Flying Gandharva and Apsara

Flying Gandharva and Apsara

Chalukyan Dynasty,8th Century AD,National Museum, New Delhi

          Lord Indra ' s palace is full of Gandharvas and Apsaras.  They are the musicians and the dancers of his court. They are the Hindu  counterpart of Christian angles. Like the angels they are divine beings who are closer to the gods than mortals. Man is said to be between the angels and the beast. It is up to us to ascend the ladder and become angels,  or to descend the ladder and become the beast. 

          Chalukyan art had a great influence both on Indian and Chinese Art.  These flying figures became the proto - type for divine beings both in Hindu art and in Buddhist art of China and Japan. Globalisation of Asian art began from India. 

Dakhshinamurti ( Lord Shiva as a Teacher)

Dakhshinamurti  ( Lord Shiva as a Teacher)

Chola Dynast,11th Century AD

       Today is Guru pornima, when we are supposed to remember our Gurus or teachers. After our Gods and parents, gurus are the most venerated. For it is they who educate us and civilise us. Without education, Man is like a beast. 

       In Hinduism Lord  Shiva as Dakhshinamurti, and Brahaspati are considered the two foremost gurus. While Dakhshinamurti teaches the mortals, Brahaspati is the guru of the demons. 

      Dakhshinamurti is a unique form of Lord Shiva. He faces the south direction  (dakhshin), the direction of death. He sits under the polar star, symbol of unflinching devotion and determination.  He holds the Vedas in one of his hands, symbol of wisdom. His one foot rests on a dwarf, symbol of ignorance.  Lord Shiva as Guru teaches us how to cope with impermanence,  with mortality, with death. Impermanence and death are the two most frightening fears we have. With devotion and dedication, with wisdom and vision we shall overcome our ignorance about impermanence. The world is an illusion. But beyond this illusion is permanence, immortality and truth. For the soul is immortal, the body is perishable.  

        It is for this knowledge and wisdom and vision that we bow before our Gurus. Given a choice between God (Govind) and Guru, Saint Katie says "Bow to your Guru.

Kalash ( A Pot)

Kalash ( A Pot)

Kachchhapaghata Dynasty, 9th -10th Century AD,Bhopal Museum

       Invariably the top of a Hindu temple is crowned with a pot. This pot too must have crowned the main tower of a temple.  

       Although pots are ordinary objects, but they have extra - ordinary meanings and symbolism. Pot is the symbol of Man's first invention: the wheel. Without the potter's wheel a round pot is an impossibility.  The Mayan civilisation did not invent the wheel. It had no round spherical pots. The pots in Mayan civilisation were hand moulded into either faces of human beings or animals and birds. 

      Pot is also mass produced. Thus, it may be one of the first "industrial product" we produced as a species. 

      Pot is also commonly used as a symbol of good fortune--to find a pot of gold, a pot of luck. 

      In Hinduism it is a symbol of Nature. For it contains water,  Mango leaves and a coconut. It thus stands for the bounty of Nature. 

       In Hindu mythology it is connected with the pot of nectar which Lord Vishnu as Mohini had to lure from the demons. 

       It is also the last resting place as the ashes of the dead are brought in a clay pot before the ashes are immersed in  holy rivers. 

      It is, thus, a symbol of our achievement, our hopes and aspirations, our life and Nature.

Sada Shiva (Four headed Lord Shiva)

Sada  Shiva (Four headed Lord Shiva)

Paramar Dynasty,11th Century AD

          The four heads of Lord Shiva depict four different aspects of His. The creator,  the preserver, the destroyer.  The fourth face is of Devi or his Shakti  (power). Without His Shakti, He is lifeless. 

        The four heads also depict the ideology that every fact or situation can be interpreted in different ways. Thus there is no such thing as "the truth." Multiple interpretations are welcome. It is this thinking which has strengthened our civilisation of diversity and unity. 

