Madhubani paintings are evolving. Today they are not only the stuff of mud walls but also mobile works of art done on cloth, canvas, and handmade paper. This painting is done on handmade paper, and depicts a popular religious subject, Lord Ganesha, like most Madhubani paintings do. He is the boy-deity loved and worshipped by all for His inimitable innocence and generosity with divine boons. The laddoo-wielding trunk and the broad kundala-adorned ears are signature aspects of Ganesha. Superbly intelligent eyes and the Shaivite tilak indicative of His parentage complete the countenance. His shringar-laden and janeu-clad torso resembles that of a chubby child; the dhoti-draped limbs are no different either. A plateful of laddooes lies before Him, whilst He holds naother pot of His favourite Indian sweetmeat in one of His four hands. The remaining hands (in anticlockwise direction) bear a nutcracker, a mudra of blessing (this one is tattooed with the swastika), and a gorgeously blooming lotus. Unusually enough, jet black hair cascades down His back from beneath the rim of His crown, and the background resembles some sort of a darbar that He is holding.
And what a svabhaava is contained within that svaroopa. With the mace He holds in His posterior right arm, He overpowers the adharmee; with the conch in His posterior left, He heralds the victory of dharma over adharma. His anterior right hand, its palm tattooed with the sacred AUM syllable, is raised in the eternal dispensing of blessings and boons. Between the remaining hand and the tip of His baby-trunk He cradles a freshly made laddoo, His favourite Indian sweetmeat without which His iconography is incomplete. This sculpture is a fine example of the Ganesha svaroopa. Luxuriant silks and shringar that cover almost entirely His bare torso, the intricately sculpted crown fit for a ruler of the divine realm, the characteristic halo. The charm of His countenance, set off by the trishool tilak that indicates His parentage and the beauteous engraving along the length of His trunk, lies on the painstakingly sculpted arch of His lifelike brow. Ganesha is the wisdom of a child personified.
The pedestal that Ganesha is sitting on in this composition is what sets it apart from your run-of-the-mill Ganesha murties. It consists of two platforms separated by two rows of petal engravings. A georgeous engraving of AUM constitutes the centre of the pedestal. To one side of it is a laden kalash, to the other is His vahana the mouse. Even the vahana also holds a laddoo for His lord in its little paws. The sincerity and attention to detail that have gone into this sculpture could be gauged from the photograph of the back of Ganesha. Note how the silk drapes across His shoulders, the gorgeous engraving on the back of His crown as well as the entirety of the halo, and the naturalistic musculature down to the tips of the limbs.
The ten-armed goddess is holding in her hands on the right side sword, trident, disc, lotus-bud and an arrow, and in those on the left, snake with shield, conch, mace, bow and in the fifth, the demon’s hair. In an astonishing move, she gets up from over her mount lion and while supporting her massive figure just on a single foot, set firmly on her mount’s back, she charges upon the demon with a mighty blow of her other foot, and another, that with her spear on his chest and the completely dismayed demon submits to her and to his destiny. Baffled by her blows as he is, the goddess catches hold of the demon’s hair and drags him close to her feet where her mount lion charges at him and tears his figure, and her ferocious snake, one of her attributes, shakes him with horror disabling his all mental faculties. The goddess rises into the space pervading it in entirety and the demon, overpowered by her blows, falls on the ground blow.
Installed in a sanctum the figure of the goddess, obviously the goddess Durga – the most widely worshipped female divinity and one of the most widely worshipped deities of Hindu pantheon, is essentially a sanctum image. Durga’s votive images, enshrining sanctums, are mostly in operative forms though at the same time she has a form that is all-pervasive, the act she is represented performing being just the most insignificant aspect of her being. She is usually represented as killing a demon, in most cases the buffalo demon Mahisha, known in the popular tradition as Mahishasura, and hence, the goddess, as Mahishasura-mardini – suppressor of the demon Mahisha. In popular sculptural/visual traditions Mahisha, meaning buffalo, is a figural blend of human and buffalo anatomies, mostly a human head emerging from a buffalo’s body; however, sometimes, as here in this powerful painting, he is also represented only with human anatomy. In myths and conventions of visual representations, it is mostly Mahishasura whose body the goddess’s lion is alluded to as tearing for accomplishing the goddess’s crusade against evil powers. Sword and shield are widely alluded to as being Mahishasura’s attributes. This determines the demon’s identity as Mahishasura.
