Some Macabre attributes !

To even try to comprehend Hindusim, let alone setting off to understand it, is a task that many dread to attempt and few have succeeded. The evolutionary tales of this unique religion is lost in pre history and the trails n tribulations of a continent in constant churn. The vestigial remains of its early forms are a distant reminder of its yet unclear origins and when many western scholars first sampled the religious art , their initial impression was not palatable as per their set canons. Have seen many arguments risen subsequently wherein with a wider exposure, the first reactions have watered down and the art has been appreciated more though questions on the religion still persist. To be honest and fair, to someone who is not exposed to the zillion things that one got to know about the Hindu pantheon – the fanged gods, chopped heads, gory depictions of religious self sacrifice, demons impaled on lances, a garland of skulls, an infant fetus as an ear ring, ‘naked’ Gods etc do present a picture that is not pretty.

It is hardly surprising that to even to someone who has been brought up amidst its folds, the cult of Shiva especially, presents a very difficult and complex question – a seemingly paradoxical representation of God – the Destroyer, the one who lives near the abode of the dead, surrounded by Ghosts and goblins as his assistants, smeared with the ash of burnt bodies. That much for his anthropomorphic form, to talk of his ‘other’ slightly darker followers – the Kalamukas, Kabalikas , Pasupathas, Kaulas, of his fiery Bairava forms and then to the more popular manifestation as the Linga, has spawned another stream of contradicting arguments.

To add to the above, I am trying to present a few more to fan the fire of arguments, for that is the beauty of this religion which does allow one to question the very essence of its core !

Apart from the tales and legends, a few vestigial attributes seem to attest to the notion constant evolutionary nature of Hindusim. Thanks to Late Sri. Ganapathi Stapathi’s wonderful work – Indian Sculpture and Iconography for showing us that the creative tradition kept alive these subtle concepts to this day.

We see below an intricate sculpture of Bairava form of Shiva from Halebidu, the heights of Hoysala art, every inch is intricately carved.

Hoysala art is truly a problem of too many and majority of today’s tourists would rush past without even a second glance due to the profusion of art on display and maybe to the call of the horn of the tourist operator’s hurried itinerary bound luxury coach driver. Even for the few who do stop and look, the attribute held in his left hand is truly macabre.

It was with a certain trepidation that I decided to look it up in the book and was surprised to see it listed.

Quote:

” Katvangam: This is a staff fashioned out of the leg or thigh bone, on which a skull has been fixed. A snake, coiled around the staff, emerges with its hood raised from one of the eye sockets. This implement is similar to the mace, and, instead of the thigh bone, the staff maybe made of wood. Usually an accessory of Kapalika Shivaite images, the Katvanga is also an instrument of Shiva. sometimes, it can also be adopted as a staff for Yogis or rishis. The staff should be 2 face lengths high and 2 viral thick: the skull should be 5 viral wide and 7 viral long.'”

Not only was the description apt but the illustration was picture perfect. Thanks to our artist Raghavendra Prasad for rendering it clearly for us

While we were discussing this, our good friend and fellow heritage enthusiast and expert Photographer Swami came up with another gem and kudos to him for spotting this. A Brahma from Somnathpur

The question was the attribute held in Brahma’s right hand.

Thanks again to Prasad.

Being the destined ‘ Creator’ to find him with this ‘weird’ implement was baffling. Back to the book again.

Quote:

“Siruk, Suruvam: These ladles or large spoons are considered to be Brahma’s instruments. They are used to pour oblation ( ghee) into the sacrificial fire. On the final day of the yagna or sacrificial rite, the ladle is used to pour various oblations into the sacrificial fire in a ceremony known as purnahuti. The siruk is made of wood and is shaped like an ordinary spoon. The suruvam has a square, box-like scoop, adorned with a cow, elephant or other such animal head at its extremity. The length of the ladle may be taken as one muzham or cubit.

Since Brahma is considered to be the symbolic priest or chief for the sacrificial rite, these ladles represent Brahma in his Vedic identity. Further, the ladles are symbols of the rite itself.”

Quite interesting depiction and lot of questions emanating out of it. But first to set out to find a Suruvam with an Elephant head !

