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Goddess Durga

Goddess Durga

Vijayanagar Empire,15th Century CE,Chennai Museum

This is one of the masterpieces of the Chennai Museum.  Carved out of a solid block of granite, one of the hardest stone to work with, the detailing if the jewellery is mind boggling.  The dexterity of the sculptor is clearly established.  In South Indian sculptures the complexity of the sculpture increases as the century rolled by. Thus, the Pallava artists were beginning to learn how to carve in granite. Their sculptures are plain and simple. The Chola sculptors were more apt in dealing with granite. Their sculptures are more detailed than Pallava ones. The Vijayanagar artist was at home with granite. Their sculptures are most elaborately carved than either the Pallava or Chola ones. 

Another unique feature about this piece is that though she is called Goddess Durga, she carries a conch and a disk in her hands, both weapons of Lord Vishnu.  Though She is part of the Shakti cult ( a cult of Hinduism which believed in faminine    divine), yet she carries weapons associated with Vaishnavism. Thus, She appears to be a fusion of Shaivism and Vaishnavism.  

Durga is the eternal Mother Goddess. She protects and promotes us; She destroys and annihilates what is evil. She is our inner mind.  Like her, we must learn to destroy what is bad in us. We must nurture what is good in us. This is equally  true of society. The society should protect the good and destroy the bad. This is, in fact, the very basis of Rule of Law in any nation. Goddess Durga, like other Gods and Goddesses, re - establish the Rule of Law in the world at large. That is why we always pray, " from darkness take me to light; from death take me to immortality." Those who preserve and promote and observe the Rule of Law continue to live in light and achieve immortality. 

Poste

 

 

Ladies Worshipping the Buddha

Ladies Worshipping the Buddha


Amravati Stupa, 2nd Century CE, Chennai Museum

Amravati lay in the heart of Andhra country. Although Sanchi in Madhya Pradesh is the most well known Stupa of ancient India,  but Amravati was far bigger and more grand in its conception, design and execution. The Stupa was originally constructed of bricks, but later encased with highly carved white - green marble slabs. The diameter of the dome was 162 feet, a railing of 192 feet diameter surrounded the grand Stupa. Thanks to its beautiful carvings, we almost lost the Stupa.  As one of the richest businessman began crushing the marbles for its commercial values in the 19th century. Whatever could be saved was rushed to Madras and housed in the Government Museum there. Thus, the Chennai has one of the best collection of Amravati school of sculptures.  

The Amravati school of sculptures is very easily recognizable : most of the sculptures are done in whitish - green marble, the figures are slender, tallish and carved in lyrical manner. The figures are carved almost like flowing wax. The panels and medallions hum with human activities.  There is drama, yet there is peace, tranquillity and serenity.  Most of the pieces deal with the life of the Buddha. Initially the Buddha was not shown in human form, as here. Later he is depicted in human form. 

Here we see four ladies worshipping two feet on a throne. The feet symbolise the presence of  Buddha. Humility at the feet of the Gods or teachers or elder has been an ancient tradition in India.  Humility gives us the ability to accept  various views and philosophies with a sense of reverence and respect. This is the cause of pluralism in India.  Arrogance on the other hand leads to dischord and violence.  Truth is so hard to grasp, that it has multiple interpretations. But like the proverbial seven blind men and the Elephant each man describes the truth according to his perception.  Yet, all perspectives are true. But in our egoism and ethnocentrism we deny the truth asserted by others. We assert our own superiority at the expense of others. But humility and the Middle Path do lead to enlightenment.  

 

Lord Ganesh

Lord Ganesh

Chola Bronze,11th Century CE,Chennai Museum

Chennai Museum has a large collection of Chola Bronze.  And naturally so as Chennai is the capital of Tamil Nadu and Tamil Nadu was the seat of the Chola dynasty. 

India has an ancient tradition of bronze casting. The oldest metalic statue comes from Indus Valley Civilisation : the Dancing Girl. But there are also beautiful bronze sculptures from the post - Gupta Period from Bihar and Bengal. In fact, there is a life - size Buddha in bronze from Sultanganj, Bihar. The Pala Dynasty of Bengal has also produced fine bronze sculptures.  Even today Tamil Nadu continues to produce exquisite bronze sculptures following the ancient method of lost wax technique in casting the figure. 

The figure is first made in wax, then covered with clay. When the clay is fried, holes are left through which the melted wax would escape and the impression of the sculpture would be left inside the hardened clay. Thus the wax is lost.  Then molten bronze is poured inside the cavity of the mould. After the mould cools down, the baked clay is broken, revealing the bronze statue. The Rough edges are filed, the finer details are carved, the statue is polished, and sold. Chola Bronze are considered to be masterpieces of Indian art.  

Lord Ganesh is a popular God of the South.  During the Vedic period, Lord Vishnu in the form of a horse headed god was considered the God of Wisdom. For according to the Vedic people, the horse was the most intelligent animal. Till they domesticated the wild elephant. As elephants became important, the God of wisdom changed from being horse headed to an elephant headed. Most likely, some tribes in Maharashtra used to worship the elephants as a tribal God. The Aryans adopted him as their God of wisdom after the post - Gupta Period.  For the oldest statues of Lord Ganesh are discovered in Maharashtra from the post - Gupta Period.  

In South Indian art Lord Ganesh is depicted either standing, sitting or dancing. He is a jovial god who amuses us with his childish images and inspires us with his wisdom. Since wisdom can solve all the problems, He is considered to be the God who solves our difficulties. Since no task can be achieved without knowledge, He is the first God to be worshipped. For action without knowledge and wisdom leads to chaos. Thus, He creates harmony and order. He maintains the universe.  

While we all worship him, at times, we forget the importance of knowledge and wisdom in our life.

 

 

Goddess Durga Fighting with Mahisasur

Goddess Durga Fighting with Mahisasur

 Mahaballipuram, Pallava Dynasty, 7th Century CE

           One of the most brilliantly executed panels of Mahaballipuram is this one. We are all familiar with the killing of Mahisasur by Goddess Durga.  But here the sculptor has depicted the battle when the tide has started turning against Mahisasur.  He is on his back leg, tilting back; his warriors have fallen, while the Devi ' s army is advancing. There are dead bodies strewn in the battlefield.  ( Notice the corpse in the middle of the panel--a top view of a dead body). The Pallava artist has used the cross diagnals to make the panel more dynamic. The panel is full of fury and energy. It is a battle scene frozen in stone. 

         Mahisasur Mardani sculptures capture the final act of killing of the demon. Here the defeat has just begun. The artist has purposefully depicted the story in the middle.  Life itself is a constant battle between good and bad. It  is a fight which is uncertain. When the tide may turn, we do not know. It took the Pandavas eighteen days to defeat the Kauravs.  But fight we must wage within ourselves to cleanse the evil within us. Similarly a fight goes on within a society with regard to its evil practices, with regard to class struggle, with regard to ideologies. But we should not be overwhelmed by being in middle of a battle.  The fight should be with a sense of detachment. 

        The Pallavas could teach us many things about life through such stunning sculptures ! 

 

Dharmaraj Rath

Dharmaraj Rath

Mahaballipuram, Pallava Dynasty,7th Century CE

     A larger version of the Arjun Rath,  and the most imposing structure is the Dharamraj Rath or the Yudhisthir Rath. It is a temple dedicated to Lord Shiva. Like the other temples  this temple is also unfinished.  But has sufficient number of sculptures of Lord Shiva in his different manifestation to tell us that it is a Shiva temple.  We can see two images of Lord Shiva in this picture itself. On the left is Bhairav, the violent form of Lord Shiva;  on the right is his peaceful form. Both co - exist side by side as the ancient Indians believed that creativity and destruction go hand in hand. 

      Yudhisthir is an interesting character in Mahabharata.  Said to be the son of Yama,  the Hindu god of Justice and death, Yudhisthir is personification of Dharma  ( righteous conduct ).  If Bhim is brute force, Arjun is intellectual,  then Yudhisthir is wise. Yet, at times his wisdom fails him and he gives into temptation as when he played the dice game and wagered, his brothers, his wife and even his Kingdom.  He spends the rest of his life in remorse for his faults. Like us, he is constantly caught up in dilemma about what is right and what is wrong. But his answers to the questions posed by Dharamraj, Lord Yama prove his steadfastness to Dharma.  

        After he has answered all the questions, Dharamraj asks him to chose one of his brothers who should be resurrected as all the four brothers were lying dead before him. Yudhisthir asks that Sehdev, the youngest brother, should be revived. Dharamraj is puzzled at this choice. He asks Yudhisthir to explain his choice. For, Yudhisthir has not asked that Arjun or Bhim should be revived. Yudhisthir says, " in the dice game I had waged my brothers.  Arjun and Bhim and I are from the same mother. But Nakul and Sehdev are from Madari, my younger mother ( step-mother). If I ask for Arjun or Bhim it would be unfair. For neither of Madri 's children would live. I must be fair to both my mothers. Sehdev is the yongest of us all. He has to be protected by the eldest. Let him be resurrected. " Dharmaraj was pleased with Yudhisthir ' s sense of fairness and justice. He revived all the four brothers. 

        The sense of equality, of fairness is the heart and soul of Justice.  For justice cannot exist in their absence. We are duty bound to protect and promote the "younger" brothers. If we don't, then we are being a tyrant. Mahabharata teaches us that were Dharma exists, where the sense of fairness lives, peace and prosperity thrive.  As a nation, we should not forget this.

 

 

Raths at Mahaballipuram

Raths at Mahaballipuram

Pallava Dynasty, 7th Century CE

        One of the greatest dynasties of South India was the Pallava Dynasty (6th -8th Century CE ). They were the contemporaries of the Chalukya Dynasty of Karnataka.  There were incessant wars between the two dynasties for 300 years. Not only the Royal egos, but also the fertile lands of the Tungabhadra region caused these wars.  While the Pallavas wanted to expand their kingdom north westward, the Chalukyas wanted to capture the Tamil lands to the south and to have the hegemony of the sea. 

         Mahaballipuram is one of the most ancient ports of India. Plinny the Yonger, the famous Roman historian mentions the Indian ports of Baruch and Mahaballipuram in his book on Ports of the World. The Romans had strong trade ties with South India, so much so, that under Emperor Tiberius, the Roman Senate passed laws against import of import of exotic Indian animals and cotton textile.  This is one of the first examples of protectionism in global market. 

         Mahaballipuram was a thriving port city. But these temples called "Raths" were left unfinished. Five monolithic temples were carved out of s single hill. Here we see three of them. Although these Raths are named after the Pandav brothers, but the Pandavas never came this far to the south. Interestingly each temple is carved in different style. The first one, a Durga Temple has a hatched roof structure.  The long building we see here in this picture is like a long gallery from Ajanta Caves.  The Shiva temple, we see in the foreground, is built in the Dravidian style. Like Pattadakal in Karnataka, here the architects were experimenting with different styles of architecture.  This not only proves the dexterity, but also reveals the myriad  imagination of the Pallava architects. The adventurous spirit of the Pallavas is reflected both in their art and in their seafaring to the East Indies. The Pallava spirit or the Tamil spirit is indomitable. 

 

 

Virupaksha Temple

Virupaksha Temple

Chalukya Dynasty, 745 CE

         Chalukyans were bitter enemies of the Pallavas of Kanchipuram.  They fought each other for two hundred years. The balance would tilt at times in favour of the Pallavas, at times in favour of the Chalukyans.  

