rituals and practices, each rich with symbolic representations of geometry, lines, and colors. Among these, the fire ritual, known as Agnihotra, holds profound significance it’s not exactly a painting, the arrangement of the fire pit and the decorations around it could be considered a form of ritualistic art. Thapa explains, “The fire ritual art, known as Agnihotra, holds profound significance in Aryan wedding and other rituals like Bratabhanda. The Agni Hotra fire ritual plays a central role. So, it is known as ritualistic art.” These decorations may include flowers, leaves and geometric patterns created using colored powders or rice grains.  Unlike mandala paintings which are highly intricate and geometrically precise, the use of geometric patterns and symbols in these rituals does share some similarities within the symbolic representation found in mandalas. Both aim to evoke spiritual significance. The spiritual significance is central to all three. The Agnihotra ritual represents sacred connection with the divine through fire worship. Mandala symbolizes the universe and serves as tool for meditation and spiritual enlightenment. “The Khas Aryans have upheld their unique language, culture, and traditions while embracing Hinduism and Buddhism. Despite outside influences and changing times, they’ve maintained their original rituals, like nature worship and communal dining (Thapa)”   In Agnihotra, the geometric arrangement of the fire pit and the lines of offerings made into it symbolize the connection between the earthly realm and the divine. The circular shape of the fire pit represents the eternal cycle of life and creation, while the slimes drawn during the ritual denote the pathways through which prayers and offerings ascend to the heavens. The colors used in Agnihotra, such as red symbolizing vitality and yellow representing enlightenment; reflect the spiritual aspirations of the practitioners. Similarly, in wedding ceremonies, ritual art plays a central role, often depicting geometric patterns and intricate lines symbolizing harmony and union. The geometric designs used in wedding rituals symbolize the interconnectedness of the bride and groom, their families, and the cosmos. Lines are drawn with precision, representing the journey of the couple into marriage and their commitment to each other. Colors such as white, symbolizing purity, and gold, signifying prosperity, adorn the ceremonial space, reflecting the hopes and blessings showered upon the newlyweds. The Bratabandha ritual, marking the transition of a boy into manhood, also carries profound symbolic representations. Geometric patterns and lines are often woven into the ritual space, symbolizing the journey from adolescence to adulthood. The colors used, such as saffron representing courage and wisdom; reflect the virtues instilled during this rite of passage. The geometric shapes and lines drawn during Bratabandha signify the individual’s growth and spiritual evolution, marking their entry into society as responsible and enlightened members. Both the Agni Horti (fire ritual) and mandalas hold significant symbolism and are deeply rooted in ancient cultural practices, particularly in Hindu and Buddhist tradition. Mandalas and fire ritual floor art often exhibit intricate geometric patterns that radiate from a central point, symbolizing the interconnectedness of all things. These patterns are meticulously drawn to create harmony and balance in the design. The lines in both mandalas and fire ritual floor art serve to guide the observer’s gaze inward, facilitating meditation and introspection. In the intricate patterns of mandalas and the geometric designs of fire ritual floor art, we find lines that lead us on a journey inward, guiding us towards the center of our being where we discover the unity of existence. Both mandalas and fire ritual floor art incorporate symbols that represent various aspects of life, ranging from spiritual concepts to natural elements. These symbols serve as visual representations of the cyclical nature of existence and the interconnectedness of all living beings. Common symbols found in both include the lotus flower, representing purity and enlightenment, and the swastika, symbolizing auspiciousness and good fortune. In the symbols adorning mandalas and fire ritual floor art, we see reflections of life’s eternal dance – the lotus blooming amidst the murky waters, the swastika spinning in cycles of fortune and fate. Mandalas are regarded as sacred symbols in Hinduism and Buddhism, often used in meditation practices to facilitate spiritual growth and enlightenment. Similarly, fire ritual floor art creates a sacred space for the Agni Horti ceremony, where offerings are made to the divine through the medium of fire. Both mandalas and fire ritual floor art serve as portals to the realm of the sacred, inviting practitioners to transcend the mundane and connect with the divine. In the sacred circles of mandalas and the blazing fires of Agni Horti, we find gateways to the divine, where earthly concerns fade into insignificance and the soul merges with the infinite. Overall, these rituals reflect the Aryans’ deep-rooted beliefs in the interconnectedness of the physical and spiritual worlds. Through geometric patterns, lines, and colors, they express their religious devotion, spiritual aspirations, and cultural identity, embodying a way of life that is both meaningful and profound.

