WONDERFUL OSIAN - A MEMORABLE VISIT TO THIS TEMPLE VILLAGE

  AESTHETICS OF  OSIAN TEMPLES' ART !

View of cluster of temples  around SachchyiaMata temple.
History of these temples date back to 8th century AD.

 This cluster of temples welcomes visitors to Osian at its entrance.

 Idol of Sri Sri SachchiyaMata.
This temple was reconstructed during 12th century AD.

 I have read about  Osian temples being compared those of Khajuraho.  Did not find much details on similarity  though.  Our November,14 visit to Osian was indeed an eye-opener about the rich temple art here !  Structurally, Khajuraho and Bhubaneswar temples are much bigger - often  materials of study for students of  Hindu temple architecture. But, wall-reliefs and ornamentation of both Sachchiyamata complex and Jain temples' complexes  are aesthetically a class in themselves .The deities and the human figures are built delicately. Faces and physique, postures and expressions, ornaments and clothing, composites and symbols - everything measure upto a very high standard og artistry.

  In the three temples @ SachchiyaMata's temple's level, we have three manifestations 

of 'Varah Avatar' of Vishnu.  Here is one where Vishnu has four hands , 

Bhudevi resting on his left upper arm.

...... and here, subjugation of  the 'Nagas'.

 

Salutation of the 'Nagas' - 

inner roof of temple adjacent to that of SachchiyaMata.

The Sachchiyamata complex is built atop a small mound, with stairs running from the street level, with a break in between , where a few other small temples are located. At the top, idol of Sachchiyamata has been placed at the centre of a cluster of temples, with one temple attached with the central one having significant relief work on its roof. Two modest-sized temples are on Sachchiyamata's right and one more on the left . Photographers' delight - somewhat obstructed by deep blue-coloured fabricated barriers .

 Art of juxtaposition - 

Gods, beauties, sages and composite animals  placed  side-by-side.

 Siva-Shakti Iconography, the traditional rows of animals  and  imageries of flow of life

 have lost sharpness, thus a part of their appeal.

Closer observation will charm the visitors. We find Vishnu, his Avataras, Surya, Indra, beautiful women, sages with strange expressions and mythical animals in combat placed in deep-set alcoves. Each relief has mark of very matured and superior artistry. Faces, hair-style, dresses and poses speak high about the art of  Pratihara dynasty. Dr Asha Kalia , more than 30 years ago, wrote a book on Osian art - wish I had access to this book before my visit.

 

 Combat between composites & human beings adorn  the east-side wall of 

Lakshmi-Narayan temple, on LH of SachchiyaMata temple.

 Close-up of 'Slaying of  Hiranyakashipu' on the east-side wall of 

Lakshmi-Narayan temple, on LH of SachchiyaMata temple.

Two  temples @ lower level of SachchiyaMata complex. 

Well-known desert  beyond  green boundary of Osian village in far horizon.

My wife and I have captured in our camera  whatever appealed to our eyes aesthetically. For extensive details, please refer to Dr Asha Kalia's pages in the Internet, in case her book is not available in your neighbouring Library.

OCEAN IN HINDU MYTHOLOGY

OCEAN IN  HINDU TEMPLE ART - 

Three tales from Hindu Mythology

' Anantashayane Vishnu - Lord Vishnu resting on Ananta the Snake'  :

Painting exhibited in a Calcutta Gallery during February,2008 . 

Apologies to the painter from Andhra whose name I forgot to record.

From North to South , East to West ,  Lord Vishnu sleeping  - Yogonidra - on turbulent sea - pralaya jaladhi - on coiled snake Ananta , his hood providing shade to His head ,Devi Lakshmi  at His feet and Lord Brahma rising from his navel : this imagery has been the inspiration of sculptors and painters through centuries.

Above , we find a 21st century interpretation where white lotus blooms in the ocean ! And, Lord Brahma is not offering His obeisance to Lord Vishnu !! Colourful and decorative the imagery is - quite a traditional interpretation.

 Lord Vishnu rests with His head on His left hand,

holds none of His usual  attributes. 

Lord Brahma does not rise from His navel either.

Acknowledgement - Sourced from  Internet.

