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". 

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.

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. 

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.

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.

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. 

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.