Yumnam Sapha is Patron Saint of Modern Subika Art

An Assistant Art Professor at Manipur University is drawing admiration for his illustrations, inspired by an ancient art form once practised in Manipur and recently given the name Subika Art. The art form has been making waves since Mr Yumnam’s illustrations appeared in two children’s books featuring Manipur’s beloved myths, published by Puffin, an imprint of Penguin Random House. In the process, Yumnam Sapha has single-handedly revived, redefined and given birth to Modern Subika Art, a new category of heritage art in recent times. The first book in question is And That Is Why: Manipuri Myths Retold created by L. Somi Roy, while the second Feathers, Fools, and Farts is a collaboration of Somi and Hindustani Thangjam. Since gracing the book platform, Yumnam Sapha has bridged a gap between primitive art and contemporary Manipuri art with his modernised adaptations.
The national media, too, have taken an interest in Subika art, thanks to the books. The original Subika specimens were stumbled upon by the noted curator Mutua Bahadur, who maintains a collection of ancient antiquities, mainly scraps of puya featuring drawings in this unique artistic style. The precise period of its origin has yet to be discovered. When enquired, Yumnam Sapha professed ignorance about its beginnings and told me that he had just “scratched the surface of Subika art.” As of now, Subika is shrouded in mystery; one cannot trace its lineage from the available undated source materials.
A few days back, his works were displayed to the public for the first time at the Exhibition of the Modern Subika Art, held from 13th—17th, 2024, at Books and Coffee, Imphal. The 5-day event was backed by the IMASI Foundation, Penguin and Audible. During the event, Somi Roy’s book and an audiobook were also launched. The public response was rousing. The books, with their intrinsic lure of Manipur’s myths, retold engagingly, and the novelty of Subika art attracted crowds apt for a musical concert. Somi Roy has played a pivotal role in bringing Sapha’s work to life and the limelight – it was Somi’s books that gave Sapha a crucial break. At the same time,  the revivalist in the author paved the way for organising the art exhibition.
Having said that, one hopes Subika doesn’t become a one-trick pony and gets relegated to oblivion. “There is much scope for scholars to study its origin, motivations, cultural roots, and symbolism, which are still hidden in the esoteric text accompanying the ancient artefacts,” the artist opined.
The original Subika arts are strikingly similar to Egyptian paintings in their techniques, such as their flatness, spartan and dotted lines, warm colours and salient mysticism. The anatomy of the human figures, the headgear, and the costumes one sees in Egyptian iconography resemble the elements used in Subika, especially in versions crafted by Sapha. This similarity gives credence to the theory of a universal unconscious that pervades all humanity. Whatever it is, Subika is an art whose time has arrived.
FRAMING UP: Yumnam Sapha’s paintings are a class act in themselves. His style has all the makings of Indigenous features tinged with an exotic aesthetic, not to mention the subdued colours and unique geometric patterns.
MAIN CRITICISM: My minor gripe relates to its ‘Subika’ nomenclature. If I had an opportunity, I would have chosen a beautiful Manipuri name in its place. Its unfamiliar name detracts from its Indigenous essence and adds another layer of complexity, weakening the connection to its homegrown pedigree.
FUTURE EXPECTATIONS: It would be exciting to see some of Manipur’s epics visualised in Subika style. Perhaps a graphic novel or a comic strip depicting the Khamba Thoibi legend will entice the younger generation to traditional literature and make it more accessible for posterity. Universities and art schools in Manipur should encourage scholarship into Subika Art, rebuild it from ground zero, and put it on the global artistic canvas.