        Raja Vikramaditya II (r. 733-744 CE) captured Kanchipuram thrice in his life. Even as a Crown Prince he had subdued the might of the Pallavas.  As a king, he conquered them twice. 

       His wife, Queen Lokmahadevi built the Virupaksha Temple in order to commemorate the King's victory over the Pallavas. The temple is the finest example of Early Chalukyan architecture at Pattadakal.  Ironically while the temple commemorates the defeat of the Pallavas, yet the Virupaksha Temple is a based on the Kailashnath Temple at Kanchipuram.  The conqueror had no hesitation to learn from the conquered. This clearly proves the liberal spirit of the Chalukyan mind. 

       The temple is a huge one, divided into different parts. It is the first temple in Karnataka to have a large entrance gate, a precursor to the lofty "gopuram " which will mark later Kannada architecture.  Since the temple is dedicated to Lord Shiva, it has a huge statue of Nandi, the bull in the " Nandi Mandapa", or a temple dedicated to Nandi. 

        The temp is profusedly decorated with episodes of Lord Shiva.  But dedication to Lord Shiva did not exclude depiction of stories from the Bhagwat Purana, the Ramayan,  and the Mahabharata all of which deal with Lord Vishnu.  This clearly reveals the catholic vision of the Chalukyans.  While devoted to Lord Shiva, they were equally respectful towards Lord Vishnu. 

        Pattadakal also has a Jain shrine. Thus different religions could peacefully co - exists without any conflict or confrontation.  The magnanimous vision of the Chalukyans is woefully missing today. We have much to learn from them. 

 

Temples if Pattadakal

Temples if Pattadakal

Chalukya Dynasty, First Half of 8th Century CE

          If Badami was the political capital of the Chalukyan Kingdom,  Pattadakal was the seat of the Royal coronation. The word "patta" means title. About 22 kilometres away from Badami, it is the Westminster Abbey of the Chalukyan Dynasty. 

        The site preserved by the ASI, and declared as UNESCO site contains eight temples. All the temples are dedicated to Lord Shiva. The two largest temples, Virupaksha and Mallikarjuna, are commemorative temples. Vikramaditya II (r. 734-45 CE) defeated the Pallavas of Kanchipuram.  His two wives constructed these two temples in order to commemorate his victory. They are the largest temples at Pattadakal. 

       But the importance of Pattadakal is lies elsewhere: it is the cradle of Indian architecture.  In India temples are constructed in three styles: the Northern  (Nagara ), the Dravidian ( in the South),  and the Eastern ( in Odisha ). The Nagara has a tower ( the Shikhar ) over the sanctum sanctorium. The Dravidian has a step- pyramidal roof; the Eastern also has a tower ( the Shikhar ), but it is squat in size. 

        As Indian architecture evolved from the cave temples to the free standing and construed temples, Pattadakal is the missing link. The Chalukyan architects experimented with both the Northern and the Dravidian styles simultaneously.  Thus, in this picture you see the Northern style with its tower ( Shikhar ) on the left, and the Dravidian, with the pyramidal roof, on the right. 

        Experimentation is not the forte of Indian civilisation. In fact, our civilisation is marked by what is termed as "sufficient efficiency. " Once a thing has achieved sufficient efficiency, we do not improve upon it any further. This is unlike the West where experimtation and innovation are the hallmark of the civilisation. 

        But the Chalukyan mind is an innovative mind. It experimented with different designs. It is a mind free of dogmas, free of prejudices. It is a mind which is open to ideas from all sides. It is a mind which is not afraid to experiment, to take chances. Its architecture, thus, reflects a highly creative, innovative, liberal and visionary mind. A rare mind indeed. 

 

Lord Bahubali

Lord Bahubali

Cave No. 4, Badami, Chalukya Dynasty, 6th Century CE

         While Cave No. 1 is dedicated to Lord Shiva,  Cave Nos. 2 and 3 are dedicated to Lord Vishnu.  Cave No. 4 is dedicated to Jainism. Here we find sculptures of Jain Tirthankaras or Gurus. 

         Son of Rishabhadev, the first Jain Tirthankara, Bahubali defeated his brother Bharata.  But became disillusioned with the intra - family feud. He abandoned his Kingdom and his clothes and became a Jain monk. He stood in deep meditation for a year till vines grew from the sides and enveloped him. His two sisters reminded him that he couldn't reach enlightenment as he stood on an 'elephant'-- Ego. ( We see the two sisters beseeching him). He also renounced Ego. He reached Moksha or liberation from the cycle of life and death. 

        Renunciation has an ancient ancestry in India. The human mind is obsessed with possession : my family, my house, my car, my laptop, my ipad etc. But we are like tenants in a house. Nothing is ours as we are not the owner. We are mere transit passengers.  Yet we crave for tangible objects. 

       Bahubali is a symbol of perfect renunciation, even of clothes and Ego. His giving up clothes is similar to the story of St. Francis of Assisi who also gave up his fine clothes when he lost a civil suit to his own father. It is symbolic of giving up one's identity. To give up ego, to see the world with equanimity is to realise the Tao-- all things are interconnected. Hence, there can not ever be "we" and "them", or "mine" and "his". Such a vision leads to the ultimate philosophy of "Live and Let Live". 

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Lord Vishnu on Sheshnag

Lord Vishnu on Sheshnag

Cave No 3., Badam, Chalukya Dynasty,6th Century CE

        This sculpture of Lord Vishnu is considered the masterpiece of the Badami caves.  It is a highly unusual sculpture.  For, generally Lord Vishnu is depicted as sleeping on the Serpant Sheshnag.  But rarely shown as sitting on him. Generally Goddess Lakshmi is shown as massaging Lord Vishnu 's feet; Garuda, His vehicle, is usually shown in half human form and standing in His attendance. But here the small figure of Goddess Lakshmi sits casually, leaning against the coils of the Serpant on the right hand side.  Even Garuda is in a relaxed mood on the left side. Even Lord Vishnu does not sit in a "regal" pose.  Even He sits casually as though freely conversing with the devotee. There is an unusual informality in the divine group. 

       Perhaps God is portrayed not as an impersonal god, but as a personal one.  Unlike Judaism where God is a distant object of veneration, in Hinduism, He is a personal God: intimate, friendly, confidante. 

       But perhaps this sculpture is a political commentary and a warning. The Chalukyan Kingdom had reached its zenith. Now the King and the subject could relax. The guardians could take it easy. But too much relaxation, too much carelessness can be dangerous. For, when Lord Vishnu falls asleep on the Sheshnag, two demons arise from Him and attack Him. Thus, this sculpture is a warning to the people to be ever vigilant, lest the Pallavas attack again. 

      A nation cannot afford to relax. For there are endless troubles on the horizon.  Every citizen must contribute to the development of the country.  Be vigilant, be safe.

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Mithuna Figures ( A Loving Couple)

Mithuna Figures ( A Loving Couple)

Cave No 3, Badami, Chalukya Dynasty,6th Century CE

           Every pillar in Cave No. 3 is crowned by a loving couple or Mithuna. These figures are important both historically and artistically.  Historically they tell us about the lifestyle of India in 6th Century CE. The couple is young and fashionable.  The Chalukyan figures are tallish in appearance.  The men are not muscular but slim. Women are voluptuous but slim. They are attired in the best of clothes and jewellery. They reflect the prosperity of their Age. Artistically, unlike the stout and short figures of North India, the figures are tallish. Apparently the concept of beauty was different in the South and the North. Moreover, these loving couples are the beginning of erotic art in India. Eroticism will reach its climax at Khajaraho and Konark temples in the North and East. 

          These couples also had a social and political significance. Since the family is the smallest unit of the society, it was important to emphasise on the "happy family." Politically, such couples and their opulence stressed the political stability and the economic prosperity of the Kingdom. 

          Unfortunately today we do not emphasise the unity of the family. As we "progress" we are becoming more and more individualistic. Instead of spending time with our wife and children, we would rather be surfing the Internet or be in Facebook.  The intimacy, the love and affection between the couples is beginning to dry up. Perhaps we should look at the Indian art and realise the importance of " Kama" ( desire), of love and affection in our lives. 

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Lord Narsimha ( Lord Vishnu as the Half - man , Half - lion form)

Lord Narsimha ( Lord Vishnu as the Half - man , Half - lion form)

Cave No 3,Badami. Chalukya Dynasty,6th Century CE

            This Cave contains images of different incarnations of Lord Vishnu.  Here we have the fourth incarnation: Narsimha  ( the half - man,  half - lion ). This is a unique incarnation as it was instantaneous one. There were no long preparation for the incarnation amongst the Gods.  Hiranyakashipu, the demon, demanded to know from his son, Prahlad, who was ever devoted to Lord Vishnu if his god was present in a pillar of the palace as well. Prahlad said "yes He does." Hiranyakashipu hit the pillar with his mace in order to prove that the pillar did not contain any god. Out popped Narsimha incarnation.  Here we see the Lord in all his glory. Prahlad stands on the left side; Hiranyakashipu on the right. The fight between Narsimha and Hiranyakashipu is yet to begin. 

          This story has various meanings: it speaks of bhakti ( total devotion to God) as portrayed in Prahlad ' s complete devotion to Lord Vishnu; it proves that devotion is not by birth as Prahlad was born from a demon. But is self - acquired.  Thus, it challenges the Brahminical belief that knowledge is the monopoly of only the Brahmins. It  speaks of the omnipresence of God--He is everywhere; it deals with generation gap and with the concept of father and son conflict. The older generation should not impose its  dictates and thinking on the younger generation.  The young should be permitted to think out of the box. It stresses on devotion, single mindedness, and hard work. It teaches us that life is not easy, but is full of obstacles. However, eventually we will overcome our troubles. It is an optimistic tale.

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 Varaha Avtar ( The Boar Incarnation of Lord Vishnu )

Varaha Avtar  ( The Boar Incarnation of Lord Vishnu )

Cave No. 3 , Badami,  6th Century CE, Chalukya Dynasty  

          Of the four Cave Temples,  Cave No. 3 is the largest and most elaborate.  It was commissioned by Raja Manglesh,  the second son of Pulkeshin I. An inscription in the cave tells us the date of construction as 578 CE. Interestingly, the date is given in the Sakha Era. Sakhas were foreigners who came after the Greeks and settled in India. Surprisingly the Chalukyans have adopted their calender , but have not created their own calender and Era. 

         This Cave is also dedicated to Lord Vishnu as the Chalukya Dynasty were, at the time, Vaishnavites. The Chalukyan Royal emblem was the Varaha Avtar of Lord Vishnu.  For, they believed that like Lord Varaha ( the Boar), they too have saved Earth from chaos. Hence, again this sculpture was  both a political statement and a sacred image. 

         The theme of saving the Mother Earth from danger is a recurring theme in Hinduism. The Varaha incarnation is the classic story. Hiranyaksha, the demon,  dragged Earth into the ocean of chaos. Lord Vishnu appeared as a Boar; he plunged into the ocean, killed the demon,  and brought the Earth out. She married Lord Vishnu.  Bhodevi is His second wife, after Godess Lakshmi. 

