Dancing Ganesh

Dancing Ganesh

Hoysala Dynasty,13th Century AD

           The Hoysala Dynasty although is a minor dyynasty compared to the Imperial Cholas, but the Hoysala artists have left a treasure trove for the country.  The Hoysala Kings were great builders who have left mind boggling temples at Belur,  Halibedu and Somnathampuram. The Hoysala temples dot the Karnataka landscape. 

           Unlike the rectangular floor plan of the Northern Indian temples, unlike the square floor plans of the Dravidian temples,  the Hoysala architect invented a new floor plan for the temples : star shaped. Two squat star shaped 'shikhars ' ( towers) are joined by a middle rib. The multiple walls of the stars gave ample surface to the sculptor to display his talent.

           And what a display it is ! Carved out of a soft stone, the soapstone, the sculptor could carve out the intricate details of the jewellery,  the foliage,  the body of the figure.  The Hoysala sculptures are known for its details, intricacy, for its flowing forms, and rhythmic patterns. The sculptor has carved the body of the stone,  the soul of the figures, the heart of Hindu  philosophy.  

          Lord Ganesh dances to the rhythm of music, to the sounds of the waves ( the Hoysala capital was Dwarsamudra ---the gateway to the sea). With the joyous dance of the Lord the entire universe seems to pulsate with energy and life. 

Warrior

 Warrior

 Pratihara Dynasty, 11th Century AD, Allahabad Museum

              Like the Greeks and the Romans, the Hindus also treat the plant Mars (Mangal) as the God of war. Mars is the slightly reddish planet  which is visible in the sky. Because of its color red, it is seen as a fierce, violent warrior. In Hinduism he is generally painted as a red figure. But unlike the Greco -Roman god, he is neither shown as a muscular figure, nor as one eager to wage a war. 

            Warriors are important to every country or community.  For they protect us from internal disturbances and external threats. They are commemorated in every village. They are worshipped as local diety for the protect the village from possible harm. They are the local guardian.  Thus, they play a pivotal role in our lives. Nations who have forgotten their warriors, like the Murayans,  have paid heavily for their fault. Those who have respected their warriors, like the Greeks and the Romans, have established empires across the globe. Let us, therefore,  respect our defence forces. For they are the guardians of our liberty and of our lives.

Sadashiva

Sadashiva  ( Lord Shiva as the Destroyer {left }, the creator  {middle} and maintainer  {right})

7th Century AD,From Northwest Frontier Province ( now Pakistan )

           For the Shaivites,  the worshipers of Lord Shiva, He is the Supreme God. He manifests the Hindu Trinity of the creator, the maintainer and the destroyer.  These are the aspect of any god. For, this is the process of life and death, the life story of the universe. 

           Interestingly, He holds a trident ( a trishul) symbol of three stages if our mind: the conscious,  the sub - conscious,  and the unconscious.  He holds a rosary; the symbol of meditation.  He holds a water pot; symbol of life. He rests a hand on his vehicle, Nandi,  the bull;  symbol of unruly Nature both within and without us. He also displays an erect phallus;  symbol of the productive power of Nature. Without production and reproduction,  the universe would be extinct. This is a highly philosophical sculpture. 

           Indian art is littered in Afghanistan and Pakistan as it was once part of Indian empire. We may have redrawn the map, but the cultural currents continue to flow on both the sides of the border. Lord Shiva teaches us to break the barriers of our mind and to behold the divine vision. But the first step is to see the unity in humanity itself.

The Seven Mothers ( Saptamatrika)

The Seven Mothers ( Saptamatrika)

Early Pratihara Dynasty, 8th -9th Century AD,Kannauj Museum

          The concept of the seven mothers is an interesting one in Hinduism. Initially they were seen as demonic characters who would devour children.  Subsequently, it is said that Skanda,  the Hindu God of War was born from seven mothers. Others claim that the responsibility of bringing up Skanda was given to these seven mothers. Thus, they were transformed from malevolent  figures to benevolent one. Yet, others claim that the Seven Mothers merely represent the powers (Shaktis ) of male gods. Hence here we see, from left to right, Vaishnavi  ( the power of Lord Vishnu) on the far left;  'Varahi ' ( the power of the Boar incarnation of Lord Vishnu ); 'Indrani' ( the power of Lord Indra, the God of rain); 'Chamunda'--she is not a power of a particular god, but is the most ferocious form of Goddess Durga. 