Bhairav

Bhairav

Paramar Dynasty,11th Century AD, Indore Museum

        Lord Shiva was furious at the sudden death of Sati, his wife. She had gone uninvited to her father's home. Hearing the insults about her husband, Lord Shiva, she had jumped into the sacrificial fire. When Lord Shiva realised that his wife had committed suicide he rushed to his father -in- laws palace. It is said there he plucked two hair strands from his head; from the hair strands arose Bhairav--a violent form of Lord Shiva. He had eight arms, each carrying arms or drums (symbol of time), he has a belt of bells ( symbol of eternal vibrations in Nature), he is naked (symbol of total detachment ) has a dog as his vehicle (symbol of attachment that mortals have). 

        In Hindu iconography it is easy to recognise an image of Bhairav. He is naked, at times bearded, has dishevelled hair--or hair protruding like a halo in the back of the head as in this sculpture ), carries weapons and at times a skull or a bowl (the bowl of fire), at times has bulging eyes and even fangs. The sculpture is supposed to depict the violent side and is thus meant to look ferocious in appearance.

      Interestingly in order to appease Him, the devotee is to offer him alcohol or drugs. The most famous temple of Bhairav is in Ujjain where the image drinks liquor!

Goddess Chamunda

Goddess Chamunda

Paramar Dynasty,10th Century AD, Indore Museum

         She is more ferocious than Goddess Kali. She is the most frightening looking Goddess in the Hindu pantheon.  She is Goddess Chamunda. Skeltal in appearance,  with protruding ribs, dried up hanging breasts,  a sunken face, with protruding eyes, laughing grotesquely,  with a garland of skulls, She depicts Nature in its most violent and ferocious form. 

      According to legend Goddess Durga was proposed by two demons who were brothers : Chand and Munda. She challenged them to a battle. Taking on the grotesque form, She killed both of them. Hence, the name Chamunda or 'Chand Munda Vinashni ' ( the slayer of Chand and Munda). 

To tackle evil, one should also have the physical prowess like the evil. But one must kill evil for the sake of protecting the good. The Divine Mother transformed Herself, only in order to restore law and order in the universe. She may be 'demonic looking', but She is Divinity in her heart and soul. 

Lord Vishnu in His Universal Form (Virat Swaroop )

Lord Vishnu in His Universal Form (Virat  Swaroop )

Kachchhapaghata Dynasty,10th Century AD, Bhopal  Museum

        The Kachchhapaghata Dynasty is a minor dynasty which ruled around Gwalior area of Madhya  Pradesh  in the 10th century AD. It has left beautiful temples around this area. 

       The Universal form of Lord Vishnu is rarely depicted in Indian art. It is described in Bhagwat Gita-- a form seen by Arjun. 

God is said to be infinite, undesirable, an abstract entity. It is formless, 'nirgun'--one without specific attributes. But in order to be comprehensible, He takes human forms. The universal form is a human display of the infinite form. In a way the concept is self - contradictory.  One who is infinite becomes finite to display His infinity. But then the very concept of God is that He is an amalgamation of contradictions.

        Here we see a multi-armed Lord Vishnu. He holds a sword in His right hand, and shield, 'pasha'(noose), bow, conch shell, and his blade (Sudarshan Chakra) in his left hands. He appears to his devotees and to the myriad gods who have assembled to witness the infinite aspect of God. 

Devi Crushing Lord Ganesh

Devi Crushing Lord Ganesh

Paramar Dynasty,10th Century AD,Indore Museum

         A rare piece indeed. Lord Ganesh is generally shown as sitting by a Devi, either with Goddess Swaraswati or Goddess Lakshmi or with the Seven Mothers (Sapta Matrike ). But here He is being trampled under the weight of the Goddess. 

       The Goddess here is a form of Shakti. Historically this piece indicates the rise of the Shakti cult during the medieval period. But philosophically it makes a very strong statement : when reason and wisdom is crushed, destruction prevails. Destruction is important and necessary to get rid of that which is bad or evil. But to destroy reason, intellect and wisdom only invites chaos, anarchy and annihilation.  

Devki Feeding Lord Krishna

Devki Feeding Lord Krishna

Kalachuri Dynasty,11th Century AD,Bhopal Museum.

          An unusual sculpture which depicts Devki feeding Krishna.  According to Bhagwat Puran Lord Krishna was born in prison where his parents were detained by Kansa, the Raja of Mathura.  There is no mention of Devki feeding Krishna for the moment he was born, his father, Vasudev carried him to Nanda 's house across Yamuna River. Yet here we see Krishna not only being fed,  but also protected by a five headed snake. The guards stand outside while a maid massages Devki's foot. This is called artistic licence!  