         Like demons, we too are destroying Mother Earth for our insatiable greed. We mine her depths, we pollute the air, we pollute the oceans, we kill the animals, we flatten the mountains. What we consider to be the path of development is the path of our destruction.  With global warming, with high air, water, noise and light pollutions all around us, with wars, and nuclear weapons where are we dragging Mother Earth? Back to the ocean of chaos. But like the Varaha Avtar we have to save her. We have only one home in the entire Universe: Mother Earth. 

 

 

 Drunken Courtesan

Drunken Courtesan

 Cave No 3, Badami, 6th Century CE, Chalukya Dynasty

        Gods were not the only concern of the Chalukyan artist. The social conditions also invited his attention.  Drinking amongst the women was a common phenomenon. Here we see a drunken woman being supported by a man. The man could be a client of the courtesan, or a paramour or even a husband of the woman. Although I have called this sculpture "The Drunken Courtesan", but it might be a depiction of a couple. 

        The artist has beautifully captured the collapsing body of the woman: with one foot facing the onlooker, with a limp body, with on arm dangling. The woman is ready to crash to the floor. Yet the woman is not one belonging to a low class. Her jewelry, her youth, indicate her high social status. But notwithstanding her social status, she is overtaken by liquor. 

         The purpose of such sculpture could be to just portray the reality. Or it could be a warning to the people not to get addicted to alcohol. It is an anti - alcohol campaign.  Or it could be a symbol of the need to save the degraded environment or Nature. Since women were seen as a symbol of Nature, here the Nature is degraded, is "falling" due to excess. Hence the need to "prop her up". The need to save Nature before it collapses completely. 

       The sculpture contains a message for all Ages.

 

 

 Trivikram: Dwarf (Vaman ) Incarnation of Lord Vishnu

Trivikram: Dwarf  (Vaman )  Incarnation of Lord Vishnu

 Cave No 2, Badami,  6th Century CE

             Cave No 2 is dedicated to Lord Vishnu.  Thus, we find different images of the God. The Chalukyan Dynasty was a native Dynasty of Karnataka.  Yet its Kingdom was not a local one.  It had expanded its limits to a large extent of the Deccan. Raja Pulkeshin II had even crossed the Narmada River and had defeated Raja Harshvardhan of Kannauj.  Hence , its Kingdom had extended even to the North India. 

             For such a Dynasty, the Dwarf incarnation if Lord Vishnu was an apt symbol. Like Vaman  ( dwarf), the Dynasty had humble beginnings.  But like Lord Vishnu, it too had conquered "the earth and the sky" and was still looking for a place to take its "third" step. Raja Pulkeshin II must have seen himself as a "Chakravirtin " king (as an all conquering king). Therefore, this over lifesize sculpture of Lord Trivikram  ( conqueror of the threw worlds) is as much a political statement as it is a religious icon. 

           The story of Vaman is a reminder of the divinity within us. We have the potential to grow and conquer. We just need a will power.  Like the son of King Bali, who is shown trying to hold back Lord Vishnu from taking his third step over King Bali ' s head, obstacles are there in the path of growth and development. But like the Lord we must overcome them. As individuals we must reach our maximum capacity; as a nation we must become an economic world power. But the path to growth is not through endless squabbles, and through self - doubts,  or through the doomsday preaching. It is through self - confidence, self - sacrifice,  through zeal, compassion and kindness. 

 

 

 Cave No. 2

Cave No. 2

Cave No. 2, Badami, 6th Century CE

            In which chronological order these four caves were carved, we do not know. Cave No 3 is the only 'dated' cave we have. An inscription there gives its  date as 578 CE. But when and by whom Cave No. 2 was excavated,  we do not know.

           Compared to Ajanta, this Cave temple is a simple one. Cut into the rugged reddish sandstone cliff, it has no ornamental facade as do the Ajanta Caves. Perhaps the architect and the labour were trying to get used to the idea of chiselling through the solid rocks. Thus, Cave Nos.  1 and 2 are rather simple looking. 

          But the simplicity also hides the great achievements of the builders. The ancients did not have the advantages that we have today: no excavators, no earthmover, no explosives for blasting the rocks, no instruments for seeing the geological formations of the inside of the rocks. All the ancients had were chisels and hammers, a deep religious faith, a zeal for perfection, and sheer hard work. For years the faceless and voiceless labourer toiled at the site, hammering and chiselling the rocks, till over lifesize figures could be carved in all their divine beauty and grace. 

         These Cave temples are testimonies of our vision and endurance. They are  a living proof of the human spirit to tackle, to transform Nature from its chaos and rugged surface into order and beauty. They are source of eternal inspiration.  

 

 Lord Harihar with Goddesses Parvati and Lakshmi

Lord Harihar with Goddesses Parvati and Lakshmi

Cave No. 1, Badami, 6th Century CE

              This is one of the most unusual depiction of Lord Harihar. Generally He is portrayed as a single figure where the left half is Lord Shiva and the right half is Lord Vishnu. But here He is shown with Goddess Parvati on the left side and Godess Lakshmi on the right side. Thus both the halves are with their respective consorts, with their "Shaktis". The two halves are also with their vehicles: Nandi , the bull in a human form on the left, and Garuda, again in human form on the right. 

             This is a fascinating group of sculptures: all the three figures are over lifesize. In cave temples generally we have over lifesize figures. This testifies to the confidence of the sculptor, to the boldness of the people. They could think in large terms. They had a broader vision. 

             Interestingly the early Rulers of Chalukyan Dynasty were Vaishnavites. Later they worshipped Lord Shiva.  Yet here in a cave dedicated to Lord Shiva, they have commissioned a sculpture of Lord Harihar. He is a figure  who was invented in order to end the controversy  between the Vaishnavites and the Shaivites as to whose god was greater. Hence, this group is socio-political statement that both the factions are equal in the eyes of the King. 

             Other sculptures in Cave No. 1 also carry forward the message of assimilation. Right opposite this group of Harihar, is an equally over lifesize group of Lord Shiva as Ardhnarishwar-- as half man, half woman.  Ardhnarishwar not only portrays the unity in the duality of Nature, but more importantly depicts gender equality and gender fluidity.  The ancient mind was far more liberal in accepting genders of different types. It was comfortable with men turning into woman and vice versa. In fact the birth of Harihar itself deals with Lord Vishnu turning into Mohini, the enchantress, and having a physical relationship with Lord Shiva to give birth to Harihar. Such liberal thoughts are a rarity in Modern Age where one gender has seek equality, and where a community of LGBT have to struggle for their rights. The ancients would be amused by the "advanced" thinking of the moderns. 

 

 Natraj ( Lord Shiva Dancing )

Natraj   ( Lord Shiva Dancing )

Cave No. 1 at Badami, 6th Century CE

            Badami has four cave temples which were excavated during the Chalukyan period  ( 6th- 8th Century CE ). These  cave temples were carved after the Ajanta Caves.  They may not be as elaborate as the Ajanta Caves,  but they continued the same traditions. In fact, the Badami caves are influenced by the Ajanta Caves.  But compared to the Ajanta,  these caves are modest in size, and in complexity. But nonetheless,  this is the beginning of Hindu art as compared to the Buddhist art of Ajanta. 

           We do not know the chronological order in which the caves were carved. But Cave No. 1 being the simplest may have been carved as the first cave. Although the Chalukyan Royalty were Vaishnavites, but Cave No. 1 is a Shaivite cave. It is dedicated to Lord Shiva.  

          On the outer wall of the Cave is this over life size sculpture of Lord Shiva as a dancer or Natraj. The most famous Natrajs are of course the Chola Bronze ones. But here we see Natraj depicted for the first time. He has eighteen arms, he stands on a pedestal,  while Lord Ganesh, like a child,  tries to imitate His father. Nandi, the bull, stands quietly as though nothing is happening.  A drummer beats the rhythmic patterns of the music. 

           It is said that the eighteen arms capture different postures of Bharatnatyam. It is not that the God has eighteen arms, He could have just two arms. But the arms are shown in motion. It is a continuous narrative, as it were. But the image is a dynamic one. The flaying arms capture the fast movement, the rhythm ofthe dance. 

           It is dance which represents the whirling universe: it turns and twists, it moves and swirls. It is still yet in movement. The universe dances to Time ( the drummer). But a sense of calmness pervades with a sense of wisdom  ( Lord Ganesh). However, through life, through its ups and downs, Nature is unmoved  (Nandi, the bull ). The over lifesize sculpture is not about a God who is merely dancing; it is an existentialist statement.  It is full of philosophy.

 City of Badami

City of Badami

District Bagalkot, Karnataka

            Badami is one of the most ancient cities of the Deccan. Although the area around the city was inhabited since Mesolithic times, it reached its zenith under the Chalukyan Dynasty  (6th- 8th Century CE ). Before we explore the art treasures of Badami, it is imperative to know a bit of its history.  According to the Puranic lore, the area was ruled by two demonic brothers, Vatapi and Ilvala. Ilvala would kill Vatapi, and feed his meat to the guests. Then, he would ask Vatapi to come out; Vatapi would come out, thereby killing the guest. Saint Agastaya was also fed Vatapi ' s meat. But before Ilvala could call his brother out, Agastaya said "Vatapi be digested." Vatapi never came out. This myth clearly speaks of Aryanisation of this region. 

        Pulkeshin I (r. 544 - 67 CE) established Badami as the capital of the Chalukyan Kingdom.  He named the city as Vatapi. For two centuries Vatapi was the seat of the Chalukyan Kingdom.  

        The Chalukyan Kings and Queens were great patrons of art, architecture,  literature, dance and music. They experimented with architecture,  excavating cave temples, and constructing free standing temples. Their experiments can be found in Badami, Aihole and Pattadakal.  It is there architectural imagination which has given rise to both the Northern (Nagara ) style, and to the Dravidian style of architecture in India. Thus, they are the founders of Indian architecture as we know it today. 

        Although initially the worshipped Lord Vishnu, but subsequently they became worshippers of Lord Shiva. But their dedication to Hinduism did not make them blind to other religions. In fact the equally patronised Jainism and Buddhism. In fact one of their Kings has boasted that different religions are peacefully coexisting and flourishing in his Kingdom.  Assimilation was the hallmark of the Chalukyan Dynasty.  

        But simultaneously Chalukyans were a proud race. The bitterly fought with the Pallavas of Kanchipuram for two hundred years. The constant warfare destroyed both the kingdoms. Both are in ruins today. 

         There is much to learn from the rise and fall of the Chalukyans!

 Lord Shiva as a Column of Fire

Lord Shiva as a Column of Fire

Virupaksha Temple at Pattadakal,8th Century CE

          Raja Vikramaditya II ( r. 734- 45 CE) had finally defeated the Pallava King of Kanchipuram. His two Queens, Lokmahadevi and Trilokmahadevi erected two temples at Pattadakal.  The Virupaksha temple was commissioned by Queen Lokmahadevi.  It is the pinnacle of Chalukyan architecture.  The fact that the queens commissioned the temples clearly proves the harmony within the royal harem. It is also testifies to the Socio-economic and political importance of the queens. 

         Since Goddess Lakshmi was the family Goddess, we see the Gajalakshmi sitting at the top. She is being bathed by two elephants. 