          These seven mothers reflect the ways the society views it's women: from being a form of evil to being benevolent persons--full of love and compassion to being the energy behind the very existence of our society and our universe. This view of woman is a universal one. In Christianity she is Eve, the cause of Man's downfall. In Islam, she is the temptress. Thus she has to be cribbed, cabined and confined. In Hinduism, she is the  moving spirit, the energy which creates, maintains and destroys the universe. For the Greeks, she was Athena, the goddess of wisdom, and yet Venus,  the goddess of love. 

           Such ambivalent attitudes towards women  still create social problems in our society.  Despite 5000 years of history we don't know where to place the status of woman in our society.  While we celebrate Navratra, we should ponder over  the problem of how should we treat our women in modern India?

Vrishabha

Vrishabha

Prathihara Dynasty, 10th Century AD, Kolkata Museum

          One of the most unique pieces of Hindu iconography: a goddess with the head of a bull! This sculpture is highly symbolic. The goddess is none other than Parvati who holds her infant child Ganesh in her arm. She has the head of Nandi,  the bull, Lord Shiva 's vehicle.  The vehicle of the goddess, the Lion, roars at her feet. Although the figure must have been a ten - handed sculpture,  but presently only three hands survive. 

         The goddess symbolises Nature. Like the bull, it is unpredictable;  like the lion, it is all powerful.  But it can be tamed by wisdom. What is true of mother Nature is equally true of us. Our mind is untamed, bull - headed,  violent, deadly. But can be tamed by wisdom. 

Kumari

Kumari

Post - Gupta Period. 6th Century AD.

             Lord Skanda, the Hindu god of war, is also called Kumar.  Besides Lord Hanuman, Skanda is a bachelor. Yet when his energy is to be depicted, it is depicted  in the form of a woman-- Kumari. What an irony indeed! 

      War--an expression of Man's anger and greed towards others. It seems suddenly to be waging all around us. Within our country and without. Yet before Kumari we are all helpless. She sits with her vehicle, the peacock, who is a beautiful bird with the ability to kill the snake. Is the peacock a symbol of beauty that can kill? Kumari holds a spear,  but she is detached as though weapon and wars are common events for her.  

            But her image is not symbolic of war and destruction.  It is an image of waging a war within ourself--of  Jihad. To kill the snakes within our psyche,  within our personality and character. Having conquered our snakes, we become as beautiful as the peacock, as serene as an idolised woman. All of us have the energy to defeat our ghosts and fears. We all have a Kumari inside us. We need to just discover her beauty.

Lord Ganesh

Lord Ganesh

From Java, 10th Century AD

            Indian art is not just restricted to the sub - continent, but also spreads to other parts of Asia. The sea faerring kingdoms of India,  such as Kalinga ( Odisha ), the Pallavas, the Cholas carried Indian art via the sea routes to the south Asian countries and to the islands of East Indies. By land route, the Palas and the Sena dynasties influenced the arts of Tibet, China, Korea and Japan. Indian art is, thus, the foundation of the sacred art of the East.

           Here is a fine example of a Ganesh idol from Java. The huge bodied Ganesh sits quietly in meditation.  Like a Buddha figure, He turns inwards. He is neither  the playful Ganesh, nor the dancing Ganesh;  He is the wise one, deep in thought. 

          Wisdom is a priced quality amongst the human beings. According to the Greeks, Goddess Athena, their goddess of wisdom, was born from the head of Zeus. Being the wisest of the gods, only she is permitted to wield the thunderbolt of Zeus. In Greek art she is depicted in solemn terms. Unlike Ganesh, she is never caricatured. By caricaturing Lord Ganesh are we belittling wisdom or are we making it accessible to the common Man ? Think about it. 

Brahmani

Brahmani

Pratihara Dynasty, 11th Century AD, From District Sorohi. Jaipur Museum.

         Generally Goddess Swaraswati is seen as the energy (Shakti ) behind Lord Brahma, the creator. However here we see the inner Shakti of Lord Brahma in a female form. Like Lord Brahma she has four heads. But unlike him, she seems to be dancing.  She is the kinetic energy of creation--ever active and ever moving. The creative process is full of vibrancy-- the inspiration,  the vision, the transformation of  the vision into something more substantial,  the process of transformation and concretization. It is not a passive form of energy. Hence Brahmini dances. 

