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.

A Rani Watching a Dance Performance

A Rani Watching a Dance Performance

Sunga Dynasty,  2nd Century BC

         A very  interesting piece of sculpture which permits us to look into the inner chambers of a Rani's palace. The Rani sits at the top. She is being fanned by a maid. The orchestra of female musicians plays different musical instruments : the harp, a mandolin like instrument --looking like a Sarod, a flute, a drum. The dancer sways to the music with her hands swinging and her feet in rhythm.  

         The sculptor has almost caught the perspective right. Since the Rani is sitting further away from the viewer, she is smaller in size. The dancer in front looms large. The sculptor, thus, does not depict the figures from the point of view of the social status of the figures. But portrays the figures from an artistic or visual angle. 

          Surprisingly the entire orchestra is of women. This shows that women were trained in music and dance. But this may also indicate that men were not allowed in the Rani's palace. Hence, this may reveal the segregation of women and their confinement in a palace. This piece reveals more than just a dance performance. 

A Woman Painting Her Foot with Aalta

A Woman Painting Her Foot with Aalta

Khajaraho School,10th Century AD

          The Khajaraho temples are replete with sculptures of women at their daily activities. The theme of women adorning themselves is a popular one. Here we see a woman painting her feet with 'aalta', a redish colored liquid used to paint one's hands and feet. Before henna came to India, aalta was used for coloring the body. 

          Human beings love decorating their bodies. The fashion continues even today. But here the decoration has a philosophical concept. We 'decorate ' our lives with psychological constructs. With our likes and dislikes, biases and prejudices, we construct a world of our own. But the world we construct with our emotions and intelligence is merely cosmetic. The deeper reality lies somewhere else. Now notice the small nude figure to the right.  He stands like a Tirthankar,  the Jain Saints. Having abandoned the material world he stands and meditates. Behind him stands a divine figure. That is the path we must take, rather than adorning our feet with aalta.

Lady Writing a Letter

Lady Writing a Letter

Khajaraho School,10th Century AD

         No other School paid as much attention to the world of woman as Khajaraho did. The Khajaraho sculptors have captured her every nuance, her every turn and twists, her grace and power.  She is the Apsaras,  the Goddess, the  queen, the common woman. 

         Here we see a woman who is busy writing a letter. To whom she writes, we do not know: her husband, or a lover, her parents, or a petition to the King? But her grace, her attention to her work captures our imagination.  

         This sculpture is a classic piece of the Khajaraho School.  It has all the trademarks of the school.  The arched eyebrows, the curls on the forehead,  the loose bun, the jewelled belt, the bare chest, the see through sari as the lower garment, the broad hips, and the bare feet. Her curved body lends a sense of grace and a sense of other worldliness.  She is one of us, yer she is divine.

Musician

Musician

Konark Temple, Eastern Ganga Dynasty,13th Century AD

             The roof of the Sun Temple at Konark is decorated with lady musicians. Here is a woman playing the cymbals. The sun rays spread over the sky like music wafting through the air. The sunrise and music are intermixed in our mind and  soul. For, both represent life, energy and creativity. Hence, the presence of musicians and dancers in Konark.

         The Konark sculptures are easy to recognise with their large almond like eyes, with their beautiful upturned smiles and their ornaments, especially the two large earrings in the ears. The grace, the style, the jewellery is also reflected in Odissi dance. To see an Odissi dance is to see these Konark figures come alive.

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. 

The Drunken Courtesan

Mathura School,1st Century AD

      Drinking by both the genders was quite popular in ancient India.  Although not approved as a civil behaviour,  but it was popular nonetheless.  Here we see a courtesan deadly drunk who needs to be supported and carried off to her bedroom.  Such sculptures tell us not only about the jewellery and clothes worn at that time, but also inform us about the life - style.  The man with his fingers on his face symbolises the disapproval of such drunken state.

Lord Krishna Dancing on Kalia

Lord Krishna Dancing on Kalia

Chola Bronze, 11th Century AD

          Generally Lord Krishna is shown as a young child dancing on the Serpant Kalia. But here He is shown as a teenage boy. The serpant has been given a human form. Thus, this is a unique Chola Bronze. 

