Dancing Ganesh

Dancing Ganesh

Pala Dynasty, 10th Century AD

          While Lord Shiva is often portrayed as "Natraj", the Lord of dancing, His son, Lord Ganesh is no less a dancer. While Shiva dances in anger, Ganesh dances with a sense of joy. 

          He symbolises the universe in motion, full of energy,  in rhythm, ever changing and ever lasting. Here even Ganesh ' s vehicle,  the mouse, is keeping in step with his master. The mouse is the symbol of a sharp and inquisitive mind. Like the mouse, the mind searches  the mysteries of the universe.  It goes deep into a subject. It rejoices in discoveries. 

Lord Shiva as Veenadhar

Lord Shiva as Veenadhar

Chola Bronze, 11th Century AD

         Having looked at Godess Parvati sleeping, Lord Shiva was inspired to invent the Veena, called the Rudra Veena  (one of  the oldest known string instruments of India). Here although the Veena part is missing, but the two front arms are held in a position as though the Lord is playing the Veena. 

         Veena is a symbol of language, of creativity, of civilisation.  For language is an essential element of civilisation and of being civil.

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. 

Kaliya Dahan ( Lord Krishna Dancing on the Serpant Kaliya

Kaliya Dahan ( Lord Krishna Dancing on the Serpant Kaliya

Chola Bronze,  11th Century AD

Yammuna River was polluted by a large multi - headed King Cobra, Kaliya. Due to the poisoning of the water, Krishna's herd of cows died. Krishna jumped into the river, fought with Kaliya, and in triumph, danced on its hood. This sculpture depicts Krishna dancing on the hood.

This simple story works at different levels: it is as much about us conquering our inner demons, as it is about keeping our lakes and river free of pollution, as about Gods quelling our troubles for us.

Artistically this statue is a fine example of Chola Bronze.  The figure stands on one leg. In order to depict Krishna as a child, He is shown in the nude, but for his waist band.

The Drummer

The Drummer

Gupta Dynasty,3rd Century AD, Kota Museum.

         A horse shoe window, a common motif in Gupta art and architecture, is the setting for a drummer. The body bent in a strong 'S' curve, the drummer beats out a rhythmic pattern. Indian music, whether Hindustani or Karnataka, is known for its rich rhythmes.  Music was and is an integral part of life in India.  Every auspicious occasion is ushered in by music. 

         From artistic point of view this piece is unique.  It depicts two 'makars'. But the almost resemble the dragons of Chinese Art.  Are these images imported from or exported to China, we do not know. Or are these two  images created independently across the Himalay,  we don't have a clue.

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

A Lady Musician

A Lady Musician

Konark Temple,Eastern Ganga Dynasty,13th Century AD

            Part of the Kalinga or Eastern school of architecture,  Konark temple is one of the finest temples of ancient India. Built in the form of a moving chariot, with seven horses and twelve giant wheels, the temples shows the imaginative leap of the architects.  The fact that the  main tower collapsed, however, points to the technical flaw in the design of the temple.  But nonetheless it is a mesmerising piece of architecture.  

          The temple is dedicated to Lord Surya, the Sun god. The lady musician you see here are sculptures placed on the roof of the temple.  The heavenly musicians play the music as the sun chariot is pulled by the seven horses. 

          The Konark sculpture is easy to recognise as the women have a tied their hair in a tight bun, and have two large earrings in their ears. The eyes are almond like, and there is a subtle smile on their face. Even today Konark and Cuttack produce beautifully alive sculptures. 

Goddess Yamuna

 Goddess Yamuna

Terracotta, Gupta Dynasty, 4th Century AD.

           Terracotta used to be a popular medium for small and large sculpture.  Once fired, the clay is strong enough to survive for centuries unless intentionally or accidentally destroyed.  Even if broken into large pieces,  it can be joined together to form the original object.  Although terracotta sculptures are now made in very few places in India,  but Bengal and Assam do have temples made out of brick and dressed with terracotta sculptures.  

           The Hindu temples generally depict Ganga and Yammuna, the two holy rivers, at the entrance of the sanctum sanctorium.  While Ganga rides ocn a 'Makar'( a compound animal--part crocodile, part elephant,  part lion), Yammuna rides on a tortoise, as in here. She carries a pitcher of water with her, while the maid carries a royal embrella over her. The voluptuous figure with down cast eyes exudes grace and tranquility.  Surprisingly,  the almost life size sculpture has survived centuries of destruction and devastation. 

Lord Shiva Begging before Godess Parvati

Lord Shiva Begging before Godess Parvati

 Lepakshi Temple, Andhra Pradesh, Vijayanagar Empire, 16th Century AD

          This sculpture depicts a very unusual story: Lord Shiva decides to have some fun at the expense of Godess Parvati.  He transforms himself into a dwarf and goes begging before the Godess.  Parvati not only gives him a basket full of rice, but also pours sambar onto the rice. The dwarf tugs at her sari, and pulls it half off, revealing her nakedness. Parvati realises that the dwarf could be no one else than Lord Shiva himself. 

           The story is not glorifying the outraging of modesty of a woman. It is a comment on the capacity of the intellect to strip nature to unravel its  secrets. Lord Shiva symbolises pure intellect, undisturbed, controlled intelligence.  Godess Parvati symbolises Nature with all of its warmth, and emotions. To understand Nature the intellect has to uncover its secrets. The story is a subtle way of telling people to encourage scientific temper.