        The feminine divine has an ancient ancestry in India-- from Indus Valley Civilisation to the upcoming Navratra next month. We are all worshipers of Shakti (energy). For the universe exists and dies due to energy. 

Dancing Ganesh

Dancing Ganesh

Prathihara Dynasty, 10th Century AD


          With an ancient ancestry,  with deep philosophical symbolism, with a wide range of devotees internationally, Lord Ganesh blesses us all. Seals of Indus Valley Civilisation have a man - elephant  image. But as a god Lord Ganesh appears for the first time in the Deccan in post - Gupta period. Initially he is associated with crops and harvest, especially of sugar cane. He continues to be most popular in the sugarcane growing areas. Subsequently,  he is transformed into god of wisdom.
Since Elephants have the best memory in the animal world, the elephant is seen as a symbol of wisdom. The large ears symbolise the ability to hear well; the trunk, the flexibility of the mind to pick up the slightest things; the half broken tusk, the ability to write; the pot belly, the ability to digest knowledge; the snake, the ever changing, rejuvenating life; the dancing Ganesh, the permanence and the ever changing nature of the universe. Dance is full of motion and rhythm --life is full of turns and twists. Rhythm--the sense of Time. The Lord represents our lives, our experiences, our world, our universe.
           Lord Ganesh is not just confined to India, but is also worshipped in Indo-China, in Tibet, in Java, Sumatra, Bali and even in Japan.
          He has been depicted from the most profane to the most sacred images: from riding bicycles and sitting on a rocking chair or playing cricket to the most abstract images in rocks to elaborately carved statues of Hoysala temples.
         He continues to dance in our mind, heart and soul.

Lord Vishnu

 Lord Vishnu

Chola Dynasty,10th Century AD,National Museum, New Delhi

          This is a fine example of Chola sculpture in stone. Although the Chola Dynasty is more known for their bronzes, but being great builders of huge temples, the Chola sculptors excelled in their art. Granite is a hard stone to carve. While the Pallava artists had difficulty in carving in granite, the Chola sculptors had mastered the stone. From Pallava to Chola to Vijayanagar we move from simple carving to more ornate to the most ornate sculptures in South India.

          Lord Vishnu is the preserver of the universe. He teaches us to preserve the civilisation through assimilation,  through compassion and and love. Instead of antagonism,  he teaches us harmony in relationship, in doing our duty, in accepting even those who are different from us. Did Lord Ram not accept Sugrive and Hanuman?  Did Krishna not accept Sudama? If we wish to thrive and prosper, we have no option but to accept assimilation as our philosophy.  Those who believed in annihilation, like the Greeks and Romans, they are in ruins. Choice is ours! 

Dvilingi Lakulisa

Dvilingi Lakulisa

Gupta Dynasty, 4th Century AD,Bhopal Museum

              Dvilingi Lakulisa is a rare figure in Hindu pantheon and Indian art. According to legend he was anasetic with great spiritual powers. But he was famous not only because of his powers, but also because he has two Penis (dui-lings). Subsequently he was worshipped as a form of Lord Shiva, although he is not mentioned as a form of Lord Shiva in shivite literature. He seems to be a local diety who was merged with the mainstream gods. 

               Religion has many layers: from the philosophical like the Vedanta philosophy to the popular local cults to the mainstream Gods to family gods or Kul Devata to tribal gods. The over - reach of religion in every civilisation merely points to Man 's search for order and protection, for peace and tranquillity.  But the psychological need for comfort through religion,at times, is over - shadowed by ritualism and narrow mindedness. The vast universe of religion should teach us only compassion and tolerance.  Live and let live !

Mohini

Mohini

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

           In order to steal nectar from the demons, Lord Vishnu turned himself into a beautiful damsel. She entices the demons with her radiant beauty. And at the appropriate moment runs away with the pitcher of nectar. A few drops fall on earth on "Saradpurnima". The rest of the nectar is given to the gods so they can become immortals. 

           Having adorned herself, Mohini puts on the last ornament on her head, the "bendi". The mirror is the symbol of introspection.  When we introspect, we see the real self. We begin to remove our bad habits and adorn ourselves with good deeds, and with goodness. Immortality is reached when we gain higher consciousness. The nectar is within us. We merely need to snatch it away from our demons. We are all Mohinis.