          Interestingly like our paintings, even in sculpture the perspective is flat. Krishna is shown in side view, Devki in side and frontal view. The concept of space is a complex one.

          Also notice the simple furniture and utensils. With the amount of jewellery worn by Devki, she is rich, yet the furniture is a simple one. Simple living, high thinking ! We all live in a prison of our own.  

Lord Harihar

Lord Harihar

Pratihara Dynasty, 10th Century AD, Bhopal Museum

        The Indian civilisation is a civilisation of assimilation and not of extermination.  While the West believes in exterminating those who hold a different point of view, we merely assimilate those views and move on. Our ability to accept different  philosophies, different cultures, traditions and communities is our strength. 

         Lord Harihar is a prime example of this innate quality.  When a division occurred in Hinduism between the Shaivites and the Vaishnavites,  we combined both the Gods to create a half - Shiva,  half - Vishnu image.  Lord Harihar was born. Although he is not a very popular god today, perhaps due to our unipolar thinking, but He is still worshipped in the Lingraj temple at Bhuveneshwar.  

         Harihar is unique as he combines the quality of the intellect  (Shiva) and the quality of the heart (Vishnu). Here He holds the trident and the rosary of Lord Shiva --the ability to control the mind through meditation.  He also holds the 'Sudarshan Chakra' and the conch shell of Lord Vishnu--the ability to cut through difficulties and to sustain things. 

         It is a sculpture with a powerful message and philosophy.  Let us celebrate the multi - dimensionality of our Indian civilisation. 

Lord Shiva and Goddess Parvati Playing Chaupar

Lord Shiva and Goddess Parvati Playing Chaupar


Kalachuri Dynasty,10th Century, Jabalpur Museum

           According to Shiva Purana and Skanda Purana, the divine couple  plays 'Chaupar' a game of dice. In the game Lord Shiva wages his trident, his drum and even Nandi, the bull. And loses them all to Goddess Parvati.  While he wants to quit the game, she wants to go on playing. Meanwhile in the bottom row Ganesh and Skanda watch this divine game of win and lose. Shiva 's 'ganas' try to play with the bull. It is a joyous moment, full of fun and laughter. But the message is a serious one : the dice is time, the pieces are the human being. Our fortunes change as the time changes. Despite our intellect (Shiva), ultimately Nature (Parvati) wins. Our creativity (Ganesh) our destructive impulse ( Skanda) merely watch from the sidelines. Like the bull, our senses need to be controlled.  Nature is supreme. Tao teaches us the same philosophy : human beings are merely a speck of dust in Nature.

Vaman Avatar ( The Dwarf incarnation of Lord Vishnu )

Vaman  Avatar ( The Dwarf incarnation of Lord Vishnu )

Kalachuri Dynasty,11th Century AD

         According to Hindu mythology Lord Vishnu has incarnated nine times. His tenth incarnation,  as Kali , is yet to come. Each of his incarnation teaches something to us. 

       This is his fourth incarnation as Vaman ( the dwarf). In order to humble King Bali, Lord Vishnu appeared as a dwarf. He  asked King Bali  to grant him just three steps of land. Bali granted him the request. Lord Vishnu covered the underworld in one step, the sky in the other step and asked Bali where he should place his third step. Humbly Bali offered his head. With the pressure of His step, King Bali went to the underworld.  He was given the boon to visit his Kingdom once in a year. Hence spring when the earth resurrects itself. 

       The story teaches us that humility  (having small ego--dwarf) is a big thing. In order to subdue the arrogant, one should have humility like a monk. King Bali was wealthy, but it is the intellect which conquers the three spaces-- the underworld, the earth and the sky. As the Chinese say "the bamboo is the perfect example of a gentleman. In high winds, it touches the earth with humility.  And raises its head heavenward once the wind has died down.

Lord Ganesh

Lord Ganesh

Pratihara Dynasty, 8th Century AD, Bhopal Museum

        The name Ganpati does occur in the Rig Veda but there is no mention of Lord Ganesh in the Vedas. As a god, He emerges only in the Post- Gupta Period.  By the 8th Century, he is a popular god. His popularity continues even today. 

