Dancing Ganesh

Dancing Ganesh

Pala Dynasty, 10th Century AD

          While Lord Shiva is often portrayed as "Natraj", the Lord of dancing, His son, Lord Ganesh is no less a dancer. While Shiva dances in anger, Ganesh dances with a sense of joy. 

          He symbolises the universe in motion, full of energy,  in rhythm, ever changing and ever lasting. Here even Ganesh ' s vehicle,  the mouse, is keeping in step with his master. The mouse is the symbol of a sharp and inquisitive mind. Like the mouse, the mind searches  the mysteries of the universe.  It goes deep into a subject. It rejoices in discoveries. 

Lord Shiva as Veenadhar

Lord Shiva as Veenadhar

Chola Bronze, 11th Century AD

         Having looked at Godess Parvati sleeping, Lord Shiva was inspired to invent the Veena, called the Rudra Veena  (one of  the oldest known string instruments of India). Here although the Veena part is missing, but the two front arms are held in a position as though the Lord is playing the Veena. 

         Veena is a symbol of language, of creativity, of civilisation.  For language is an essential element of civilisation and of being civil.

A Nymph

A Nymph

Hoysala Dynasty,13th Century AD

        Belur, a famous Hoysala temple, has numerous nymphs who are either dancing, doing make up or even hunting. These sculptures depict the myriad moods of women. Here we see a young woman standing under a tree holding one of its branches. The image of a woman holding a tree branch is ancient one in India going back to the Sanchi stupa of 2nd century BC.  Such a woman or "yakshini " was called "Salibhanjika" as she would hold a branch of the Sal tree. These Yakshini symbolised the mother goddesses who in turn stood for Nature, its  regenerative and creative powers. The feminine divine is a strong element in Hinduism. It points to the ancient ancestry of the religion. 

Kaliya Dahan ( Lord Krishna Dancing on the Serpant Kaliya

Kaliya Dahan ( Lord Krishna Dancing on the Serpant Kaliya

Chola Bronze,  11th Century AD

Yammuna River was polluted by a large multi - headed King Cobra, Kaliya. Due to the poisoning of the water, Krishna's herd of cows died. Krishna jumped into the river, fought with Kaliya, and in triumph, danced on its hood. This sculpture depicts Krishna dancing on the hood.

This simple story works at different levels: it is as much about us conquering our inner demons, as it is about keeping our lakes and river free of pollution, as about Gods quelling our troubles for us.

Artistically this statue is a fine example of Chola Bronze.  The figure stands on one leg. In order to depict Krishna as a child, He is shown in the nude, but for his waist band.

The Drummer

The Drummer

Gupta Dynasty,3rd Century AD, Kota Museum.

         A horse shoe window, a common motif in Gupta art and architecture, is the setting for a drummer. The body bent in a strong 'S' curve, the drummer beats out a rhythmic pattern. Indian music, whether Hindustani or Karnataka, is known for its rich rhythmes.  Music was and is an integral part of life in India.  Every auspicious occasion is ushered in by music. 

         From artistic point of view this piece is unique.  It depicts two 'makars'. But the almost resemble the dragons of Chinese Art.  Are these images imported from or exported to China, we do not know. Or are these two  images created independently across the Himalay,  we don't have a clue.

Ek Mukhi Linga (One faced Linga)

 

Ek Mukhi Linga (One faced Linga)



Gupta Dynasty,3rd Century AD.,National Museum, New Delhi

           Vedic people were perhaps not idol worshippers. The spoke of God in abstract terms. He was 'nirguna' (one without specific attributes). For, God is an amalgamation of opposites.  It was only after India went through the Buddhist phase, that Hinduism re - emerged with 'saguna' Gods.  The Gods were given specific attributes and were seen in human form.  