          Although Mohini is an incarnation of Lord Vishnu, but it is not counted as one of his ten incarnations. Is it that we don't wish to give an important role to woman in our mythology.  Is it that woman was seen as merely enticing? Or women are seen as holder of elixir of life? Why a minor role to Mohini amongst the incarnations of Lord Vishnu? These are puzzling issues to ponder. 

Ek Mukha Shiva Linga (One Faced Shiva Linga)

Ek Mukha Shiva Linga (One Faced Shiva Linga)

Pre-Kushan Period, 1st Century AD, Bharatpur Museum

           Worship of an erect phallus was common in ancient civilisations. India was no exception.  To the ancient mind, the phallus represented the creative power of the universe. It  creates life. It was seen as a form of energy which pervades the universe and brings forth life. Romans had dedicated temples to it; they would even display images of the phallus  in public squares. 

            In ancient India initially the phallus was depicted almost realistically as in this piece. Later it was transformed into the parabolic shape that we see today as the Shiva Ling.  In its traditional form the Shiva Ling represents the union of the phallus with the Vagina-- the very process which begets life. 

           Since procreation is essential for the survival of life, it is not only a natural urge,  but is also critical for our very existence. The Divine force is merely a form of energy which keeps the universe alive and throbbing. 

         Those who do not understand the symbolism behind the Shiva Ling, they miss the philosophical concept and are aghast at such "crude" images. Look behind the image, and you will see the higher reality.

Birth of Lord Krishna

Birth of Lord Krishna

Kangra Miniature by Fattu. Mid- 1770s, National Museum, New Delhi

            Today is Janamashthami, the birth day of Lord Krishna. The famous painter of Kangra School, Fattu has illustrated the Bhagwat Puran.  Let me take you through his masterpieces.  

            Yashoda has woken up in the morning. She thinks she has given birth to a male child. In the ladies quarter ( zannana) she sits with Krishna, who is suckling her. Women have gathered. They offer her the blades of 'Kush' grass. There is the old midwife who seems to be instructing her in feeding technique. 

           Meanwhile,  news has travelled through Vrindawan that Nanda has been blessed with a son. The dancer, the musicians have started the celebrations; the people are thronging the "palace". An old woman, a Brahmin with his skull cap, a young woman have reached the door of the "palace" only to be let in by the old doorkeeper and the maid. 

           The celebrations of Janamashthami have begun !

           The painting is  unique for its fusion of Mughal miniature art with the Pahari art of Kangra School.  Most importantly, it tells us about the social customs, the social segregation, the social relationship between the headman of the village, Nanda, and the villagers. Fattu has a unique way of capturing the different strata of society and presenting them in an interesting manner. 

           Lord Krishna has started showing his 'lela' ( illusions) the moment he is born. Though not the son of Yashoda and Nanda, he is Nandalal  ( the son of Nanda). His divine presence attracts one and all. In His presence we are all equal. Let us celebrate that equanimity.  Let us celebrate life! 

Goddess Durga

Goddess Durga

Paramar Dynasty, 8th Century AD, Bhopal Museum,  M. P.

               A rather robust and full bodied Durga stands triumphantly over the still struggling  Mahisasur,  the Buffalo demon.  The battle between the good and the evil is an eternal one. Since the Gods were unable to defeat the demons, the Asuras, the contemplated together.  Their joint energy emerged in the form of Goddess Durga.  Each God gave her his weapons. Armed with the divine weapons, radiating with power and unsurpassable beauty, She allured and challenged the demons. All who fought her, perished at her feet. Although she triumphed, She is calm and serene. She displays no arrogance or emotion. She is detached from her action. While she protects the good, she destroys the evil. But like Nature she is detached from her own activities. 

            Such sculptures teach us the importance of detachment, of introspection and of serenity in our life. 

Lord Ganesh

Lord Ganesh

Terracotta,7th Century AD.

          With the approaching Ganesh Chaturthi,  this piece has become significant.  For this is not a stone sculpture for a temple, but a terracotta piece for the common man. Ganesh ji is no longer as ornate or bejewelled as in temple sculptures. Bereft of jewellery, he is a simple god for the people.  While all his essential qualities are intact, his sweets, his rosary, his broken tusk, his pot belly, but now he is more earthy and closer to the common devotee.