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.