Akshar Kala Wari
A calligraphic celebration of an 800-year-old festival
Calligraphy is more than just pen strokes on paper. It’s a powerful way to express oneself
Sheetaltara
Our Story
Purpose
Sheetal had a profound vision when she embarked on the Akshar Kala Wari initiative – to bring India’s rich cultural heritage to the global stage. The Devanagari script, used by over 120 languages primarily in India and the subcontinent, and the 800-year-old Pandharichi Wari tradition unique to Maharashtra and parts of India, are rarely at the center of artistic attention worldwide. Sheetal aimed to fuse these elements with the revered deity Vitthal and the “Sant Parampara” spiritual tradition, akin to the Renaissance in Europe, transcending modern religious boundaries. While deities like Ganesha, Shri Krishna, and Shiva are widely expressed through art, Sheetal sought to master a new category by combining Vitthal, the Abhang devotional poetry, and the Devanagari script, bringing this rich yet underrepresented facet of Indian culture to the forefront through her calligraphic artworks.
The Story
About Akshar Kala Wari
Akshar Kala Wari, literally translating to “Pilgrimage of Calligraphy,” is an annual artistic initiative by calligrapher Sheetaltara where she creates 20 original calligraphic artworks illustrating and honoring 20 different saints. Synchronized with the renowned “Pandharichi Vari” pilgrimage to Pandharpur, Sheetal’s artistic journey begins at the start of the procession and culminates on Ashadhi Ekadashi, the 11th day of Aashaadh, when the pilgrims reach Lord Vitthala’s feet, fusing her exquisite calligraphic mastery with profound spiritual reverence in a celebration of the region’s rich cultural heritage and devotional traditions.
Idea
Sheetal’s Idea of Abhang calligraphy
Maharashtra’s “Sant Parampara” is a rich spiritual tradition that has given birth to a vast body of profound literature through the Abhang devotional poetry. Ironically, while these mystic writings have explored the depths of human existence and the search for the divine, the art world has rarely created substantial works inspired by the Abhangs. This is a significant gap that Sheetal aims to bridge through her Akshar Kala Wari initiative.
She believes that just as global events like the cherry blossom festivals in the US and La Tomatina in Spain attract worldwide attention and appreciation, the 800-year-old Pandharichi Wari tradition of Maharashtra, which represents India’s intangible cultural heritage, deserves recognition on the global stage. Through her calligraphic artworks, Sheetal seeks to introduce people to the diversity and depth of the Abhangs, which offer a valuable glimpse into Indian culture by transcending boundaries of caste, gender, and even religion – as exemplified by the 16th-century Sufi saint Sheikh Mohammed’s verses about the Hindu deity Vitthal.
Sheetal’s artistic vision is to master a new category by depicting the aesthetically rich iconography of Vitthal, with his distinctive features like fish-shaped earrings, chandan mark on the forehead, hands on the waist, and the brick on which he stands. Simultaneously, she aims to explore the profound questions and emotions expressed in the Abhangs by over 50 saints across the ages, most of whom remain unknown beyond the rural, diverse cultural fabric of the Warkaris community.
While popular Abhangs have been sung and celebrated, very few people are aware of the vast repertoire that challenges societal norms, expresses discomfort with the status quo, and ignites curiosity about the deeper aspects of life. Sheetal’s calligraphic works seek to acknowledge and give voice to these thought-provoking verses, which have the power to unite people across boundaries in their shared humanity and spiritual quest.
In an era where globalization often threatens cultural diversity, the Pandharichi Wari represents a living tradition that embraces everyone, regardless of their background. By bringing this intangible heritage to the forefront through her art, Sheetal hopes to not only preserve but also celebrate the rich, inclusive, and questioning spirit of the Sant Parampara, which has the potential to inspire and unite people worldwide.
About Pandharichi Wari
The Pandharpur Wari, or simply Wari, is an annual pilgrimage to Pandharpur, the seat of the Hindu deity Vithoba in Maharashtra. This centuries-old tradition, dating back over 700 to 800 years, is a profound expression of devotion to Lord Vithoba and a pinnacle of Maharashtra’s religious customs. Palakhis (palanquin processions) bearing the footprints of various saints from the Varkari sect, which venerates Vithoba, are carried from their respective shrines to Pandharpur.
The most notable palakhis are those of Dnyaneshwar and Tukaram, revered saints of the Varkari tradition. Dnyaneshwar’s palakhi commences its journey from Alandi, while Tukaram’s begins from Dehu, both towns located in the Pune district of Maharashtra. The arduous pilgrimage takes approximately 21 days to complete, with devotees not only from Maharashtra but also from neighboring states like Karnataka and Andhra Pradesh joining the procession.
The term “Varkari” is a combination of two words – “Var” meaning pilgrimage, and “kari” referring to the person undertaking the pilgrimage. The Varkaris follow a strict code of conduct, which includes good moral behavior, humility, respect for all life forms regardless of caste, creed, or wealth, and adherence to a satvik vegetarian diet. As a symbol of their devotion, Varkaris wear a rosary made from the sacred Tulasi plant (basil beads), which holds religious and symbolic significance.
While the origins of the Varkari Dindi tradition are not entirely clear, various theories attribute its inception to influential figures such as Viththalpant Kulkarni (father of Saint Dyaneshwar), Saint Dyaneshwar himself, Saint Tukaram, and Narayan Maharaj (youngest son of Saint Tukaram). Among the many Varkari Dindis in Maharashtra, the ones originating from the shrines of the venerated saints Dyaneshwar and Tukaram are the most famous, with the largest number of participants coming from Alandi (town of Dyaneshwar’s shrine) and Dehu (town of Tukaram’s shrine).
Why is wari so important?
India’s Bhakti movement, a social and religious protest that gained momentum across the subcontinent during the medieval period, manifested itself as the Warkari tradition in Maharashtra. This regional expression challenged traditional modes of worship and the dominance of caste and gender hierarchies, propagating the message of universal oneness through poetic stanzas called Abhangs. Prominent figures like Dnyaneshwar, Tukaram, and Namdev used these vernacular compositions to disseminate spiritual wisdom among the masses, transcending the barriers of elite Sanskrit texts.
The Warkari saints, many hailing from lower or “untouchable” Dalit communities, emphasized social equality, a direct experience of the divine without rituals or priestly intermediaries, and an intimate, personal relationship with their chosen deity – Lord Vitthala, regarded as a manifestation of Lord Vishnu. The movement’s leaders, both men and women, denied caste and gender hierarchies, composing lyrical poems in regional languages and dialects accessible to non-elite communities.
For the Warkaris, retracing the journeys of these saints holds profound significance, as the very ground they walked upon is considered sacred. The saints’ feet, repositories of their spiritual strength, become overwhelming objects of reverence, symbolizing the movement’s rejection of traditional authority and its embrace of a more egalitarian, personal path to the divine.