         In the Shiva  Purana there is a story about a pillar of fire which had suddenly appeared. Both Lord Vishnu and Lord Brahma wanted to prove that one was better than the other. Brahma went towards the top of the flame ( the tiny figure on the left hand side), while Vishnu went towards the bottom of the flame ( figure has been damaged towards the right bottom). But neither could find the end of the flame. But to prove His superiority,  Brahma lied and claimed that he had discovered the top of the flame as He brought a Kewada flower from the tip of the flame. Lord Shiva appeared from the flame and cursed Brahma that He will not be worshipped as He had lied. Kewada flower would not be offered to the gods, only it's essence will be burned. For Kewada flower had conspired with Brahma to cheat Vishnu. 

        This story proves the superiority of Lord Shiva over the other two members of the Hindu Trinity. It also establishes the concept of crime and punishment.  Even the Creator can be punished.  For Dharma  ( the laws of righteous conduct ) are above Him. Rule of Law is eternal and omnipresent.

 Goddess Chamunda

Goddess Chamunda

 Bhopal Museum.

            Goddess Chamunda is said to be a manifestation of Goddess Durga. Sambhu  and Nishambu were two great demons who constantly fought with the gods and tortured humanity. All the Gods combined their energies and from their energies Goddess Durga appeared. She fought with the demons. Sambhu and Nishambu had two generals: Chanda and Munda. To kill them, a goddess appeared from the brow of Durga, Chandika.  When She killed Chanda and Munda She came to be known as Chamunda. 

        Of the Seven Mothers ( Saptamatrikas ) Chamunda is the most ferocious.  She is easy to recognise as She is depicted as skeletal, with flat drooping breasts, with sunken eyes, with a garland of skulls, with eight or ten or twelve arms carrying different weapons, and corpse as her vehicle. She was popular in Tantrism as a Goddess who frequented the cremation ground and one who drank liquor and ate meat. During Dashehra festival animals are sacrificed to her. 

           According to historians, originally she was a tribal goddess of the Vindhyas region who was assimilated into mainstream Hinduism. She was also adopted into Jainism, but as a benevolent goddess. She is the Kuldevi  ( the family goddess ) of the Oswal Jain.  

           She was misunderstood by the Westerners who mistook her for a witch. She was also seen as a hedonistic goddess and thus a symbol of a  barbaric civilisation.  But they failed to realise that at times Nature takes on a demonic features in order to destroy evil itself. The Mother continues to be loving and kind, but to fight evil She appears to be angry and grotesque.  But underneath the ferocious form is the serenity and compassion of a Mother. 

 Lord Vishnu in His Supreme Form

Lord Vishnu in His Supreme Form

Pratihara Dynasty, 10th Century CE, Bhopal Museum

          King Bali was known for his generosity.  In order to test his commitment to his words, Lord Vishnu appeared as a dwarf  (Vaman). He asked for land which would be covered by just three steps of His. Bali granted him His wish. The dwarf transformed himself into the supreme form of Lord Vishnu.  In one step He covered the earth; in second step He covered the sky. He asked Bali " where shall I place my third step?" In all humility,  Bali offered his head. Lord Vishnu stepped on his head. Bali went to the underworld.  But Lord Vishnu was impressed by his generosity and truthfulness and by his honouring his pledge. He granted him the boon, that he could revisit Earth once in a year. 

        Here we see King Bali granting the wish to Vaman on the bottom right side. Lord Vishnu has taken the Universal form and stretched his leg to the moon. Besides Arjun, King Bali is another person who had seen the the Lord's universal form. 

        This myth is full of symbolism.  Like Abraham, King Bali is also tested by God. But Bali is true to his words. Honouring one's word, or truthfulness is important.  The story also explains the rejuvenation of Earth after the hot summer. In fact, Pongal in Kerala is celebrated in order to mark the return of King Bali on Earth. 

        Most importantly, the story is about self - confidence.  We are dwarfed by our own psyche. At times, we lack confidence.  Yet there is infinite energy and faith within us. If we were to tap the inner strength, we can take giant steps in our life. We too can take the Universal form of the Lord. 

 Sadashiva ( A form of Lord Shiva)

Sadashiva ( A form of Lord Shiva)

Prathihara Dynasty, 10th Century CE, Bhopal Museum

            One of the most unusual  sculptures of the Bhopal Museum is this figure of Sadashiva. Lord Shiva in his form as a Trinity, as the creator, the preserver and as the destroyer,  is called Sadashiva. In the Elephanta Caves He is shown with three male heads. Surprisingly here He is depicted with two female heads: of Parvati and Chamunda. This clearly reflects the influence of Tantra art on this sculpture.  The influence of Tantrism is not surprising as Tantrism, an occult form of Hinduism was at its zenith in the 10th Century CE. But the sheer size of the sculpture, almost life - size, reveals the importance of the figure in a temple.  

            The inclusion of Goddess Parvati and of Goddess Chamunda is significant.  Parvati holds a mirror on the left side of the figure; Chamunda is drinking blood from a bowl on the right side of the figure. While Parvati is depicted as a young and a beautiful woman, Chamunda is portrayed as a hideous and ferocious looking woman. Both depict the twin aspect of Nature: the calm, the serene, the benevolent is Parvati; the destructive, the violent is Chamunda.  The Lord sits calmly between the two extremes. 

            Our mind is also like Sadashiva.  It has both the creative and the destructive sides to it. But a detached persons is full of equanimity, full of serenity, full of compassion, like the Lord Himself. Like Shiva we also have our desires around our neck/ waist (as in this sculpture ).  But a Yogi keeps the desires under control. This figure is as much a reflection of the prevalent process in the Universe as it is about human psychology.  It, thus, represents both the micro and the macro levels of existence.  

            Like all great Indian sculptures, this figure reflects a great philosophical concept.

 Lord Kuber

Lord Kuber

Pratihara Dynasty, 10th Century CE, Bhopal Museum

            Lord Kuber is the Hindu God of Wealth.  He is an interesting character in Hindu pantheon.  For, He is step-brother of Ravan. He is said to live underground and not in the sky as other gods do. He is a demi-god. It is easy to recognise him as he has a protruding belly (as in this sculpture ),  usually carries a bag full of money or gems; the bag being made of a mongoose skin. 

          He lives underground as precious metals and gems are found under the earth. Mongoose has the ability to burrow under the ground. Hence, bag full of gems and money-- bag made of mongoose skin. 

           Kuber symbolises "arth" ( economics); the second goal of Hindu life. The ancient Hindus recognised the importance of trade and commerce, of money. Unlike the Greeks and Romans, we have two dieties for wealth: Goddess Lakshmi and Kuber. But while Goddess Lakshmi symbolises the benign aspect of money,  Kuber depicts the voracious or the greedy aspect of money. He is thus shown as indulging in drinking as well: "drunk" with the power of money. His arrogance is also well known. Thus His character is also a warning to the people, not to be arrogant about one's wealth.

            To acquire wealth is certainly a laudable goal. But to be greedy and arrogant and ostentatious are wrong characteristics in a person. Wealth which is hoarded is called "Kulakshmi", a sister of Goddess Lakshmi who personifies poverty and pestilence. For money which is locked up is useless to the society.  Like blood, money too should circulate to keep the society healthy. Money spent on charity, on the poor and the downtrodden, earns good deeds or Karma. Money spent on oneself is said to be wasted. It reflects egoism and arrogance. Money spent wisely is a boon, spent foolishly, it is a curse. 

           Kuber symbolises both the be aspects of arth, money: the beneficial and the destructive.  This is why He is a demi-god, and yet related to Ravan.

 Uma - Maheshwar ( Lord Shiva with Goddess Uma)

Uma - Maheshwar ( Lord Shiva with Goddess Uma)

Prathihara Dynasty,10th Century CE, Bhopal Museum

             After the sudden death of Sati, Lord Shiva retreated into the Mt. Kailash and sat in deep meditation. His withdrawal froze the landscape and everything became desolate.  The gods were worried. Absolute control over the desires leads to a lifeless existence.  Shiva had to be aroused from the deep meditation.  Lord Kama was sent, but he was burnt. Only Gauri or Uma could win his heart, but through austerity. She won. She domesticated his wild nature. 

            Here They sit in each others company. She looks at Him with deep reverence. He at Her, with deep love. The cosmos revolves around them. Lord Brahma stands on top left, Lord Vishnu on top right, Ganesh sits on bottom left, and Kartikeya on right bottom of the viewer.  

           When we lose someone, we too become shell shocked. We need to be brought out of our mourning.  The desire to live, to prosper, to excel needs to be rekindled. Nature, in all Her splendour  ( Goddess Uma) smoothens the harsh edges of the intellect. She draws us back into the beauty of life. We begin to create (Brahma), we begin to preserve  (Vishnu ); we work with wisdom (Ganesh ), and with force (Kartikeya ). All is well.

 Maithun Figures

Maithun Figures

Chandela Dynasty, 10th Century CE, Bhopal Museum

             Kama or desire was one of the four goals of ancient Indians. But today it is misunderstood by the Indians themselves. To the ancients Dharma (righteous conduct ), Artha  (wealth), Kama (desire), and Moksha  (liberation from the cycle of life and death ) were the four goals of life. But under the influence of other civilisation, and value systems, Kama is becoming a taboo subject. 

            Buddhism too saw desire as  the root cause of misery in the world; Christianity and Islam equated desire with temptation.  But for Hinduism desire is essential.  For without desire Nature ceases to exist. It is desire which propagates a species. Thus, desire and sex are fundamental to our existence. 

           Of course, when we speak of desire, it must be in moderation.  Love should not turn into lust, nor desire into greed. But to deny desire is to cap human emotions, human capabilities,  human achievements. Desire is what fuels a civilisation to grow, to prosper. 

           Eroticism in Indian art has always raised eyebrows of the conservatives and the vandals. But it is a celebration of life. For without desire and emotions life is a Martian wasteland.

 Ganga

Ganga

Pratihara Dynasty, 8th Century CE.,Bhopal Museum

         The holiest of the rivers in India, River Ganga (Ganges) adorns the door bracket of the inner sanctum of a temple.  Seen as a  beautiful damsel on a multi - bodied animal ( a Makar), She carries a pot of the holy water of the river. 

        Hindus believe that a dip in the holy river cleans them of their sins; immersion of the ashes of the dead,  leads to liberation from the cycle of life and death or to Moksha. 

        According to Hindu mythology Ganga descended from the heavens at the request of Sage Bhagirath.  In order to break it's velocity of descent lest it should shatter earth, Lord Shiva received her in his hair. Since the river begins it's journey in the Himalaya, she is said to be lost in the locks of Lord Shiva. 

       Ganga  has always symbolised purity, knowledge, truthfulness, and spirituality. In 19th century India, a Hindu witness in a court would swear the oath over a Gangajali  ( a pot containing   the water of the Holy River). 

        But the modern Hindu is least bothered about the purity of the river. Presently it is one of the most polluted rivers of India.

 Lord Surya ( The Sun God )

Lord Surya ( The Sun God )

Prathihara Dynasty, 10th Century CE, Bhopal Museum

           One of the finest sculptures of the Bhopal Museum is this small statue of Lord Surya. The museum has a good collection of sculptures from Hinglajgarh   in M. P. The history of the city of Hinglajgarh is unknown.  But it's sculptures can compete with the finest sculptures of Khajaraho.  Although both belong to the Khajaraho School,  the sculptures from Hinglajgarh are more finely chiselled, are more delicate,  and are more well proportioned than the figures from Khajaraho.  Whether these figures belong to the same temple or come from different temples is also u known.  But the high quality of work testifies to the prosperity of the city, and to the high aesthetics of the people.  