 The most famous  of the reliefs of this imagery is  the one from  Vishnu temple of Deogarh , UP.  According to Wikipedia, this temple is the 1st one built in India with a 'shikhar' . It was built between 4th and 7th centuries........ I have seen this imagery in many other  temples too - both on wall-reliefs as well as wall-paintings. A beautiful example is from   Radheshyam temple of Bishnupur , 1000 years younger than the Vishnu temple of Deogarh.

Stucco-on-stone work - among the few @ Bishnupur.

'Samudra Manthan - Churning of the Ocean of Milk'

 A collaboration  between gods and (so-called) demons ...... brought out from ocean's depth treasures  most which was usurped by the gods.  The world got Lakshmi - goddess of wealth , powerful horse and elephant , Parijaat - the beautiful flowering tree among others .... and elixir of immortality ! Lord Vishnu - incognito -  fooled the demons and let gods have the elixir .

Snake Vasuki , which was used as the chord for churning , spewed out poison when exhausted . Lord Siva saved the world by drinking this poison which turned His throat blue.Siva was subsequently revered as Neel-kantha - the god with blue throat.

This mythological tale has been cited in our great epics and Puranas. Also, featured in Temple art and Patas .  I have come across  wall-reliefs of Samudra Manthan in temples  built during both Badami Chalukya as well as Hoysala regimes.

 

Wall relief in a temple of Pattadakal complex.

 A lot of details has been squeezed into this small-sized wall-relief  found in a temple of Pattadakal complex. The gods and demons  - four in each of the groups -  engaged in churning, Vasuki and mountain Mandar as well as the finds. The painting of Wikipedia is the best to view the details of the finds which is being copied here : 

Painting in Wikipedia page - Lots of details regarding  what emerged !

Wall-relief  , Kedareshwar temple, Halebid. 

Here also we find four representatives from ods and demons.

'Setu-bandhan from Ramayana - bridge across to Lanka'

Rama and Lakshana got a bridge constructed by banara-sena  - army of monkeys - to cross over to  Lanka with this army . The effort was not easy. God of ocean did not co-operate with banara-sena in the beginning. The bulk of stones deposited on the bed of the ocean was washed away.Then, Lord Rama picked up his bow and arrows and threatened the god of ocean with dire consequences.God of ocean then wilted and allowed construction work go uninterrupted.

 Wall-relief from Kedareshwar temple, Halebid.

In this context, I shall mention that in depictions of 'Ananata-sayana Vishnu', the ocean has  often not been given enough importance ! A notable exception is this one wall-relief of the Somnathpura temple :

DURGAPUJA OF "BARISHA UDAYAN PALLY" - 2012 & 2013

MOTIF OF SPIRAL,SKY & THE FALLEN IN TARUN DE'S ART

 

Desert cactus green 'Vasudhara' -

Gate of  2012 pandal of Behala Udayan Sangha.

Motif of tall green robust leaf-like structure rising upwards . 

Spectators enters the 'Gabhagriha' through this structure.

 

Devi was depicted to be in motion in 2012 .

Her path is strewn with lotus . 

Kartick and Saraswati on her  left .

Twister-like spiral stretches from sky to ground level. 

Devi  positioned midway,her children below her level . 

Mahishasura is  at  lower-most level of this twister/spiral. 

Hint of Maslow's triangle ?

Tarun De's style is subtle - not loud at all.Both in Iconography as well as in his installations. Our 1st exposure to Tarun dey's work was through a journalist friend of mine who advised me in 2012 not to miss the Puja pandal of  'Behala Udayan Sangha'. So, we were there on the Panchami night  and were just 'floored'. This year, we were not in need of a reminder. Again, we were there  on the night of Panchami, before the crowd took over.

   Challenge of  Devi's Iconography . 

Tarun De  created completely different facial expression, 

without alteration of setting of eyes, his signature mark  .

 The spirit of  Tarun De's set-up works along a vertical alignment. Sky above. Earth below. The connection can be a spiral. Abuse of nature can be a part of his display. In 2012, the idols exuded a tremendous momentum, as if sliding down a twister-shaped  spiral. In 2013, Devi is standing still.  Same big eyes, yet, her 'dristi' so very different.