          The story of Kalia, of a deadly snake having polluted the Yammuna River,  is pertinent today. For the story teaches us to preserve our rivers, lakes and oceans. It is a lesson on conserving our environment.  

Lord Vishnu

Lord Vishnu 

Gupta Dynasty . 5th Century AD

          Gupta art is world famous for its Buddhist sculptures,  paintings and architecture.  The foremost example being the Ajanta caves. But the Gupta age also saw the beginning of Hindu art as in this example.  A few art historians have suggested that Hindu iconography comes from Buddhist art. 

          Gupta art is easy to recognise both from its style and spirit. Its figures are well proportinate,  lively yet calm and serene. Stylistically,  the ornamentation is simple. Pearls and pearl strings tend to dominate rather than gold jewellery.  

           Here Lord Vishnu stands looking at the devotes below him. There is a sense of tranquility, and gentleness in his glance. Just looking at his divinity, the devotee forgets his troubles.

Lord Harihhar

Lord Harihhar

Khajaraho School, 10th Century AD,  National Museum, New Delhi

            One of the most unique gods in India is Lord Harihar. According to the Puranas Lord Shiva was struck by the beauty of Mohini  (Lord Vishnu in a female form). They had physical relationship.  Harihar is the child of that union. He is half Hari--Lord Vishnu, and half Har--Lord Shiva. Thus he has the quality of both: he meditates, yet he maintains the world with his powers. 

            Historically it was important to invent him. For in ancient India disputes regularly erupted between Vaishnavs,  the followers of Lord Vishnu , and Shaivites,  the followers of Lord Shiva. It was better to assimilate them than to annihilate each other. 

            Although Harihar is hardly worshipped now except at Bhuveneshwar, but he is the symbol of Hinduism ' s ability to absorb and resolve conflicts. He is also an example of fluidity of sexual identity in Indian mind.  He is relevant for the post - modern world.

Salibhanjika

Salibhanjika

Mathura School,1st Century AD

            Mathura School of sculpture was the first school of sculpture in India. It flourished during the Kushan Dynasty.  It was contemporaneous with the Gandhar School which flourished near Taxshila, now in Afghanistan.  

           While the Gandhar School was heavily influenced by Greek art, the Mathura School was indigenous.  This sculpture depicts the Indian concept of beauty: full bosoomed,  heavy hipped, bejewelled, at times even semi - nude (as here). It is very easy to identify sculptures of Mathura School as they are done in red sandstone which is easily available even today in the Mathura-Bharatpur area in U. P. and Rajasthan.  

          Salibhanjika is the most beautiful  woman of the village who is asked to kick the Sal tree so it blossoms.  She is a Yakshini who symbolises mother Nature. 

Lord Narsimha ( The third incarnation of Lord Vishnu as the half lion, half man)

Lord Narsimha ( The third incarnation of Lord Vishnu as the half lion, half man)

Hoysala Dynasty,13th Century AD

        The story of Lord Narsimha has caught the imagination of the Indian artists. While the sculptors of Ellora have captured the frightened look on the face of Harnakashyup when Narsimha touches him, the Hoysala sculptor has depicted the final moment of his death. 

        The story of Harnakashyup is important. Having gained the boon from Lord Shiva that he would not be killed either by man or animal, neither in daytime nor at night, neither inside a building or under the sky, he became demonic in his nature. Absolute power had corrupted  absolutely. But God has his way. A half lion, half man killed him at the threshold of the Palace at twilight hours.  Good always triumphs.

Lord Indra

 Lord Indra

Konark Temple, 13th Century AD

          The most important god for the Vedic people, Lord Indra is the God of rain. He holds a "vraj", a thunderbolt, in one hand, and a batton in the other hand. He rides the seven tusked white elephant, Aaravat. Lord Indra is the most powerful diety in the Vedas.  Since the Aryans were agriculturist, they were dependent on the rains. Like them even we wait eagerly for Lord Indra to arrive. 

          The Konark sculpture can be recognised easily with their upturned smile, their hair buns, and elaborate jewelry.  Here while Lord Indra rides on the elephant,  he is accompanied by his entourage of Apsaras and Gandharvas,  the celestial dancers and musicians respectively.  Mansoon is the season for dancing and singing as mother Nature rejuvenates herself. 