           Today is Lord Surya ' s day as today is Raviwaar.  The Lord holds two lotus in his hands. Like many flowers the lotus also opens and closes according to the sun. Since it floats on murky water, it is the symbol for the human mind and soul. It is said that when the highest "Chakra" ( wheel) of the mind opens, it is like the blossoming of a lotus with thousand petals. Thus, the mind has to be as wife encompassing as the rays of the Sun. 

           According to Valmiki, the author of Ramayan, the Sun causes the division of time. Without the Sun there would be no day and night. It causes the change in the seasons; it causes the rains. It also dispels the darkness of the mind and the soul. It is omnipotent and omnipresent.  It is said to be the God of Gods. Even Lord Brahma, Lord Vishnu and Lord Shiva are said to worship Lord Surya. For it is Surya who is the source of all energy; He is the source of life. Life exists as long as our minds are open  like the thousand petal lotus. 

 Lord Ram and Goddess Sita

Lord Ram and Goddess Sita

13th century , CE,Bhopal Museum

        The eternal pair of Ram and Sita is the ideal couple in Hindu mythology. Ram is the most pious king as He upholds the Dharma ( righteous conduct) at every step of his life. He is the ideal son, and the ideal brother. However, His credentials as an ideal husband have been questioned. People claim that he was unkind to Sita on two occasions : when He asked her to prove her chastity, and when He exiled her to the forest. 

        What has been seen as a short coming in Ram's character, has strengthened Sita as a character.  In fact, Sita is considered one of the five Satis  (powerful women ) in Sanskrit literature.  Born of mother Earth, She has a will of her own. When Ram tries to persuade her not to come to the forest with him, she tells him about the Dharma of a wife ; when Lakshman hesitates to leave her alone when Ram has gone away to chase the golden deer, she chides Lakshman;  when Ram asks her to prove her chastity, she chides Ram. Eventually as a sign of protest she leaves Ram only to enter mother Earth.  She is not a weakling, she is a woman with an independent mind. Yet, she knows the limits placed by the society. She balances her role as a wife, daughter-in-law, as a sister-in-law, and as a mother. She is not a simple character, but is a strong persona in Valmiki' s Ramayan. She can be a role model for the modern woman: upright, independent, forthright, articulate, intelligent,  and one who stands up to question the orthodoxy of the society. She is not the one to be confined by the artificial limits of the society. She may be tolerant like mother Earth,  but she is not docile and weak. 

 Lord Shiva

Lord Shiva

Pratihara Dynasty,9th Century CE,Bhopal Museum

         This is an unusual image of Lord Shiva.  For while He holds a trident (trishul), He carries a lotus bud (symbol of Lord Vishnu ),  and a pitcher of holy water ( symbol of Lord Brahma ). Thus it seems to be a composite image of the Hindu Trinity of Brahma, Vishnu and Mahesh.  

         The Lord sits calmly, ever smiling and ever young. Like the Lord, we too are the  creator,  the maintainer, and the destroyer. The snake  is the symbol of desire,  of the changes in life. We too are full of desires; we too are prone to changes in life. The trident is the symbol of the three mental states: the sub - consciousness , the unconsciousness, and the consciousness.  All three are bound, like the shaft of the trident, with superconsciousness. The holy water is a symbol of the purity within us that is hidden from us and others. But it has the capacity to cleanse us of our dilutions,  of our egos, of our desires. The end result is the reward of beauty  ( the lotus). The lotus of thousand petals is the symbol of superconsciousness which is inherent in us, which we can achieve with some efforts. Divinity is within us. It all depends which facet of the divinity we cherish and cultivate. 

 Lord Buddha Returns to Kapilvastu

Lord Buddha Returns to Kapilvastu

Ajanta Caves, Gupta Period,5th Century CE

         The news has spread that Prince Siddharth as Buddha was returning to his native city, Kapilvastu. His wife, Yashodhara decided to take their son, Rahul  to the Buddha. She taught the child to ask for his inheritance. The Buddha says, "I have only my alms bowl which I can give to you as your inheritance. " Both the mother and child look at the Buddha. Yashodhara had decked up herself with the hope that she would be able to induce the Buddha to stay back and become a householder.  But all in vain. Buddha left Kapilvastu in order to preach the Dharma to the people.  

         Although greatly damaged, this fresco is considered one of the most poignant paintings of Ajanta Caves.  Siddharth 's family meets momentarily and parts ways. The dilemma is between the life of monkhood and of a householder.  Which is more appropriate.  The issue is between the right of a wife and a child to have the husband and the father back, and the right of a man to be free to preach his Dharma. Unlike Hinduism, Buddhism emphasised the life of a monk over the life of a householder. Perhaps this was one of the reason that Buddhism declined. If everyone becomes a monk,  how would the society survive? 

          Society is a mixture of the intellectuals and the labourers, of the aesetic and the householder, of the industrialist and the agriculturalist. It is a composite of different communities, different philosophies, different life - styles.  To impose one philosophy or brand of thinking is to tear the social fabric. The middle path of assimilation is the right path. Too many monks also spoil the stew! 

 Goverdhan Pooran ( Worshipping of Mt. Goverdhan)

Goverdhan Pooran  ( Worshipping of Mt. Goverdhan)

Painting from Bhagwat Puran by Fattu, Kangra School,18th Century CE

           Lord Krishna was surprised to see that the people of Vrindavan prayed to Lord Indra, the God of rain. Instead of praying for rain, it is better to pray to the mountain which with its green cover invites the rain. He taught the people to worship the Goverdhan hill. 

           Here Fattu, the famous Kangra painter, depicts Nanda, Krishna's father, and the people circumbulating the mountain. Lord Vishnu sits on top of the mountain while Krishna and Balaram and Nanda go around the mountain.  To mark the festivities, there are musicians playing the long horn and beating the drums. Ladies are carrying water in the pots; the offering are kept on the ground. A young cowheard points to Lord Vishnu sitting on top of the hill; an old man bends and pays homage to Lord Vishnu. 

           Fattu has depicted different strata of society from the village headman, Nanda, to the cowheard, from the young child in the arms to the old man. The costumes of the people depicts the composite culture of the people. Interestingly Nanda looks like a Mughal Emperor, while the women are attired in lenhga and odhani  (the long skirts and the stoles) of Hindu womenfolk.  All the cultures and community live peacefully.  

           The story of Goverdhan pooja is a story of conservation of Nature,  of Man living harmoniously with Nature, of different strata of society living peacefully. It is a celebration of peace and harmony. 

 

 Rani Celebrating Deepavali in Her Palace

Rani Celebrating Deepavali in Her Palace

Attributed to Nainsukha, Kangra School,18th Century CE

            Deepavali is an ancient festival. Initially it was celebrated to mark Lord Ram's return to Ayodhya after spending fourteen years in the forest. Subsequently, it became the festival for praying to Goddess Lakshmi,  the goddess of wealth. It also marks the beginning of the Hindu financial year.  In Bengal, on the other hand, Goddess Kali is worshipped on Deepavali. While for North India Deepavali is a major festival,  in South India it is hardly celebrated. 

             Here we see the Rani sitting in a chair. Both she and another Lady are busy with fire crackers. The maids have lit lamps all over the palace. There is music and light, gaiety and celebrations all around. Interestingly whole many  women are wearing Hindu dresses, the ghaghara and the odhani, ( the skirt and the stole), other women are sporting the Mughal dress of the inner pajama and Mughal caps. The life of the palace reflects the composite culture of its time. 

             Deepavali is a festival which celebrates our coming out of the woods: of destroying the prejudices,  the bad deeds, the evil spirit in us. And thereby moving from the darkness of our personality to the light within us. It is a celebration of our rebirth each year. 

            May the divine light inside you ever burn so brightly as to light up every corner of your  home, office and of our nation. 

 Hamsa Jataka : A Tale of the Golden Ghoose

Hamsa Jataka : A Tale of the Golden Ghoose

Ajanta Caves,Gupta Period,5th Century CE

            Once upon a time the Bodhisattva lived as a golden goose in a lake with his flock. One day the Queen of Benaras had a dream where she saw a golden goose. She asked the King to get her the golden goose. He built a beautiful lake in order to attract the birds. One day the golden goose landed with his flock. The goose realised it was a trap to capture him. But he kept quiet till the flock had fed itself to its satisfaction.  Afterwards, the goose cried out about the danger. All the geese flew off. But Sumukha, the minister of the golden goose refused to leave his master. Both were caught and taken to the court. When the King heard about Sumukha' s loyalty towards his King, he was overwhelmed.  He received both of them with great honour. The golden goose taught the Dharma to the court. 

            Here we see the King with his courtiers listening to the golden goose with rapt attention.  The golden goose is sitting on a throne to the bottom right corner of the painting.  Faintly one can make out  two dark women who have brought a tray full of fruits. The pomp and show of the court is well portrayed in the attire, the jewels and the furniture of the court. 

            Loyalty is a virtue exhaulted by every civilisation : loyalty to family, friends, community and to the nation. Sumukh is an example of loyalty to the King and thus to the nation. 

            Further, in order to attract best ideas we have to create the right environment.  Only then do we receive the Dharma. We should be open to receive ideas from all corners of the world. After all, the court had received the sermon on Dharma from a bird! 

 Mrig Jataka : Taking Away the Golden Deer

Mrig Jataka : Taking Away the Golden Deer

Ajanta Caves,Gupta Period,5th Century CE

           A golden Deer, a Bodhisattva,  found  a hunter lost in a jungle.  He guided the hunter to his village. He told the hunter not to reveal his existence to anyone. The hunter promised to do so. But the moment he reached his village, he informed the King's men. They informed the King. Meanwhile the Queen saw a golden deer in her dream. She told the King to search for the golden Deer. The hunter led the King into the jungle. The golden Deer was captured and brought before the King. The King was astonished when the Deer told him that the hunter had broken his promise.  The King ordered that the hunter be killed. But the Deer interceded and asked the King to spare the hunter's life. The King relented. The King told the Deer about the Queen's dream and asked the Deer if he would return with him to the court. The Deer left with the King. He taught the Dharma to the people and brought peace and prosperity to the kingdom.  

           In this painting we see the Deer being carried away in a cart. The hunter follows the cart. Notice the dog by the hunter's legs. A rare depiction of a dog in Indian art.

         The story is full of morality. It is about betrayal for money; it is about greed. It is about compassion;  it is about establishing Dharma ( righteous duties). 

          Deepavali is also about establishing Dharma over Adharma  (evil acts). We must preserve,  protect and propagate Dharma, the golden Deer.

 The Buddha and the Elephant Nalagiri

The Buddha and the Elephant Nalagiri

Ajanta Caves,Gupta Period, 5th Century CE

           Buddha's cousin brother, Devadatta was jealous of him. He conspired with King Ajatshatru of Rajagraha to have Buddha trampled by a mad elephant when Buddha comes to Rajagraha.  They got the mad elephant Nalagiri drunk and let him go scott free on the lane where Buddha was coming. Nalagiri charged at the Buddha.  Unmoved, and ever smiling the Buddha gently patted Nalagiri. Overcome by Buddha's compassion and kindness, Nalagiri bowed and touched Buddha's feet. 

