Ya te Rudra Shiva tan Shiva vishvasya Bheshaji Shiva Rudrasya Bheshaji taya no srada jeevase (Rudradhyaya 2, Tettireeya Samhita)
Rudra has two aspects, Ghora and Shiva. Ghora dispels sorrows, redeems from the cycle of births and deaths and is the giver of riches, sons and heaven. Shiva enlightens and leads to 'moksha', or salvation. Tettireeya Samhita says, Rudra, worshipped in any aspect, accomplishes all that is desired. As much auspicious and delight giving is Parvati, his spouse, who in her fury is Kali, the black-complexioned, and Gauri, the white-complexioned, in her smiles. Kali annihilates evil and Gauri bestows bliss. By blending two aspects the artist has created the most auspicious images of the Great Divine Couple.
Rudra is both Shiva and Ghora. His one aspect is represented by his matted hair, tiger skin worn as loin cloth, intoxication in eyes and elephant skin enwrapping him all around. The other aspects reflects in his child-like innocence and serenity enshrining his face and entire being. The benevolent Lord is thus the giver of the riches of the world and transcendence from it. Parvati, made of transparent marble hue, clad in rich red 'kimkhava' and cradling a tender smile on her lips, is essentially Gauri. It is Gauri who is extending to her lord the pot filled with 'bhanga'. But this only partially defines her. The garland of severed human heads, skull in her hand, the cap of tiger-skin and the motley 'odhani' are more the attributes of Kali and Bhairavi.
The artist, despite such formative blend, has manifested Shiva broadly in his Gajantaka form and Parvati as Gauri. This well pronounced and emphatic rendering of the elephant skin, enwrapping Shiva in it, aims at depicting him in his Gajantaka (annihilator of 'Gaja' or elephant) form. Some texts have called him Krattivasas, the one who wore elephant skin. As the Puranic tradition has it, Brahma once held a great 'yajna'. Shiva, when he was entering the 'yajna-sthala' with a skull in his hand, was denied entry. Shiva came to Kashi and engaged in rigorous penance for purifying himself. In the meantime, a demon in the form of an elephant, by the name of Gaya, invaded Kashi and began destroying Brahmins. Shiva killed the elephant-demon and wore its skin. This gave him Krattivasas as his other name. It seems, in this manifestation of Shiva too, the artist aims at reconciling contradictions contained in the personality of the Great God. It is apparently conflicting that Lord Shiva is revered as Pashupati, the patron of animals, but annihilates an elephant. By alluding to Gajantaka legend, the artist concludes the conflict by suggesting that Shiva annihilated only evil whether contained in a god, demon, animal or human being. Shiva's bull has in the painting a larger size. The white bull stands for absolute justice. It symbolizes that Shiva, led by justice, could not be unjustified even in his act of destruction.
The painting, as regards its artistic merit, is a fine example of medieval Pahari art style. Highly simplified figures of the deities are aptly charged by great emotionality. Shiva's round face and Gauri's sharp features are quite attractive. Gauri's curious costume evokes further interest. Shiva has normal two arms, one carrying a trident and the other a basket, which substitutes his usual water-pot made of gourd. They are standing under a multi-leafed Sapta-parni tree. The Lord of three worlds has been painted against an appropriate background consisting of earth, water and sky symbolising three worlds and the three cosmic regions.
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.
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