Lord Brahma Playing the Mridangam

Lord Brahma Playing the Mridangam

 Lepakshi Temple,  Andhra Pradesh, Vijayanagar Empire,16th Century AD

             Initially Lord Brahma had five heads. The fifth head looked towards the sky. But when he chased his own daughter for lust,  Lord Shiva severed his fifth head off. Lord Brahma was left with four heads. The fifth head is the symbol of ego. A creator or an artist does fall in love with his/ her creation. For, creation feeds the ego. Hence, the need to get rid of ego, the fifth head. 

          Lord Brahma is said to have four heads as truth is reality is multi - dimensional. It can be appreciated from different angles. Thus, the need to accept various perspectives
        The Mridangam is the symbol of time--the rhythmic cycle of time, of creativity, of language, of civilisation.  Therefore, Lord Brahma playing the Mridangam. 

Dancing Ganesh

Dancing Ganesh 

 Khajaraho School.  11th Century AD.

          An eight armed statue of Lord Ganesh is a rare one.  Here we have an eight armed dancing Ganesh. When the Westerners came to India they were shocked by these "octopus "like images. To them, these were "heathen "  idols. They missed the entire basis of Indian art: art is at the service of religion. What it depicts is not the material reality of the world around us, but the metaphysical concepts of our religion. Gods  are symbolic of their qualities.  Hence, their depiction is a portrayal of a concept and not of empirical reality. To fully understand this art one would have to know religion, mythology,  philosophy, and even dance--as the postures and gestures are based on Indian classical dances. Such art takes you into a different realm

Das Avatar ( The Ten Incarnations of Lord Vishnu )

 Das Avatar

( The Ten Incarnations of Lord Vishnu )

 At Karnataka Chitrakala Parishad, Bengaluru

               A magnificent lifesize bronze sculpture of Lord Vishnu.  Lord Krishna is depicted as revealing the fact that he is incarnation of Lord Vishnu.  Thus, Lord Krishna is shown with four arms. The upper two arms hold the conch shell and the discuss. At the bottom we see the different incarnations of Lord Vishnu. Interestingly the main figure is flanked by Lord Hanuman on the left, and Garuda on the right. Both great devotees of Lord Vishnu. 

            This sculpture is a great testimony of the artistic tradition of metal sculptors of South India.

Lord Krishna Combing Radha's Hair

Lord Krishna Combing Radha's Hair

 From Nathdwara, Rajasthan, 19th Century AD 

             This image may appear to be an odd one, patriarchal as we are, but it is God who adorns us with character,  beauty,  personality, with dreams and achievements,  with vision and wisdom. We are Radhas.

Madonna and the Child with St. Anne

Madonna and the Child with St. Anne

 by Leonardo da Vinci, 16th Century AD.

             St. Anne was Virgin Mary's mother. She sits in her mother's lap while trying to pick up her son, Jesus who is playing with a lamb--the sacrificial lamb--symbol of sacrifice of Jesus for Mankind. 

            After having painted Mona Lisa, all the figures of Leonardo had the beguiling smile. The endless mountains and the smile are his signature marks.

A Nayika ( A Heroine)

A Nayika ( A Heroine)

From Lepakshi Temple in Andhra Pradesh, Vijayanagar Empire, 16th Century AD.

          The Vijayanagar Empire was world known for its fabulous riches. With its capital at Hampi, on the Tungabhadra River, it ruled over the most fertile parts of the Deccan. 

         The opulence  of its people is well reflected in this Nayika. Young, tallish, stylish, bejewelled, poised, she stands with an air of confidence and exuberance . She is not a docile woman, but one who commands respect and obedience. She is the true woman. 

Pillar in the form of Lord Brahma and Lord Vishnu

 Pillar in the form of Lord Brahma and Lord Vishnu

Pratihara Dynasty, 10th Century AD,Ajmer Museum.

         The four important gods of Hinduism are Lord Brahma, Vishnu and Shiva. The fourth is Surya, the Sun god. These four gods provided the design for this huge pillar of a temple. The hugeness of the pillar reveals the weight it must have borne and possibly indicates the height of the temple itself.
       Although pillars are not as important as the facade of the building, but they play a pivotal role in the structure of the building.  While the Greeks invented four types of  pillars, the Indians invented at least forty types of pillars. This not only proves the imagination of the architects, but also establishes the dexterity of the artisans.

Dancing Ganesh

Dancing Ganesh

Chola Bronze, 11th Century AD

            Interestingly, here Ganesh ji holds a bunch of Mangoes in His left upper hand: it symbolises fertility, the creative power. It is balanced by His holding an axe in His right upper hand: it not only symbolises the power of destruction, but also depicts the power to cut through obstacles. Om Ganeshaya Namaha 

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. 

Gautam Buddha

Gautam Buddha 

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

             Like Christianity and Islam, Buddhism spread all over the world. Like Jesus and Prophet Muhammad, Buddha was a reformer who established his own religion. Critical of ritualism of Hinduism, questioning the elitist attitude of the Brahmins,  Buddha taught simple principles of life, in simple vernacular language of the people, while defying the rigid caste system of the day. As a leader, he was pro - people,  pro-poor. He understood the pain and agony of the people. He showed them the path of Liberation from the cycle of life and death.

           The Gupta sculptor has caught the serenity, the humility,  and the divinity of Buddha. This image became the model of for most of the artist of Asia. With spread of Buddhism, Indian art also travelled throughout Asia. We were a global power in Philosophy, Religion and Arts.