           Here although Buddha's head is missing, but we do see a dark hand gently caressing the huge elephant.  The people in their homes are awestruck by Buddha's power to overcome a mad elephant.  One person even folds his hands in reverence. 

           Problems are like the mad elephant. They come our ways. We just need to be detached and calm to tackle them. With compassion and kindness even our enemies can be won over. It is these two qualities of Buddhism which spread the religion from India to Japan. One doesn't need the sword to conquer; a beautiful smile is sufficient to disarm the mighty and the unruly. 

 The Loyalty of an Elephant towards His Blind Mother

The Loyalty of an Elephant towards His Blind Mother

From the Matriposhaka Jataka, Ajanta Caves, Gupta Period,5th Century CE

          Once the Bodhisattva was born as a white elephant.  One day a hunter was lost in the jungle where the white elephant lived. The elephant took the hunter back to his village. The hunter, instead of being grateful to the white elephant, thought that he should tell the King of Benaras about the existence of the white elephant and earn a reward from the King. The King sent a few hunters into the jungle. The white elephant was brought to the King's court. A huge crowd had gathered to see the white elephant.  But when the King tried to feed the elephant, it refused all food. The King asked him why he was starving himself. The elephant told the King, " I have a blind mother who cannot eat without me. Then how can I eat without her? She must be starving in the jungle." Hearing the love and affection, sensing his loyalty towards his mother, the King freed the white elephant. Here we see the joy amongst the elephant upon the return of the white elephant. The blind mother elephant is caressing the white elephant. 

           The story is not just about the joy of a family reunion, but it is more about family loyalty. However, loyalty in a positive way. It is about sustaining each other emotionally and financially.  But it is not about hoarding things so as to leave riches for our children. As an old Sanskrit saying goes " why leave riches for a good son? He can earn on his own. Why leave riches for the bad son? He will squander away your hard earned wealth." 

            But like Dhrastraraj we are blinded by our love for our children. For their sake we harm our society and nation without realising that without a strong nation our next generation has no future. While we strengthen our family economically, we weaken our nation.

 The Elephant and the Hunter from Shaddanta Jataka Story

The Elephant and the Hunter from Shaddanta Jataka Story

Ajanta Caves, Gupta Period,5th Century CE

             In the Himalaya lived an elephant with six tusks, Shaddanta.  He had two wives. One day he showered his first wife with the flowers of the Sal tree. He also presented her with lotus flowers from a lake. The second wife felt jealous. She vowed to take revenge by being born as Queen of Benaras. 

            As the queen of Benaras she feigned illness. She told the king that she can be cured only if she had the six tusks of Shaddanta.  Hunters were sent to capture him and to bring his tusks. Here we see the hunters around the huge Shaddanta.  He asked them as to purpose of their hunting him down. They told him about the queen's desire. Knowing who she really was and what was her purpose, Shaddanta, the Bodhisattva,  himself cutoff his six tusks with an axe  and gave them to the hunters. When the Queen saw the six tusks, she was full of remorse. For, she remembered Shaddanta, her loving husband from her previous life. She died of grief. 

             At times out of jealousy and anger we do tend to take revenge. But such anger boomerangs on us. Anger kills us and not the person with whom we are angry. Thus, the need to control these two emotions. For they lead to self - destruction. 

            On the other hand, by compassion we can win people over. Like Shaddanta we become a hero. The choice again  is ours. 

 Scene from the Simhala Avadana Jataka Story

Scene from the Simhala Avadana Jataka Story

Ajanta Caves,Gupta Period, 5th Century CE

               The story of Simhala, the merchant's son, is quite instructive. Simhala sought his father's permission to travel abroad and to establish his business overseas.  But he, along with others, we're shipwrecked on the island of Tamradvipa. The island was inhabited by cannibalistic ogresses who disguised themselves as beautiful women.  Here we see Simhala sitting in a tent with a stunningly beautiful woman, an ogress.  Having lured the shipwrecked merchants, the ogress makes a meal out of them. Seeing their pathetic condition, a Bodhisattva in the form of a flying horse rescues many of the merchants including Simhala.  Simhala comes back home. But an ogress follows him to his Kingdom.  She appears before the King and tells him that Simhala has abandoned her and her child in an island. She asks for justice. Simhala tells the King that she is, in fact, an ogress who should be banished from the kingdom.  The King refuses to do so. At night the ogress invites her other friends from the island. They kill the King and the people. The kingdom is destroyed. 

           Similar story is also found in Homer's Ulysses.  

           The story is a warning about how beautiful ideas creep into a Kingdom,  how these innocuous ideas takeover the kingdom and destroy it. But these ideas are like the  Trojan Horse which we bring into our Kingdom with jubilation and fanfare. Only to realise how these ideas of exclusiveness, of 'we' versus 'them' have eventually torn the fabric of our society and nation. The great destruction by such 'beautiful ideas' leaves the nation desolate and destroyed. Like Simhala we should be discerning enough to banish such 'beautiful ideas' from amongst our midst. 

 Mambers of the Public

Mambers of the Public

Ajanta Caves,Gupta Period,5th Century CE

            Besides the Buddhist figures, the Kings and Queens of Jataka stories, the common man also invited the attention of the Ajanta artists.  Since the artists were themselves common man, they had the sympathy for their own fellow beings. Thus, the members of public were drawn with sympathy and care. 

            Here we see two persons who have approached a person in authority. Although the stand with a sense of dignity, they are about to address their problems.  Thus, they are about to supplicate. That they are from a rich class is well depicted from their attire and jewelery.  They may be businessman. 

             The relationship between the political power and the business class is an ancient one. It is a symbiotic relationship.  While the business class oils the politicians, the latter protects the interests of the former. This relationship has been commented upon both by Machievelli and by Chanakya.  

             The Dharmashastras teach that the King is like the father figure,  the citizens like children.  Thus, it is the duty of the King to look after the interest of the people.  But this has rarely been done in history. The common man is merely the subject of political speeches, but not the subject of our policies.  He is like the prayer beads which we twirl for our personal gains. It is only the artist who can capture the agony and the extacy of the common man.  The political class is oblivious of their pain and pleasure. The political climate may warm up, like the global climate,  but it doesn't reinvent itself into something new.

 Queen Shivali from the Mahajanak Jataka

Queen Shivali from the Mahajanak Jataka

Ajanta Caves,Gupta Period, 5th Century CE

           Besides painting innumerable Buddhas and Bodhisattvas, the Ajanta artists have left a variety of sensuous women. Queen Sivali is certainly one of them. Young, voluptuous,  bejewelled, half nude, she is the ideal of feminine beauty in Indian art. Since women were seen as representing the Nature, they had to be well endowed in their beauty. Queen Sivali belongs to the category of Yakshini  ( the fertility goddess ). 

            But the queen is not free from the pangs of life. Her husband, King Mahajanak of Mithla, has just announced his intention to abdicate the throne and to take Sanyas  ( to renounce the world and to become a buddhist monk). The Queen is perplexed by the decision.  Her well kept hair are becoming dishevelled;  her string of pearls has started swaying as she takes deep breath (notice the two pearl strings in front of her stomach ). She looks at her husband in half disbelief. 

             Life can be uncertain at the best  of the times. Sorrow can come suddenly.  The cheeze can be moved without any notice. Even the rich and the beautiful, even the powerful and regal are subject to the whims and caprice of life and Time.

 The Monkey and the Buffalo

The Monkey and the Buffalo

 Ajanta Caves,Gupta Period, 5th Century CE

          Jataka stories contained lots of wisdom in the form of folklore.  Here is the story of a mischievous monkey who would close the eyes of a buffalo who was a Bodhisattva. The monkey would play with him all day. One day another buffalo stood in place of the kind buffalo. The monkey mistook him to be the kind buffalo.  He closed the eyes of the buffalo.  The buffalo was enraged. He threw the monkey down and gorged him to death. 

           The fable is both about compassion and anger. It is also about genuine gurus and fake ones. We get entangled with fake gurus and are gorged to death. It is also about trusting and not trusting the people. One should be careful in choosing the right kind of friends. A wrong company can lead to injury and death. 

          Through simple stories complex messages were given to the common man. The stories are relevant even today as they contain the wisdom of ages. 

 Dancers and Musicians

Dancers and Musicians

Ajanta Caves,Gupta Period,5th Century CE

            Dance has an ancient ancestry in India. Said to originate from Lord Shiva,  it is a sacred art which began in the temples and ended in the market.  The "Dancing Girl " from Indus Valley Civilisation  (2500 BCE) is the first glimpse of this art form in India.  In 2nd Century BCE  Bharat Muni is said to have written the first book on Dramatology called the Bharat Natya Shastra.  He dealt extensively with dance. 

            Dance is an expression of joy, of love, of celebration.  It is part of human nature. The movement of the body frees the mind from its captivity and releases myriad energies. According to the Darwishes it is a medium of communication with God. 

           To the Indian dancer, dance is a form of worship  where the dancer surrenders himself/ herself to the diety.  It is a sublime prayer. 

            But here we see a court dancer entertaining King Mahajanak in a Jataka story. While the dancer sways to the music of flutes, drums and cymbals, the ladies orchestra plays on. Although stitched clothes were an exception in ancient India,  but here the dancer is in a tunic. Surprisingly the musicians are all women. This painting is a testimony of the talents of our women and of the liberal attitude of the society to permit women to learn music. 

            But slowly the classical dance and music are fading away, just the way this painting has faded away.

 Bodhisattva Vajrapani

Bodhisattva Vajrapani

Ajanta Caves, Gupta Period, 5th Century CE

          While Bodhisattva Padmpani is the embodiment of compassion, Bodhisattva Vajrapani is of power and force. According to his name, he is the weilder of the thunderbolt  (Vajra). Thus, he is the symbol of brute force of Nature.  One who destroys evil by brute force. Surprisingly for a dynamic figure, the image is rather placid. In his hand, he holds an unclear object. Although in Ajanta he is depicted as a graceful, quiet, peaceful figure, in Tibetan, Chinese and Japanese Art he is a ferocious figure. 

            Both the Bodhisattvas depicted the twin aspect of Man: the rational and the irrational or as the Greeks called it the Apollonaire  ( named after God Apollo, their God of wisdom and poetry) and Dionysian  (named after God Dionysus,  their God of wine). Psychologists also deal with these two aspects of human nature, the constructive and the destructive.  

              History too is a witness to such impulses. While Dara  Shikho, the elder son of Shah Jahan, championed compassion and unity of the Mughal Empire, Aurangzeb advocated fundamentalism and terrorism. The fundamentalist forces won the royal battle near Dholpur: the Mughal Empire was shattered in few decades. The choice is ours whether to encourage the irrational and the destructive forces, or to strengthen the liberal and constructive forces. 

 Bodhisattva Vajrapani

Bodhisattva Vajrapani

Ajanta Caves, Gupta Period, 5th Century CE

          While Bodhisattva Padmpani is the embodiment of compassion, Bodhisattva Vajrapani is of power and force. According to his name, he is the weilder of the thunderbolt  (Vajra). Thus, he is the symbol of brute force of Nature.  One who destroys evil by brute force. Surprisingly for a dynamic figure, the image is rather placid. In his hand, he holds an unclear object. Although in Ajanta he is depicted as a graceful, quiet, peaceful figure, in Tibetan, Chinese and Japanese Art he is a ferocious figure. 