        Since he is depicted both as a child and as an adult, since he is a portly figure with an elephant head, he is the most caricatured of the gods. He dances and plays musical instruments, he reads and writes, he sleeps and crawls, he even sits in a rocking chair or plays cricket.  His manifestation are many. We see him everywhere and in every thing.  

        This is an unusual Ganesh for he holds a rosary and a flower in his hands. With meditation we gain wisdom ( rosary);  Wisdom is rewarded (flower). 

Woman Cajoling Her Lover

Woman Cajoling Her Lover

Kalachuri Dynasty, 11th Century AD

         Not as well known as the Pratihara -Paramar Dynasty, but the Kalachuri Dynasty carried on the artistic traditions of the former two dynasties.
        This is a unique piece of sculpture as it depicts a scene  from King Hala's Gatha  Saptashati, a love poem. Written in Shringar Ras (romantic mood), these poems deal with different aspects of love.
        The heroine is lost in the company of her friends while the lover waits for her. When she reaches his house, he is angry with her. He lies on the bed unmindful of her presence. She cajoles him with kisses. But he pretends to be mad with her. The lover's game go on.
        Notice the furniture depicted in this piece: the cushions on which the ladies sit, the bed on which the Hero lies. Also notice the pot of water under the bed. The lovers are under a tree. The presence of the water pot indicates that it might be the summer season. Such minute details liven up the sculpture.  

Uma- Maheshwar on Nangi the Bull

Uma- Maheshwar on Nandi the Bull

Pratihara Dynasty, 8th Century AD

         Seated under a mango tree, the divine couple of Lord Shiva and Goddess Parvati,  otherwise known as Uma - Maheshwar, sit on the bull, Nangi.  They are so lost in themselves that they don't notice their two children, Kartikeya and Ganesh fighting at the bottom row. Helplessly the devotee looks at the divine couple. 

           When the God of wisdom, Ganesh symbolising creativity, and God of war, Kartikeya,  symbolising destruction,  clash with each other, we can only look at our Gods. Is this a picture of an orphaned universe, of chaos and anarchy?  Is this a political comment about its age? Or a warning to all of us about our future?

Kamadev with Two Women

Kamadev with Two Women

Pratihara Dynasty, 8th Century AD

         Although Kamadev  (the Hindu god of Love) is depicted often in Indian miniature paintings, in sculpture he is seldom seen. Hence, this sculpture from Madhya  Pradesh is a unique one. Since love and sex was one of the goals of a Hindu life in ancient India,  it is surprising that Kamadev I'd conspicuously missing from ancient sculptures.  In contrast, for the Greeks and the Romans, Cupid (their god of love and sex ) was a popular image. Is this a reflection of hypocracy that although we may have written the first book on sex, the Kama Sutra, but publicly we will not acknowledge Kamadev? 

           Here Kamadev is being offered a glass of Soma, an ancient Indian alcoholic drink. Is the sculptor hinting at the "heady" effect of love? Is he comparing "spiritual Love" to a glass of while, like the sufi mystics do? If Kamadev  had only a single wife, Rati,  then who is the other woman sitting next to him? These perplexing questions tease us. Only to remind us that Love is an intriguing feeling. 

Natesh (Lord Shiva as a Dancer)

Natesh (Lord Shiva as a Dancer)

 Pratihara Dynasty, 8th Century AD

              The post- Gupta Period saw the resurgence of Hinduism.  Lord Vishnu and Lord Shiva emerged as two leading Gods of Hindu Trinity.  Initially called Rudra in the Vedas and Puranas, Lord Shiva was seen as God of destruction.  As Natraj (the God of Dance) he is shown doing the 'Tandav' dance (dance full of energy and dynamism), the dance of destruction itself. 

               But here He is shown in a more peaceful posture as a dancer.  He carries His trident and an axe. The trident symbolises the three states of the mind, the conscious, the sub - conscious, and the unconscious, all held by a single shaft--one mind. The axe stands for our ability to cut through the illusionary world we live in--whether it be a world we create for ourself or the impermanent world we see around us. In His lower hand, He carries a bowl--the bowl has fire, the symbol of our last destination,  cremation or liberation of the soul. The fourth hand is in 'Abhaya  Mudra' meaning "fear not." 