This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.
It is the finish that makes the pashmina shawl worth it. Handpicked from the looms of Kashmir, this is a particularly youthful number. The singular kani weave is the weave of choice employed by artisans to work with pashmina. Each colour that you see on this shawl - from the foundation cream to the ultra-feminine pastels it is superimposed with - has been woven in separately with bobbins ('kani' is the Kashmiri word for 'tiny sticks'), leading to the meticulous designs on the foreground. Numerous tendrils in shades and tints of green fill up the spaces amidst the riot of coloured petals, making this an ideal accompaniment to brightly coloured bridal sarees and suits. A row of short, dense tassels graces each of the edges of this shawl, which would lend to your ensemble a hint of the fun and the flirtatious.
This is a powerful work of art that could serve to overpower vastu-dosha in modern-day spaces. No matter the inconducive influences that beset your space, they have no power over the blessing of the cow. In this composition, the naturalistic musculature of India's most-loved pashu (animal) has been finished with a great degree of skill and a keen sense of aesthetics on the part of the brassworker. She stands with her head tilted sideways, while a calf and Gopala Himself nourish themselves at her teats. She has been bedecked with jewellery at her neck, horns, hump, and rump. Her limps are strong and concludes in a set of flawlessly sculpted hooves. Her tail is thick, the strands on its tip caresses her hooves. Numerous devas and devees of the Indian pantheon have been engraved on her skin in order to indicate that in her resides the entirety of Hindu divinity. The beauty of detail in each one is best observed by zooming in. The whole composition rests on an engraved pedestal resting on vine-clad legs. Note the peacock along the edge of the same that seemingly totters about the cow with its plumage down.
While the lotuses in Her posterior arms and the anterior palm opened outward in blessing are typical of Lakshmi iconography, what sets this portrayal apart is the amrit kalash that She supports at the waist. Myth has it that She was born of the nectar of immortality produced during the all-important samudra manthan episode of the Bhagavata Purana. From the hand that blesses emerges a steady stream of coins that gathers in the ornate, spacious patra at Her feet. To see the patra so full, all heaped up, almost overflowing with wealth is enough to inspire the onlooker with devotion to Her. She stands on a freshly bloomed lotus, the layered petals of which are as tender as Her feet.
The composition is such as to be more than an icon. It is a portable temple of the devi. The inverted lotus She is sitting on is placed on a layered platform that is highly aesthetically appealing. She is flanked by a couple of lions that gaze straight ahead with the same stateliness as their mistress. The aureole that seemingly contains the composition is adorned with traditional faunal motifs such as horses, elephants, and peacock, not to mention the ferocious kirtimukha carved at the very top. The unusual, jawless kirtimukha motif recurs in Indian visual art since the fourth century, and stands for the cyclical and destructive nature of time. Equally ornate legs hold the complete bronze structure in place.
There is so much about this unusual composition that conforms to the iconography of this much-venerated deity. His dense locks are gathered atop His head, upon which is the distinct roop of Devi Ganga, and secured with a sliver of the moon. Myth has it that She descended onto the North Indian plains from the tresses of the lord, sweeping it with abundance and fertility. The hem of the loincloth grazes His knee, leaving the rest of the legs bare. In one hand is the characteristic trishool, the all-important damroo in the other. Beneath His dancing feet is the skin of a tiger brought to its knees by the lord. Note the snakes that are coiled around His ankles and neck, the stripes of vibhooti that grace His brow, and the superbly pronounced composure of countenance, putting together a picture of overpowering ferocity.
Despite the fearsome iconography, Kali Devi is not devoid of beauty. Her musculature is lissome; Her tresses so luscious it is enough to clothe Her usually naked person. Her shringar becomes Her status as the wife of Shiva - chunky amulets and wristlets for each of Her ten arms, anklets that weigh upon the torso of Shiva beneath Her feet, and ample necklaces and kundalas. The dharmic devotee discovers on Her stern brow the solace of maternal protection. Note how Her third eye has been engraved onto Her forehead, right below the hem of the haloed crown. A dual-layered aureole frames the composition, with a layer of lotus petals jutting outwards and a sequence of waves along the inner edges. The calm Shiva lies outstretched on a thick lotus pedestal, a panel engraved with wave-like curves separating Him from the petals.
|Page 13 of 15||« ‹ Previous 10 11 12 13 14 15 Next › »|