            Both the Bodhisattvas depicted the twin aspect of Man: the rational and the irrational or as the Greeks called it the Apollonaire  ( named after God Apollo, their God of wisdom and poetry) and Dionysian  (named after God Dionysus,  their God of wine). Psychologists also deal with these two aspects of human nature, the constructive and the destructive.  

              History too is a witness to such impulses. While Dara  Shikho, the elder son of Shah Jahan, championed compassion and unity of the Mughal Empire, Aurangzeb advocated fundamentalism and terrorism. The fundamentalist forces won the royal battle near Dholpur: the Mughal Empire was shattered in few decades. The choice is ours whether to encourage the irrational and the destructive forces, or to strengthen the liberal and constructive forces. 

 The Temptation of Mara

The Temptation of Mara

Ajanta Caves,Gupta Period, 5th Century CE

            Generally the walls of a Chaitya Halls are covered with beautiful paintings.  But there is one hall which has beautiful sculptures all around the apse.  The Archeological Survey of India, which maintains the Ajanta Caves, has beautifully illuminated the sculptures. The sculptures cover various events of Buddha's life.  

            While Buddha sat in deep meditation, he was tempted by Mara, a demon. Mara sent his army of goblins to torment Buddha; he also sent his beautiful daughter to tempt Buddha. We see his army of goblins in the right; his beautiful daughters in the front. But despite the torments and temptations, Buddha was steadfast in his meditation

             Temptation is part of human nature. We easily get tempted by material things or by sexual desire. Thus, temptation finds mention in all the major religions of the world. While we meditate the unconscious fears and desires come out. This is depicted in myths, and the art as temptation.  

            A hero is one who does not succumb to temptation.  Many of us abandon our duty to be honest and yield to the temptation of material wealth. We give into corruption.  A nation, like a person, who gives into temptation, can never reach Nirvana. 

 A Pillar from Ajanta Caves

A Pillar from Ajanta Caves

Gupta Period,5th Century CE

         While the three types of pillars invented by the Greeks are well known,  the variety of pillars invented by the Indian architect has hardly been explored. And what a variety of pillars we have: from the massive round pillars of Indus Valley to the simple pillars of Sanchi, from the ornate pillars of Ellora to the hanging pillars of Lepakshi Temple in Andhra Pradesh. There are pillars in animal forms in South Indian Temples to the musical pillars of the Padmanabhan temple in Trivendrum.  There is the gallery of 1000 pillars in the Rameshvaram Temple to the 1000 pillars of Ranakpur Temple in Rajasthan --and no two pillars are alike ! But the ingenuity of the Indian architect is forgotten. 

            Here is a pillar from Ajanta. The Ajanta Caves themselves have about ten types of pillars. The beauty of this pillar is not only it's simplicity,  but also the use of sculpture in the square. The sculpture depicts a young couple chatting with each other while two servants stand by. The sculpture not just captures the opulence of the golden age of Indian history, the Gupta Period,  but also contains a political message : all is well in the Gupta Empire. If couples have time to chat, then there is peace and prosperity in the Empire. Since a happy family is essential for the prosperity of the society,  the family had to be emphasised. No other pillar in the world carries a more socio-political message than this pillar in Ajanta. 

          These days we do chatting, but no longer in the cosy surrounding of a family. The family as a social unit is under danger. Perhaps we need to learn something from the ancients. 

 Nagraj and His Wife ( The Royal Couple : The King and Queen of the Snakes)

Nagraj and His Wife ( The Royal Couple : The King and Queen of the Snakes)

Ajanta Caves,Gupta Period, 5th Century CE

            Buddhism borrowed heavily from Hinduism. As Hinduism spread throughout India,  it assimilated the local gods and tradition. Since the snake was a threat and a boon, it was worshipped in large parts of India, specially in the South.  The King of the Snake is considered the guardian of the village. Small shrines of Nagraj are generally found outside the villages. Since the snake has the ability to shed it's skin, he also symbolises resurrection of life, or the ability to change oneself. Since it crawls on the ground, he also symbolises desire. Thus, it stands for myriad symbols.

            Here we see a pensive Nagraj sitting with his consort. The Queen is attentively looking at the Nagraj. Perhaps, the Nagraj has decided to renounce the world and is about to take refuge in the Buddha. He too seeks enlightenment and Nirvana.  It is a crucial moment when a difficult decision is to be taken. Prince Siddharth must have undergone the same anxiety when he was contemplating leaving his wife and son.

            To achieve greatness we have to sacrifice our interests. The path to Nirvana is a difficult and arduous one. Only a few can successfully complete this journey.

                     "To be or not to be, that is the question?"--to quote Hamlet. 

Facade of a Cave in Ajanta

Facade of a Cave in Ajanta

Ajanta Caves,Gupta Period, 5th Century CE

             Indian art, at times, deals with contradictions.  Here in the facade of a cave the artist has juxtaposed Kuber sitting with his bag of gems with a large size standing Buddha. The message is loud and clear: the wealthy versus the mendicant. The grahasthi  ( the householder ) versus the aesetic.  While Hinduism has emphasised on the householder by depicting the Trinity of Brahma, Vishnu and Mahesh  (Lord Shiva) as married gods, Buddhism has emphasised the monkhood.  Renunciation and detachment are essential  to Buddhism. Although detachment is emphasised in Hinduism,  but renunciation is underplayed. Buddhism, in a sense, is individualistic.  For each individual is on his inward journey of trying to find his own path to Nirvana. Hinduism, on the other hand, is a religion which emphasises on the community and on our duty towards the community.  Since Man is a social animal,  Buddhism is a more difficult religion to follow than Hinduism.  This may explain the decline of Buddhism in India. 

             Although Buddhism has almost disappeared from India,  it has left an undeniable imprint on Indian art and philosophy. 

 Detail of a Facade of a Cave

Detail of a Facade of a Cave

 Ajanta Caves.Gupta Period, 3rd Century CE

          Although the Ajanta Caves are said to be the pinnacle of "Gupta art", but the ruling dynasty of the area was the Vakataka dynasty.  How built these Caves,  why were they constructed in this area can only be guessed. It seems no royal patronage was their for the construction of these Buddhist caves.  According to many historians, the construction was commissioned by wealthy businessmen. According to the historians this area was on a trade route and was a prosperous area. However, there are no known city which has been discovered so far near thus locality. This raises a number of questions: since the Buddhist monks survive on alms, who gave them alms on daily basis, especially when there were large number of monks living in the monks' quarters ( Viharas)? Where did the labourers live who carved out and sculpted and painted these caved?  Who fed them? The questions about the logistics need to be explored.

            What we do have is a finished product which is unsurpassable in its beauty, serenity, and spirituality.  It is a testimony of the human genius in the fields of art and science.  The solid rocks have been transformed into intricate designs and lively sculptures.  The walls have been painted with all the variety of the social strata. It is a journey into the mind and soul of a civilisation.

 Lord Surya ( The Sun God )

Lord Surya ( The Sun God )

Konark Temple,Eastern Ganga Dynasty,13th Century CE, National Museum, New Delhi

      Imported by the Kushan Kings in the 1st Century CE, from Iran, Lord Surya is a late entry in the Hindu pantheon. As Hinduism developed, He was fused with Lord Vishnu and came to be called Suryanarayan. 

       His western ancestry is reflected in His attire : usually He wears a squarish crown. He is the only god who is depicted with boots. He is shown either standing or squatting.  His chariot is said to be pulled by seven  "green" horses. 

       Amongst the nine planets in Hindu astronomy,  He is considered to be the most powerful.  Praying to Him is supposed to bring good health and great wealth. Even according to science tells us that vitamin D is essential for the body.

        With the rise of scientific temper, with industrial revolution, we had forgotten the importance of the Sun. But with concept of solar energy gaining ground, again Sun has become important. The wisdom of the ancients is dawning on the moderns. 

  Lord Shiva as Natraj ( Lord of Dance )

Lord Shiva as Natraj ( Lord of Dance )

Ellora Caves,Rashtrakuta Dynasty,8th Century CE

Popularly Natraj is associated with Tamil Nadu in general and with Chola art in particular.  But the popularity of Natraj is across the country. Natraj has been depicted in the temples of Khajaraho in M. P. and in Badoli in Rajasthan. 

In the Kailash Temple at Ellora we find different versions of Natraj: as performing in the assembly of the Gods, while performing the "Tandav", the dance of destruction.  Here is another example of Natraj performing the Tandav dance. With arms moving like the spokes of a wheel, with the body bent in three different direction,  with the head looking skywards, the Lord is in a frenzy. 

To the Indian mind, Natraj is a summary of Hindu philosophy.  While it is a dance of destruction, it is the birth of creation.  For the fire and the drum, the two symbols of destruction and creation are at the same level. Similarly while the skull tops the hair knot or is hidden in the Crown,  Ganges also  flows from the hair. Thus death and immortality are balanced. The dual aspect of Nature is beautifully depicted in the image of Natraj. 

Surprisingly while the Lord is in fury, Goddess Parvati is epitome of calmness and tranquility.  She quietly sits watching the dance of life and death. Nature is detached from the mundane affairs of life and death. So should we. 

 Natraj

Natraj

Ellora Caves, Rashtrakuta Dynasty, 8th Century CE

           We are all used to seeing Lord Shiva as Natraj ( the Lord of the dance ) dancing in a circle of fire. But here the sculptor has captured a more dynamic (Tandav ) pose of the dancer. The Lord no longer stands silently on one leg; instead he whirls around with his torso twisted to the point that while we see his broad chest from the front, we also see his hips from the side. He flays his six arms dramatically in the air. One of the hands carries his 'damaru ' ( his small hand held drum). The artist has contrasted the forceful movement of the dancer with the quietly sitting figures at the bottom.  The Lord is a huge figure compared to the small figures in the forefront.  This is one of the most dynamic image of Lord Shiva as Natraj.

          While we sit quietly at home,  we don't realise the churning that goes on either under our feet at the center of the earth, or outside in the cosmos. But the concept embodied in the figure is about the eternal cycle of life and death,  of creation and destruction.  The forceful figure of the Lord symbolises the violent cycle of creation and destruction.  We passively sit as an audience viewing this immortal cycle. But most of us ignorant of this eternal and natural cycle. 

   The Temple of the Three Goddesses: Ganga, Yamuna and Swaraswati

  The Temple of the Three Goddesses: Ganga, Yamuna and Swaraswati

Ellora Caves, Rashtrakuta Dynasty, 8th Century CE

            Rivers have given us the fertile land and water for the beginning of civilisation.  All ancient civilisation, therefore, are river based: Egyptian on the Nile,  Indus Valley Civilisation on the Indus. Thus it was but natural for the people to venerate the Rivers. 

            In the Ellora Caves we have temple dedicated to the three famous rivers of the North: Ganga, Yamuna and Swaraswati. The temple is a unique one. For the temple faces the Kailash Temple in the Ellora Caves.  Are the three holy rivers paying their homage to the main diety of the temple,  Lord Shiva? Moreover, instead of the squat, plumpish ideal figure of woman, the River Goddesses are slim and tall nymphs.  While Ganga stands erect, in the central niche,  Yamuna and Swaraswati swagger in the left and right nitches.  The elegance of their walk is almost like a model's walk on a ramp. These women are not coy about their sexuality.  Since they are giver of life, they are confident of their role and status. 