            Trying to  control the three states of the mind, trying to  cut through the illusionary world, trying to  liberate the soul, you have nothing to worry, once you have come to the refuge of the divinity. This is the message of the calm dancer, Natesh ( the Dancer). 

Goddess Parvati

 Goddess Parvati

Paramar Dynasty,11th Century AD

            A highly well preserved statue, but for the two upper broken hands. The sculpture depicts the goddess as a stout woman, holding a pitcher of holy water, a rosary,  carrying Lord Ganesh in her upper left hand and a Shiva Linga in her upper right hand. Since Parvati created Ganesh from herself, of the two children, he is her favorite.  But the sculpture is not just limited to that: Parvati is the symbol of Nature. Nature also includes the creative and destructive powers. While the Shiva Ling is the symbol for creativity, the mongoose at her feet is the symbol of the destructive power. For, the mongoose can kill even a snake. But both the powers have to be used with wisdom--hence, Lord Ganesh.  Wisdom doesn't come easily. It comes from right thoughts--the pitcher of Holy water, and with deep meditation--the rosary.  Nature is mysterious, but beautiful,  like the Goddess herself.

Lord Ganesh with Riddhi

Lord Ganesh with Riddhi

Paramar Dynasty,  11th Century AD

        It is a rarity to see Lord Ganesh with Riddhi in a standing posture. Thus, this a unique piece. 

        Goddess Parvati was worried as to who would marry her elephant headed son. Lord Brahma agreed not one, both of his daughters,  Riddhi and Siddhi to him. Riddhi and Siddhi stand for the material wisdom and the spiritual one. Ganesh being the God of wisdom had to personify the secular and the sacred wisdoms. The Greeks believed that there are two sides of human personality: the rational ( God Apollo), and the irrational  (God Diyonesus ). But we believe there is also the spiritual side. Hence, Siddhi. 

        We have been worshipping wisdom from time immemorial.  Notice the devoted couple standing at the bottom. 

The Hindu Trinity : Lord Brahma, Vishnu and Mahesh ( Shiva)

The Hindu Trinity : Lord Brahma,  Vishnu and Mahesh ( Shiva)

Khajaraho School, 11th Century AD.

          In Khajaraho School it is rare to see the Hindu Trinity together. Thus this is a unique piece of sculpture.  

         The creator, the maintainer, and the destroyer all three stand together,  thereby representing the process prevalent in the cosmos. Since Lord Vishnu is the largest figure and is centrally placed, the emphasis is on the one who maintains us. The bottom row of figures are of couples thereby depicting the importance of "grahasth ashram" (The householder). The family, being the smallest unit of the society, is the most important stage of life which needs to be maintained, protected and promoted. Lord Vishnu symbolises the perfect householder.

         While we may have the creative and the destructive powers within us, it is the power to maintain things which is the most important power in us. 

Ravan Shakes Mt. Kailash

Ravan Shakes Mt. Kailash

Khajaraho School,10th Century AD, From Hingalajgarh, Dist. Mandsaur, M. P.

        The Bhopal Museum has a large collection of sculptures from Hingalajgarh. This sculpture  is considered the finest masterpiece of the collection.  It is the priced possession of the museum.  Not much is known about Hingalajgarh.  But considering the vast collection,  the town must have boasted of great temples dedicated to both Hinduism and Jainism.  The jewel like quality of its sculptures place it on par with the best of sculptures of Khajaraho temples. The delicacy, the intricacy of its carving, at times surpasses Khajaraho sculptures. It must have been the pride of its time.

         Lord Shiva and Goddess Parvati, with their sons,  quietly sit on Mt. Kailash. The arrogant Ravan tries to lift the mountain with all his might. But all in vain. The other gods, Lord Brahma and Lord Vishnu silently watch the folly of an arrogant man. 

         We may consider ourselves the master of the Universe, the center of the Earth, but that is our delusion. As Tao says we are an insignificant part of Nature. Mere speck of dust in the vastness of Nature. Like Ravan we have yet to learn this lesson. 