A lesson on Ear Rings – Halebid

We take time away from Tamil Nadu into the delightful jewels of Hoysala land, into the Hoysaleshwara temple in Halebid, for a quick lesson on ear rings. But before embarking on the lesson let us pray respects to him guarded by his ever faithful door guardians.

Being used to hefty rock cut Pallava relief carved door guardians and the slightly more demure early Chola ones, the Hoysala ones must have had a better pay package ! Either the state paid for their Uniforms or their emoluments must have been simply awesome to afford such finery. But we must compliment them on their fashion and dressing sense.

Coming back to the topic, we have already seen the mismatched earrings of Shiva, here too we see his door guardian with a set of mismatched earrings.

On his left ear he had an exquisitely crafted Makara Kundala. Thanks to Sri Umapathy Acharya we now understand the Makara

But what interesting me was what he wore on his right ear. For the uninitiated – ear ornaments are generally called Kundalas.
Refering to Sri Gopinath Rao’s Elements of Hindu Iconography, he lists 5 different kinds of Kundalas. Patra kundala ( early palm leaf style – later replaced by gold leaf), the nakarakundala (same as the makarakundala), the Shankapatra Kundala ( a conch shell cut in profile to form a kind of spiral), a Ratna Kundala and a Sarpa Kundla.

The Sarpa Kundala is what interests us now. Normally the Sarpa or snake is a cobra as seen from the Garuda in Belur.

But what was interesting in this door guardian was the detailing of the multi hooded snake.

The work was so finely executed that you almost feel as if the central serpent has got a smile on his face.

Just on the topic of the intricacy of the carving, wanted to show you a piece of the ` head’ gear.

The Skulls have been carved hollow on the inside, considering the size and margin for error, cannot but salute these master craftsmen.

Vaaranam Aayiram – not the film, but sculpture from Halebid

We watched the tamil movie Vaaranam Aayiram last night – ok, i know all of you are asking why i have jumped from sculpture to feature films. Well we are talking sculpture today as well, just that i found the choice of names for this film to be Unique. Literally translated it means a thousand elephants.

Its from a famous verse of the great devotee Aandaal sung on Vishnu – loosely translated – She envisions Vishnu coming surrounded by a 1000 elephants, the villagers noticing this gather water in golden pots ( auspicious welcome) and string garlands all over the town. Maybe the name created enough interest and inorder to explain the title the director made the hero’s mother – explain it at the very end – to every women her man is such….

But it reminded me of another man, he too linked to a thousand elephants – not surrounded but the strength of a thousand elephants – the legendary Bhima – . His culinary skills ( and consumption) apart, his strength forms part of many a folklore.

Being the son of Vayu ( the god of wind) he was born strong, yet there is another story of how he got his superhuman strength. Once while with Droupadi, a fabulous scent fills the air and both are drawn to it, Bhima goes in search of the source, a divine flower deep inside a forest. Enroute he stumbles across a monkey that is lying in his path. Drunk on his strength, Bhima abuses the monkey and asks it to give way, else he threatens to pick it and throw it away. The monkey doesn’t even bat an eyelid and asks him to first try lifting his tail. Amused Bhima tries to move the tail but to his astonishment finds that he can’t even nudge it. Realising his folly, he humbly seeks the true identity of his opponent – he is none other than the mighty Hanuman ( his half brother). Hanuman had come to hear of Bhima’s vain nature and ego on is strength and this was a lesson in humility. Having thought the lesson he embraces Bhima – who at once realises a supreme energy flowing through him….Hanuman has reinforced Bhima’s strength with the embrace.

Ok, now the sculpture. The amazing Halebid complex throws up this beauty. ( pl click on the image for a good view)

In the centre is the mighty Bhima rushing at an oncoming elephant – holding it by its trunk ( sadly broken) and ready to strike it with his mace. There are two soldiers behind the elephant in heavy armor – sword, shield.
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But the highlight of the sculpture is what is depicted extreme left ( or right of the panel)…a pile of dead elephants and their mahouts.
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A delightful composition.