           Today  while Swaraswati has disappeared, Ganga and Yammuna still continue to irrigate our fields. But unfortunately the super intelligent modern human beings no longer respect our rivers. We pollute them; we contaminate them; we kill them. Perhaps the ancients were wiser than us. They understood the value of water and importance of the rivers in our lives. 

 Lord Brahaspati

Lord Brahaspati

East Ganga Dynasty, 13th Century AD,From Konark

             Brahaspati is the planet Jupiter.  As the largest planet in our solar system, it was well known to the ancient astronomers.  It funds prominence in ancient myths. In Hinduism Jupiter is the Guru of the demons; in Roman mythology, he is the supreme God, better know as Zeus in the Greek mythology.  

             As a 'guru' (teacher), Brahaspati is revered for his knowledge.  It is said that with his 'mantras' (chants), he could revive the dead as well. In astrology, he is considered a benign planet which influences the academic career of a person. A person with a strong Brahaspati on his horoscope is said to have a fine mind and generally goes either in academics or into administration.  

            Iconographically, Brahaspati is easy to recognise. For there are only three gods in Hindu pantheon who support a beard: Lord Brahma,  Agni ( the God of Fire), and Brahaspati.  He holds a rosary, which symbolises repetition of mantras, or in other words, meditation. The water pot he holds symbolises the ability to cleanse oneself of illusions and delusions. It is the holy water which cleans our sins. Water which is the elixir of life. He sits in the lotus position  (Padam aasan), as though he is about to reveal the secrets of life and about to unravel the mysteries of the universe.  Like a good teacher he has a beautiful smile, full of calmness and detachment.  The Guru has always occupied a central position in our society.  For it is they who convert the beast (demons) in us into divinity. He is the teacher of the demons 

 Lord Vishnu Sleeping on Sheshnag

Lord Vishnu Sleeping on Sheshnag

Deogarh  Temple, Gupta Dynasty, 5th Century AD

             End of the Gupta dynasty  saw the emergence of Hindu Gods in human form. The Vedic gods, Indra, Agni,  Varun,  and Yama were now forgotten.  In their place Lord Vishnu and Shiva emerged as the two most important Gods of Brahminism.  

            Here we see Lord Vishnu sleeping on Sheshnag, the multi - headed snake. After the end of each 'yug', (age), Lord Vishnu sleeps for dreaming the next 'yug'. Lord Bhrama rises from his naval to create the next age. Sheshnag represents Time which is endless and is the only thing which remains (shesh) after all matter is destroyed. From that void, a new age, a new cosmos is created. The process of dreaming and creation is witnessed by all the gods. But the process of creation is not an easy one: from behind Lord Vishnu ' s ears two demons arise to smite Him. In the bottom row we see five figures who are wrongly identified as the Pandav Brothers and Draupadi. In fact,  they are Lord Vishnu ' s weapon personified as humans ready to fight the two demons with swords. Mother Earth, the other wife of Lord Vishnu silently stands to the right, while Goddess Lakshmi massages Lord Vishnu ' s leg. 

            The cosmic drama of endless destruction and creation, of Time and Matter is witnessed by the Gods.

 Lord Shiva with Goddess Parvati

Lord Shiva with Goddess Parvati

Chola Bronze, 10th Century AD

          One of the finest pairs of Lord Shiva and Goddess Parvati amongst the Chola Bronze.  The Chola sculptors introduced a new concept of male and female beauty.  While the rest of India has plump squat figures as in Khajaraho and Konark,  the Chola figures are lean and thin, supple and graceful.  The female ideal is no longer buxom and broad. She is figure conscious and elegant. The male figure is not muscular figure of Gandhar School; he too is well proportinate, tallish and slim. 

           Lord Shiva stands in the posture of holding a Vina,  an instrument said to be invented by him when he saw Goddess Parvati sleeping.  He holds the deer in one hand, as he is the God of wilderness, or of animals as He is Pashupatinath.  In the other hand, He holds an axe, to destroy our obstacles, illusions, pain and agony. To free us from our worldly bonds. 

           Goddess Parvati holds a lotus (missing in the figure), to symbolise the bounty of Nature which she represents,  to symbolise harmony, beauty and peace. 

         This world needs both of them to achieve peace, prosperity and liberation.

 Dancing Ganesh

Dancing Ganesh 

Khajaraho School,11th Century AD

        While an orchestra plays the flute, two large drums, Lord Ganesh sways to the music. Surprisingly a child in the nude, seen from the back, looks in awe at the huge figure of Lord Ganesh.  The inclusion of the child is highly unusual. For he cannot symbolise the donor, as a doner would be depicted as an adult. Does the child then symbolise the infantile Mankind looking at the vast universe? Or does the child stand for the innocent and pure soul looking at divinity? The sculptor has left all of us guessing at the meaning of the child in this masterpiece. 

 A Nymph

A Nymph

Hoysala Dynasty,13th Century AD

        Belur, a famous Hoysala temple, has numerous nymphs who are either dancing, doing make up or even hunting. These sculptures depict the myriad moods of women. Here we see a young woman standing under a tree holding one of its branches. The image of a woman holding a tree branch is ancient one in India going back to the Sanchi stupa of 2nd century BC.  Such a woman or "yakshini " was called "Salibhanjika" as she would hold a branch of the Sal tree. These Yakshini symbolised the mother goddesses who in turn stood for Nature, its  regenerative and creative powers. The feminine divine is a strong element in Hinduism. It points to the ancient ancestry of the religion. 

 Ek Mukhi Linga (One faced Linga)

 

Ek Mukhi Linga (One faced Linga)



Gupta Dynasty,3rd Century AD.,National Museum, New Delhi

           Vedic people were perhaps not idol worshippers. The spoke of God in abstract terms. He was 'nirguna' (one without specific attributes). For, God is an amalgamation of opposites.  It was only after India went through the Buddhist phase, that Hinduism re - emerged with 'saguna' Gods.  The Gods were given specific attributes and were seen in human form.  

           This sculpture depicts Lord Shiva both in his abstract form as a 'linga'--a phallic symbol, and as a human face. Thus, it combines both the nirguna and the saguna aspects of God. Here Lord Shiva is shown as one faced. But a Shiva Linga can also be multifaced. The Shiva Linga is a symbol of the creative, and generative energy of Nature: the most powerful energy in the cosmos

 Lord Yama

Lord Yama

Odisha School, 12th  Century AD, National Museum,New Delhi.

            Having committed incest with his twin sister, Yami or Yammuna, Yama was banished to the underworld. He became the God of Death.  Since he adjudges the deeds of each of us after our death, he is also called Dharamraj or the God of Justice. In Mahabharata, the famous Hindu epic, He is Yudhistir's father. He poses the most difficult questions to Yudhistir in order to test his knowledge of Dharma. 

            Yama or Yamaraj is shown as a bearded person, riding a  water buffalo, carrying a rope with a loop, in order to drag the dead to his Kingdom.  There are few stories about Lord Yama such as the story of Nachiketa, in Katho Upnishad, the story of Savitri, and the story of Markandeyaha. In all of them Lord Yama plays a pivotal role. 

            Lord Yama is worshipped on Dhantaras that is two days before Diwali, the festival of lights. It is believed that if we worship Him on the said day, He will not visit our house for the rest of the year. 

 Bodhisattva Padampani

Bodhisattva Padampani

Pala Dynasty,10th Century AD

Bodhisattva Padampani is known as the Bodhisattva of compassion. Hence his downward gaze at the devotees. Bodhisattvas are unique to Buddhism. Like Lord Buddha they can reach Nirvana (the final release from the cycle of life and death), but they choose not to do so. They wish to come back to this 'mrityulok' (world of death) in order to relieve the miseries of the people. They are the noble souls we see around us. We can find them in our parents and servants, in our teachers and friends. We ourselves should strive to be like the Bodhisattva Padampani, the compassionate.

 

 Lord Buddha

Lord Buddha

Gandhar School,1st Century CE. 

 

 

 The Gandhar artist soon fell in love with the lyrical quality of the Indian face: the quite, meditative eyes, the acquiline nose, the bow arched lips, the long ears, the slender neck caught his attention. 

Believing in the Greek philosophy that Man is made in the image of the duvine, the Gandhar artist made Lord Buddha in human image. Till then, Lord Buddha was depicted symbolicly as in Sanchi. Gandhar artist gave Him an anthromorphic form. In fact, the iconography of Hindu art begins with Buddhist art-- a fact we rarely acknowledge. The serenity, the tranquility, the realism of this piece is unsurpassable. To look at this sculpture of Lord Buddha is to realize the Divine, and to feel blessed.

 Devta

Devta

10th -11th Century AD. Kota Museum.

           Since the attributes  of this God have been broken, it is difficult to  identify  who He is. Most likely  it is Lord  Vishnu as He has four arms, but does not have three heads. Lord Shiva generally  is not shown with a protruding  belly. But this figure  has a slightly  protruding  belly. In fact, it is the belly which makes the sculpture  come alive. Since the stomach indicates the fact that a person is breathing, the Indian artist, from the days of the Indus Valley  Civilization,  has used the belly to breathe life into the figure.  This sculpture  is a fine example  of this technique. 

Breath is the essence  of life; so breathe easily!

 Agni Devta

 Agni Devta ( God of Fire )

 10th Century AD,Kota Museum

         Notice the flames coming  out of His head and the Ram at his feet. These are the two attributes of god of fire. Initially Agni was a very important  Vedic god. But subsequently  he was identified  with Surya, the Sun god and merged with Lord Vishnu. Like Lord Brahma and Brahaspati, Agni also sports a beard. But due to the bad condition  of this sculpture, it is not very visible.
        Agni is not only a natural element, but it is also a symbolic force which is suppose to burn our bad habits, bad thoughts  and ego. Thus, He is  a liberator.

 Four Apsaras

Four Apsaras 

12th  Century  AD, Kota  Museum.

 Lord Brahma

Lord  Brahma

10th  Century AD, Kota Museum.

       

          On both sides of Lord Brahma  are Lord Vishnu  and Lord  Shiva. Hence, again the Hindu Trinity is together. At His feet are two ladies, perhaps they are His two wives: Goddess  Saraswati  and Goddess  Gayatri. The serenity  of his face seems to show him in deep meditation --as though he is in deep thoughts before he initiates creation. He is the primordial  God, the 

 A Lintel of a Door

10th  Century  AD, Kota Museum.


A Lintel  of a Door Depicting  Lord Brahma  and Lord Vishnu  along with Three Incarnations of Lord Vishnu: the Varha, the Narsimha, and the Vaman.

 Lord Vishnu

Lord Vishnu

10th -11th Century AD, Kota Museum.

          While the main figure  is of Lord  Vishnu, the two minor figures on the left and right of Lord Vishnu are Lord Brahma  and Lord  Shiva.  Thus the Hindu trinity is sculpted  here. The two minor figures  at the bottom are personification  of Lord Vishnu's attributes --the counch and the disc. The other figures at the bottom  are the worshipers  or the patron of the temple. 
           In order to make the central figure look as though it is life-size figure, the Indian sculptor  surrounded the central figure with small figures. Thereby playing on proportions. He creates an illusion. What we see is maya!

 Lord Mahavir

Lord  Mahavir

10th- 11th   Century  AD. Kota Museum.