Natraj

Natraj

South India

         Lord Shiva as Natraj taught dance to the gods and mankind.  But he also danced on other occasions such as the dance of destruction and dance in the skin of the elephant demon, Gajasura. These dances depict the dynamic side of dance called "Tandav". They are full of movement, energy and rhythm. 

         Here the sculptor has captured the ferocity of the figure by the multiple arms moving in a circle, by the diagonal tilt of the body and by the placid stand of goddess Parvati.  The entire sculpture seems to move with energy

The Courtesan and the Customer

The Courtesan and the Customer

South Indian Sculpture, 18th Century AD

         Like Gujarat, South India is famous for its wood carvings.   Sociologically speaking, this is a very interesting piece. For it does not depict gods or goddesses.  It depicts the relationship between s courtesan and her rich client. Having done with her, he turns to leave her, still carrying his bag of monies. She continues to play the violin. Interestingly she plays a Western instrument and not an Indian one. Has the artist given her a Western instrument in order to depict her social and cultural isolation? Her pitiable condition as a means of satisfying people's lust is writ large. It is a sculpture which celebrate the darker an tragic side of life.

Mahisasurmardani ( Goddess Durga Killing the Demon Mahisasur )

Mahisasurmardani ( Goddess Durga Killing the Demon Mahisasur )

Hoysala Dynasty,13th Century AD

            One of the most beautiful and intricate carvings has been done by the Hoysala sculptors. Working with soapstone which is soft, they could carve fine details in the stone. Notice the elaborate jewelry of the goddess.  

            Goddess Durga is the eternal mother who protects us from all the evil. But psychologically she is the power within us who kills our evil thoughts and deeds. We only need to look inward to discover the shakti ( power ). 

Dancing Ganesh

Dancing Ganesh

from Abhaneri,  Rajasthan,  8th Century AD

        Abhaneri, a town near Jaipur,  has the distinction of having the first step well of the country.  It also had beautiful temples which were influenced by Gupta art. 

        Here we see a dancing Ganesh. Whole he holds the axe, and the broken tusk, in his hands, his usual attributes,  he also holds a snake, which is rather unusual.  For snake is symbol of desires which sneak into our minds and heart. The God of wisdom knows how to control them. He rewards us with the bowl of 'ladoos' or 'modak'-- symbol of his generosity. 

Lord Shiva Dancing within the Skin of an Elephant

Lord Shiva Dancing within the Skin of an Elephant 

Chola Bronze,11th Century AD

          Gajasura, a demon in the form of an elephant attacked Lord Shiva.  Lord Shiva not only killed him, but also flayed him. Dancing within his skin, He stretched the skin as far as the end of the universe. He punctured the skin with His thumb and/or fingers.  Astonished,  Goddess Parvati stands and stares at his infinite height and at His feat. 

       The story has a philosophical meaning: divinity is beyond the material world. The mind can travel beyond matter. Beyond the realities of the finite world, there still exists the realities of the infinite. 

         The Chola artist was not merely depicting a dancing God, he was portraying a complex metaphysical concept.

Goddess Swaraswati

Goddess Swaraswati

Gupta Period, 3rd Century AD

        Here the Goddess is depicted as goddess of music. For while three figures play instruments, the fourth figure is dancing. Music is integral for our existence. It permeates not only our mind and soul, but also exists in outer space. 

        The Gupta sculptures are known for their simplicity and elegance, for harmony and beauty. They are classical pieces of art.

Venugopal ( Lord Krishna in his universal form)

Venugopal  ( Lord Krishna in his universal form)

Vijayanagar Empire,16th Century AD

         Things can be deceptive in life. A village boy, a cowherder, a flutist, is none other than the maintainer of the Universe. Krishna was beguiling. He ranged  from the pranckster to a philosopher. He lures us with the music of his own purity, with his endless mercies. He is the charming gopa  ( cowderder). We are his cows. 

          The Vijayanagar Empire sculptures are known for their ornate detailing. Although carved in granite or in basalt rocks, the sculptures are vibrant and lively. Devotion can turn the hardest rocks into gods.