Salabhanjika

Salabhanjika

Prathihara Dynasty, 9th Century AD, Gwalior Museum

         Considered the Mona Lisa of India, this sculpture of Salabhanjika is the best known sculpture of the Gwalior Museum.  

         The Yakshini is beautifully jewelled, bedecked with a heavy coiffure --to the point that it tilts her head towards her left side; she steps forward, revealing her  thighs; her skirt is tide on the side, but is just about to come off. She has a mysterious smile. As in  Mona Lisa we do not know the reason for her smile: is she thinking of a lover, or of her husband--the Yaksha, or looking at the pranks of a child, or thinking of her own beauty,  or perhaps smiling at human folly.  

          She is young and divine.  She is a thing of beauty, a joy for ever.

Raja Playing with the Rani

 Raja Playing with the Rani

Abhaneri, Rajasthan,8th - 9th Century AD

           Since 'Kama' (Love or sex) was one of the four goals of Hindu life,  it was essential to show the Raja indulging in Kama. Thus, depicting Kama here is a social statement.  Politically a 'world conquering King' ("chakravertin") was supposed to be verile.  To depict the Raja indulging in Kama is to testify to his verility. Hence the presence of these images on the walls of temple.

         Eroticism in Indian art has an ancient history. It begins during the Mauryan period ( 3rd Century AD )  and culminates in the Pratihara Paramar period  ( 12th century AD). The earlier depictions merely show a couple standing together, later the sculptors began depicting foreplay.  In Khajaraho and Konark it reaches the climax where explicit scenes of eroticism are depicted. But then, Kama was emphasised in India. For, without love civilisation would fall apart;  without sex the human spieces would be extinguished. 

A Raja Listening to a Musical Concert

A Raja Listening to a Musical Concert

Abhaneri, Rajasthan,8th -9th Century AD

           Abhaneri, originally called Abhbnagari, was the capital of a Chauhan Kingdom in 8th Century Rajasthan.  It is near Jaipur. It is not only credited with having the oldest 'Step-well' in India, but also has the only post - Gupta art in Rajasthan.  

           The temple here lies in ruins. It's sculptures are housed in three galleries around the Step-well.  The sculptures still left on the walls of the temple are unique. Their focus is on the life of the Raja. Here we see him seated in the garden with the Rani. The Rani leans over to him while playing a musical instrument.  There is the flutist at the bottom and the drum player to the right of the Raja. The guard stands with his sword and shield. It is a nice summer day as the tree is laden with Mangoes. 

            Surprisingly the royal couple sits in very modest furniture: cushions and stools. The kingdom could not be too prosperous.
         These sculptures of the royal couple not only portrayed the life of the Raja, but also contained a political message: the royal couple is well. There is peace and prosperity in the kingdom.  These sculptures are like pictures of President Obama and his wife smiling to the crowd, assuring the people that all is well despite the economic crisis.

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.

Ceiling of Dilwara Temple Rajasthan

Ceiling of Dilwara Temple Rajasthan

13th Century AD

            Numerous ancient temple complex dot the hills and dales and the desert of Rajasthan : Osia in near Jodhpur , Kiradu in Barmer District, Eklingji in Udaipur.  But the best known temple complex are the Dilwara temples of Mt Abu. Made of white marble, intricately carved--like a filigree,  these temples are mind bogling.  Here we see a temple ceiling.  The thousand petal lotus is the center piece. It is said that when one reaches the highest state of meditation,  the mind blossoms like a thousand petal lotus. Hence this image on the ceiling. Like bees,  the celestial beings havor around this lotus. That is the power of the  mind. As the Urdu poet said, "make thyself so strong that even God should come and ask what is your wish." 

           Although Dilwara temples are known for their delicate carvings, but they are like a Kathak dance: full of technical perfection but without much substance.  The sculptures  are heavily laden with jewellery, figures frozen in stereotyped postures. But the lack the liveliness of the Khajaraho figures or the serenity of Chola Bronze.  These figures merely dazzle us with the virtuosity of the sculptor in using the chisel and the hammer. But somehow the breath of life is missing in these marble wonders.