           This sculpture depicts Lord Shiva both in his abstract form as a 'linga'--a phallic symbol, and as a human face. Thus, it combines both the nirguna and the saguna aspects of God. Here Lord Shiva is shown as one faced. But a Shiva Linga can also be multifaced. The Shiva Linga is a symbol of the creative, and generative energy of Nature: the most powerful energy in the cosmos

A Lady Musician

A Lady Musician

Konark Temple,Eastern Ganga Dynasty,13th Century AD

            Part of the Kalinga or Eastern school of architecture,  Konark temple is one of the finest temples of ancient India. Built in the form of a moving chariot, with seven horses and twelve giant wheels, the temples shows the imaginative leap of the architects.  The fact that the  main tower collapsed, however, points to the technical flaw in the design of the temple.  But nonetheless it is a mesmerising piece of architecture.  

          The temple is dedicated to Lord Surya, the Sun god. The lady musician you see here are sculptures placed on the roof of the temple.  The heavenly musicians play the music as the sun chariot is pulled by the seven horses. 

          The Konark sculpture is easy to recognise as the women have a tied their hair in a tight bun, and have two large earrings in their ears. The eyes are almond like, and there is a subtle smile on their face. Even today Konark and Cuttack produce beautifully alive sculptures. 

Goddess Yamuna

 Goddess Yamuna

Terracotta, Gupta Dynasty, 4th Century AD.

           Terracotta used to be a popular medium for small and large sculpture.  Once fired, the clay is strong enough to survive for centuries unless intentionally or accidentally destroyed.  Even if broken into large pieces,  it can be joined together to form the original object.  Although terracotta sculptures are now made in very few places in India,  but Bengal and Assam do have temples made out of brick and dressed with terracotta sculptures.  

           The Hindu temples generally depict Ganga and Yammuna, the two holy rivers, at the entrance of the sanctum sanctorium.  While Ganga rides ocn a 'Makar'( a compound animal--part crocodile, part elephant,  part lion), Yammuna rides on a tortoise, as in here. She carries a pitcher of water with her, while the maid carries a royal embrella over her. The voluptuous figure with down cast eyes exudes grace and tranquility.  Surprisingly,  the almost life size sculpture has survived centuries of destruction and devastation. 

Lord Shiva Begging before Godess Parvati

Lord Shiva Begging before Godess Parvati

 Lepakshi Temple, Andhra Pradesh, Vijayanagar Empire, 16th Century AD

          This sculpture depicts a very unusual story: Lord Shiva decides to have some fun at the expense of Godess Parvati.  He transforms himself into a dwarf and goes begging before the Godess.  Parvati not only gives him a basket full of rice, but also pours sambar onto the rice. The dwarf tugs at her sari, and pulls it half off, revealing her nakedness. Parvati realises that the dwarf could be no one else than Lord Shiva himself. 

           The story is not glorifying the outraging of modesty of a woman. It is a comment on the capacity of the intellect to strip nature to unravel its  secrets. Lord Shiva symbolises pure intellect, undisturbed, controlled intelligence.  Godess Parvati symbolises Nature with all of its warmth, and emotions. To understand Nature the intellect has to uncover its secrets. The story is a subtle way of telling people to encourage scientific temper.

Lord Brahma Playing the Mridangam

Lord Brahma Playing the Mridangam

 Lepakshi Temple,  Andhra Pradesh, Vijayanagar Empire,16th Century AD

             Initially Lord Brahma had five heads. The fifth head looked towards the sky. But when he chased his own daughter for lust,  Lord Shiva severed his fifth head off. Lord Brahma was left with four heads. The fifth head is the symbol of ego. A creator or an artist does fall in love with his/ her creation. For, creation feeds the ego. Hence, the need to get rid of ego, the fifth head. 

          Lord Brahma is said to have four heads as truth is reality is multi - dimensional. It can be appreciated from different angles. Thus, the need to accept various perspectives
        The Mridangam is the symbol of time--the rhythmic cycle of time, of creativity, of language, of civilisation.  Therefore, Lord Brahma playing the Mridangam.