Immensely detailed and in keeping with the iconography of the ten-armed form of Sri Ganesha, also known as Maha Ganapati, this monotone Ganesha Patachitra by Rabi Behra is a powerful Tantric representation of the Hindu elephant-faced deity, and a mesmerizing retelling of his victory over the pride of serpent Vasuki, who he has stretched over his head.
The Sri Ganesha Patachitra is framed by a single black border, paralleled by a network of floral vines drawn with beautiful symmetry. In the foreground of the Patachitra, the massive and ornate throne of Sri Ganesha catches the eye, with its lotus petal-shaped decoration and three elephants and two peacocks attached to it, both animals a symbol of royalty.
On the platform, saucers containing offerings of fruits, flowers, and sweets and ritual lamps and other items are laid out with two diminutive figures of gorgeous women bowing down to the majestic Maha Ganapati, their size an artistic trope to emphasize the enormousness of Sri Ganesha, who stands atop a fully blossomed lotus, in the Sampada-sthanaka posture (where weight is carried on both feet).
Adorned in the manner of a sovereign ruler, Sri Ganesha in this Patachitra is an enthralling image to behold. An exquisitely designed crown sits on his head decorated with lotus flowers, peacocks, and other auspicious motifs, followed by small earrings studded to his massive ears which have tendril-like patterns drawn on them and auspicious signs of Tripunda (three lines) and a Trishula (trident) on his forehead.
The ornamentation on this Sri Ganesha Patachitra includes necklaces, armbands, bracelets, rings, waistbands, and anklets, all drawn with great attention to detail. Auspicious Hindu motifs such as the sun and the Svastika adorn Ganesha’s hands that carry various potent weapons with such delicate naturalism which brings to the Patachitra a distinctive realism.
In his primary hands, Ganesha holds a bowl of Modaka (his favorite sweet) and a part of his broken tusk, combining the Maha Ganapati roopa (form) with his Ekadanta (Ek-one, danta-tooth) or single-tusked form. The attire of Maha Ganapati is exquisitely embellished with ethnic patterns all over and forms one of the most complexly patterned parts of this artwork, rivaled only by Ganesha’s own body which is covered in smaller Ganesha images- the most propitious image of all Hindu symbols.
Above the image of Maha Ganapati is a stately arch, similar to the structures of the great Hindu temples, ornamented with the anthropomorphic form of the “Kirtimukha” or the Face of Glory in the center and two Makara (mythical creatures, signifying royalty and divinity) on the sides. In the brackets on the sides of the arch, two celestial maidens with wings and youthful forms are encapsulated, a figure which is also repeated on the top of the arch, where the maidens hold the uppermost end of the shrine and appear to be carrying it in the air.
Parallel to the arch of the shrine, the intertwined body of two snakes forms a second curve over Sri Ganesha’s head. The two snakes, identifiable through the difference in the pattern on their body can be taken as Vaasuki and Adi Shesha, the serpents with whom Maha Ganapati fought a vicious battle. Though in the original story, it is only Vaasuki who is lifted over his head playfully by Ganesha, and Shesha is defeated on the battlefield, this Patachitra painting depicts both of the serpents being lifted by Ganesha.
Credit goes to Rabi Behra, for creating a divine visual experience by using a single shade on the canvas, relying on his mastered skills of detailing with impeccable clarity. An absorbing evocation to the powers of Maha Ganapati, this Patachitra of Sri Ganesha turns us into human and animal devotees, worshipping at the feet of the Lord of the Universe.
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