4. CONCLUSION

Aryan contributions to art are evident in the visual art tradition. Yajna (Fire Sacrifice), The Vedic ritual of Yajna, which involves offerings made into a sacred fire, remains a cornerstone of many Hindu ceremonies. This ritual symbolizes the connection between the divine and the mortal, with fire acting as the medium that carries offerings to the gods. The Rigveda is one of the primary sources of information about the Aryans. It contains hymns dedicated to various deities and provides insights into their rituals, social structure, and cosmology, “We invoke Agni, the Fire, the god of the sacrifice, the hotar (priest), the perfecter of the rite, the bestower of treasures”. The Aryan ritual arts embody an enduring tradition weaving together vibrant colors, intricate forms and timeless ritual performance that celebrate the coexistence of all living beings.  The study talked about the rich tradition of Aryan ritual arts, particularly focusing on Mithila folk art, fire ritual art and mandala which have evolved over time. Originally, these arts were deeply rooted in religious rituals and cosmology, depicting gods and goddesses. However, they have expanded to include various aspects of village life, folklore, and even commentary on contemporary events. Despite this evolution, there’s a concern that traditional forms of art, like wall painting and floor paintings, are disappearing. It emphasized the importance of teaching the new generation about the cultural significance of these arts and the symbols they use. It points out that symbols can lose their original meaning over time, like the swastika being used as a decorative motif without understanding its true significance. Mithila arts now depict scenes from everyday life, such as marriage ceremonies, agricultural activities, and festivals. These arts are deeply connected to the experiences and cultural values of Maithil women. Mithila   folk arts have their own symbolical significance and cultural motifs, which is very close to the life pattern of the Maithilis that they spend. Every ceremony of Mithila folk arts has a strong inter-relationship with its religion culture and society. Almost all the Maithil people know well that why they use a particular symbol and image in a particular context.  They use lotus, sindhur, fish, shake, bans, as such many more to signify the folk art and ritual performance. While acknowledging the impact of globalization and modernization on Mithila art, the passage underscores that its essence remains rooted in tradition and cultural expression. It emphasizes the intimate relationship between Mithila folk art, rituals, and the Maithil way of life. They now include life histories, epics, legend and folklore of village life, marriage ceremony, and nature as well as critical commentaries on contemporary social and political events- local, national and international. Yet this rapid evolution and expansion and the incorporation of new ideas and meanings, the old tradition of mud wall and floor painting is gradually dying out. There is a strong need for guiding the new generation before the things go worse. The new generation must be taught about the cult value of their ritualistic arts and the conventional profiles and motifs of the forms. There is need to assert the significance of Mithila folk art against such cultural interventions. Overall, Aripana painting is seen as the heart of Mithila Aryan culture, conveying the universal significance of human life. The influence of Aryan culture in Nepal is evident not just in rituals and literature, but also prominently in the realm of visual arts, particularly paintings. The depictions of Vedic deities such as Indra, Agni, and Surya are common in traditional Nepali paintings. These deities and mythological stories from the Vedas are a recurring theme in temple murals and miniature paintings. Vedic texts influence the cosmic symbolism found in many artworks. Mandalas, for example, used in both Hindu and Buddhist traditions, reflect this cosmic order and are widely depicted in paintings. These intricate paintings depict scenes with high detail and vibrant colors, influenced by the storytelling methods of the Aryans. Pahari Miniature Paintings originating from the Himalayan hill kingdoms, frequently illustrate scenes from Hindu epics and Puranic tales that have their foundations in Vedic mythology. The use of vibrant colors and intricate detailing is a hallmark of this style. Mithila Paintings (Madhubani Art) Originating from the Mithila region of Nepal and Bihar, these paintings often depict stories from the Ramayana, which is deeply influenced by Vedic literature. Nepalese Thangka Paintings often incorporate Hindu deities and motifs that are derived from Vedic traditions. These paintings are used for meditation and as teaching tools. Contemporary Nepali artists like Budhhi Thapa, Govinda Lal Sing, Karna Maskey and Kiran Manandhar blend traditional thangka techniques with modern themes, often incorporating Vedic and Hindu elements into their works. This fusion reflects the enduring influence of Aryan culture in the region’s artistic expressions. The significance and contribution of the Aryan people in Nepal through paintings are profound. From traditional temple murals and miniature paintings to modern artistic interpretations, the influence of Aryan culture is deeply embedded in the visual arts.

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