A unique depiction of Vishnu Fish incarnation

Today we are to see a very unique depiction of Vishnu in his fish incarnation. Matsya (Fish in Sanskrit) was the first Avatar of Vishnu in Hindu mythology. Matsya Avatar or the Fish Incarnation is the first of the ten Divine Incarnations or Dasavatars of Lord Vishnu. Vishnu is the Preserver of the Universe in the Holy Trinity or Trimurti of Brahma, Vishnu and Shiva in Hinduism.

A Kalpa, meaning one cycle of existence, with a span of 4320 million years, in Hindu Mythology, is equal to one day of Brahma, the Creator of the Universe. On the verge of completion of each Kalpa, and one day of Brahma, Brahma falls asleep. When he does so all of Creation, dissolves into his sleep, signifying the end of Creation. Except, the Vedas are immutable and beyond destruction. Their habitat is inside Brahma. They contain the instructions for Creation, and are hence indispensable to resume the Divine Creational Process. Bhagvat Purana, reports, that once Brahma yawned and the precious Vedas, flowed out of his lips.

Matsya Avatar Meanwhile, Hayagriva, the Asura or demon, scheming to gain the desired immortality, a prerogative of the Devas or gods, was wandering nearby. He instantly stole the Vedas and devoured them. Such insidious intent of the Asura, precipitated a crisis. Vishnu, who feigned Nidra or Sleep, witnessed the entire offence. He was speculating on how to retrieve the treasured Vedas, when he located the pious King Satyavrata, offering prayers to Vishnu, with his waist deep down in water. Satyavrata is also called King Manu.

Vishnu immediately assumed the shape of a tiny fish and swam into Satyavrata`s hands. Vishnu, in the disguise of a fish, entreated Manu, who is virtue personified, to save him from being engulfed by the big fish. The kind Manu put the small creature inside a vessel, full of water. Overnight, the fish outgrew on a surprising scale. Manu had to shift him from the vessel into a bigger tank. But the fish continued growing abnormally. It requested Manu for larger space to live, and Manu accordingly kept it in a pond. Manu, exhorted by the enlarging fish, then dropped it in the greater expanse of a large lake. However, the growth rate did not stop escalating. Finally, the bewildered Manu, impelled by the fervent appeal of the mammoth fish for enormous space, placed him in the ocean. But the fish urged Manu, not to leave him in the ocean. Otherwise, the gigantic ocean-beings would swallow him. It was then that the devout Satyavrata, already amazed by the extraordinary growth-speed of the magical fish, pledged it to disclose its actual identity.

Lord Vishnu made his Celestial Revelation before the awed Manu. Satyavrata, instantly bowed down before him and wished to know the reason behind the Lord`s appearance in the frame of a fish. The omniscient Lord, informed him about the forthcoming Pralaya or Destructive Forces that would vanquishing the Earth, with Great Deluge- “I have manifested for the protection of this universe and for the destruction of the wicked. Just a week from now, the ocean will rise and inundate the entire Universe. At that time you will see a spacious boat approaching you. Do collect all the seeds , plants and animals required for the next spell of creation and get into the boat and wait for me. Take Vasuki, the King of Snakes. The Sapta Rishi or the Seven Sages will also be with you.”

Matsya Avatar left to accomplish its mission. He tore apart the Asura Hayagriva, and collected the lost Vedas.

As had been predicted by the Divine Fish, an all-annihilating flood occurred. Meanwhile, a boat appeared where Satyavrata was waiting with the seeds, plants and animals, and the Sapta Rishi, to take refuge in the boat amidst death`s clutches. When everybody had boarded the huge boat, the boat was fastened to the Fish`s horn, with Vasuki serving as the rope ( as i remember reading in Amar Chitra Katha). They sailed in the turbulent water, all through the night of Brahma`s single day. Vishnu thus, rescued life from ceasing. He also by giving shelter to all the creatures, maintained the flow of life that will perpetuate in the next Created Cosmos.

The Matsya Avatar of Vishnu focuses the perpetual love and concern of the benevolent Vishnu,

Ok, but generally vishnu is depicted with a human form waist up and a fish form – ( as is evident from this pillar from srirangam)

But today we see a unique depiction with the forms reversed. Fish upper body and a human lower body – this is from Belur. A very unique and cute sculpture.