Guru Nanak’s beloved Bhai Mardana in Paintings

Dr Jaswinder Singh Bhullar
In Sikh history, under the Janam Sakhi tradition, painters have used two mediums to express their art: first in the form of handwritten illustrated manuscripts and second in the form of paintings on the walls of religious places. Earlier Janam Sakhis were recited orally but later written in handwritten form. In the manuscripts, along with the Sakhi text, illustrations were made for the description of the Sakhi.

In Gurmat history, Bhai Mardana is not complete without Guru Nanak Dev Ji. Thinking of him is impossible and even can’t be imagined without Guru Nanak Dev Ji. Mardana is not only a character in the life of Guru Sahib but also an important true companion with whom he spent 54 years of his life together. Mardana remained with Guru Sahib during his twenty-eight years of Udasis. Together with Guru Sahib, he traveled thousands of miles across many countries, starving and thirsty in forests, mountains, deserts, and barren lands in the scorching heat of summer and severe cold in winter for the propagation of Sikhism.
Mardana was born on 6th February 1459 at Talwandi, Rai Bhoi, in the womb of Lakho Bibi, Mir Badre his father of Chobharh caste. Mardana’s grandfather’s name was Rajaani. Seven children were born in Mir Badre’s house, the first six died soon after. The seventh child was named Mar Jana. Mata Lakho handed over the Mar Jana to Guru Nanak Ji and he said that from today onwards no one in his lineage will die soon. The Guru changed his name ‘Mar Jaana’ to ‘Marda Na’ meaning one who will not die. Many historians refer to his childhood name as Dana. Whatever the name, Mardana was a musician of the highest caliber. He had learned this art from his ancestors. Mardana used to sing the hymns of Kabir, Trilochan, Ravidas, Dhanna, and Beni Bhagat. As a profession, Mardana used to sing along with his father praising their masters.
Living in the same Bhatti village, Mardana spent a lot of time with Nanak in his childhood. Mai Daulatan who worked as a midwife at the time of child Nanak’s birth, was Mardana’s aunt. When Nanak was sent to work in the Modikhana of Nawab Daulat Khan Lodhi of Sultanpur, later, his father Mehta Kalu asked Mardana to go to Sultanpur and bring news about Nanak’s activities, what was he doing there? Mardana, who at that time was the father of two sons, Raizad, Shahzad, and a daughter, came to Sultanpur. Guru Sahib was overjoyed at the arrival of his childhood best friend in Sultanpur. Both began to sing in praise of God. Guru Sahib, seeing the Mardana’s lute (Rebab) in a dilapidated condition, said that he took money from Bibi Nanaki and bought the lute from Bhai Firanda of Bharoana (Kapurthala), which he had specially made. Nanaki gave seven rupees to Mardana to purchase the rebab. But Bhai Firanda refused to take the money. Bhai Firanda met Guru Nanak Sahib at Modikhana and enjoyed kirtan with the music of Rebab. Both sang in the praise of God. It was Bhai Firanda’s Rebab, which sounded throughout Asia and Europe.
When Guru Nanak Dev was thinking of going on the first Udasi for the salvation of mankind, he asked Mardana to go with him but Mardana wanted to marry his daughter before leaving. At that time Bhagirath, a follower of Guru Nanak, financially helped Mardana for the marriage of his daughter. Mardana then went on Udasis with Guru Sahib.
This devout fakir accompanied Mardana to the home of Bhai Lalo, a carpenter living in Aminabad. Where they would leave Malik Bhago’s lavish food and sit on the floor with Mardana and enjoy Bhai Lalo’s food. During the Udasis, as they passed through Muslim-majority villages, they would stop at the grave of a fakir. There they sang hymns in praise of Allah. When Mardana went to the mosque to offer Namaz, Guru Sahib would accompany him and sometimes join the Namaz. Guru Sahib wearing a blue robe, accompanies Mardana to Mecca and Medina. The desire of Mardana is fulfilled, he becomes a Haji by pilgrimage to Mecca.
In the company of Guru Nanak, Mardana becomes more special than the common man. During the Udasis, the two stop on their way from Sultanpur Lodhi to Lahore to rest and sleep there. The next morning Mardana starts playing the Rebab. When Guru Ji gets divine inspiration in Vajda, then he utters Bani in praise of Nirankar.
Later, with the permission of Guru Sahib, Mardana goes to the nearby village of Uppal Khatris to get something to eat and drink. The villagers knowing Mardana as a fakir, gave him clothes and food. When Guru ji saw him carrying a lot of clothes, he said, “Mardana, distribute it among the poor because these things taken in charity make man greedy. A greedy person who can never do good to humanity.” At the behest of Guru, Mardana distributed clothes and food among the poor and never again kept greed in his mind.
In Janam Sakhi paintings, when we see Guru Nanak, we see Mardana alongside. In paintings, the size of Mardana is smaller than Baba Nanak. He is depicted sitting with Guru ji, holding a rebab and playing it with his right hand. In some paintings, a long red Tilak is applied on the forehead of Muslim Mardana and on Guru Nanak’s too. In early sakhis, the beards of Baba Nanak and Mardana are shown in black. Janam Sakhi paintings shows the spiritual similarity between Guru Sahib and the Mardana. Wherever Guru Nanak and Mardana went during the Udasis, the Guru is dressed in the local costumes but there is not much difference in the dress of Mardana.
The paintings show Mardana wearing a dark yellow and sometimes red long robe, with a yellow embroidered girdle. Mardana’s eyebrows are slightly different from those of Guru Sahib’s aesthetic appearance. In most of the paintings, painters painted Mardana with one eye in a side pose.
Surprisingly, there is no mention or depiction of Bhai Bala, another well-known companion of Guru Sahib in B-40 Janam Sakhi. The fact that Bhai Bala’s character is a mythological character. In Sakhi paintings of B-40, no one is standing behind the Guru doing Chaur sewa. But in wall paintings, Bala is almost there.
During the fourth Udasi when Guru Sahib and Mardana reached Kurram city, Mardana fell ill. Seeing Mardana’s end approaching, the Guru Sahib asked Mardana about the last rites of his body, whether the body should be buried and made into a tomb, or cremated. Mardana said, “When my soul leaves the tomb of the body, what is the need to imprison the body in a stone tomb?” Hearing this, Guru Sahib said, “Mardania! You have recognized the real Parabrahm. We will cremate your body and immerse it in water.”
The next morning, Bhai Mardana sat on the bank of the Kurram river, concentrating on God, and his soul was freed from the coffin-shaped body. Guru Sahib cremated Mardana’s body with his own hands and immersed his ashes in the river.
A mural at Gurdwara Baba Atal, Amritsar gives the full details of Mardana’s last journey. In this painting, Mardana’s dead body is lying in a white shroud. His rebab is also kept wrapped in a cloth under his head. The symbolic meaning of wrapping Mardana’s ‘rebab’ and placing it under his head is that it too has become lifeless without Mardana. With Mardana’s rebab becoming lifeless, the first chapter of Gurmat Sangeet was completed. In this poignant mural, Bhai Bala is seen sad gathering wood for Mardana’s cremation. Guru Sahib is sitting under a tree by the side of Mardana’s head, holding a long simarana. He is seen with a sad heart but a calm mind, steadfast, due to the loss of Mardana’s company. The Akal whom the Satgurus took as their Guru was the same Mardana’s Guru.
There are 3 Saloks of Bhai Mardana in Guru Granth Sahib. He is the first Kirtaniya in the history of Gurmat, who has the honor of singing 974 Shabads of Guru’s Bani in 19 ragas. While Guru Nanak Dev Ji recited bani, Mardana played sweet musical melodies on the rebab and became a master of spirituality by making those moments divine. That is why Bhai Gurdas has described it in his Vaar:-
‘Ikk Baba Akaal Roop, Dooja Rebabi Mardana’

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