In 2012, Taun De allowed  the visitors a view of Devi from the  gate itself.Through slightly slant tall green-panted structure. In 2013, he constructed a hemi-spherical  dome in-between . The exterior is brightly lit,with animals' motif in dark shadows. Inside,  he positioned a   spiral on a cylindrical body under a luminous  figure-filled 'sky'. The photos here are eloquent - I do not have to write many words to explain every bit.

 

In 2013, Tarun De presents a slightly tapering shaft with a spiral 'path' winding up to reach the sky above, placed in a space with hemi-spherical top

equivalent to 'mandapa'  of a Hindu temple .

( Nataraja , creepers and stars adorn the shaft. Inset - Walking up the spiral)

The point here is , when we take photos, the blog is not planned in my mind simultaneously. What attracts notice is captured in the camera. Later,  bits and pieces are stitched together in my mind . As if a clutch of photos will give the viewer a taste of the whole. That  never happens . Somewhere I read, when the scribbler whistles, he hears the music in totality. Likewise, when I copy+paste the photos, I  visualise the pandals  in totality. All that I can convey to the readers is my impression about the artist's work. And... my regret that  we were not attentive enough while making our observation while clicking photos.

Pardon me for all I have missed. And, ... you ... please do not miss Tarun Dey's work in 2014, if you are in Calcutta next Durga puja.

Entrance of 2013 Pandal. 

In front, an abstract shape  reminds us of power of 'trishul' and aspiration  of  a  bird's wings. A hemi-spherical 'mandapam' with bright lights and interspersed shadows lies beyond.

 Yet another view of the spiral inside the 'mandapam'.

A battle-scene on the hemi-sphere of the 'mandapam'.

 Devi rests in a 'sthanaka' posture after Mahishasura is vanquished. 

Her eyes and feet express the tension of the battle between her and the demon which has just ended.

 

 Mahishasura  out-of-balance .

DURGA PUJA @ BARISHA CLUB, 2013 : BY SANATAN DINDA

BLESSINGS FROM THE HEAVENLY !

  Momentum.... momentum ! 

And ... blessings from the celestial, much like  temple art of India.

 It was my good luck that  Ruby and I   were invited by a Group to spend a day with them during pre-Puja days to visit nine pandals-in-the-making and  help them in short-listing the better ones. Barisha Club was one of the pandals we visited. I am a keen follower of Sanatan's work - on Panchami's clear night, we ventured a visit . It was mid-night - quite a big gathering there. We could have hardly an opportunity to take photographs without  people's heads interfering or entering the frame/s. Besides, unlike last year, this year, we had  lesser space for moving around and no VIP area for photography. Therefore, I am much unhappy with the result we brought back in our cameras.

 Conch @ Entrance (LH) , Siva-Sati @ Exit (RH) .

 

The welcoming conch.

'Brikshadevi' - warning us about our abuse of nature.

No matter how much celestial blessing is there, 

NATURE need be protected.  

Offerings  at the feet of 'Brikshadevi'.

At the entrance, Sanatan installed a huge conch and a 'Brikshadevi'. A huge scroll rests on the ground wjich could not be photographed.On both the flanks, there were religious motifs, lotuses,  crawling vegetation ending ina human body lying prostrate at Devi's feet.

  Sanatan's Durga carries all  the attributes mentioned in  scripture.

Vanquished demons  pray for her forgiveness, may be salvation too !

 Photograph taken from an opening on the  path to 'Exit'. 
Better view was not possible because of a reluctant Security person.

 Devi in momentum, Mahishasura, Chanda-Munda begging for her blessing in a corner - in a typical Sanatan-style -  very small depictions of Lakshmi-Saraswati-Ganesh-Kartik.

 Totems (?)  on a mythological platter ?

Siva holds Sati (?) in a wonderful wall-relief like set-up in the exit that has been clicked thousands of times and posted in the internet by numerous photographers.

  Siva holds Sati - viewers are left to decide 

if this scene depicts Siva's sorrow on  Sati's demise !

On the left, a hollow lotus  with the idol in line of view.

We have in our HDD  more photos - to be shared - of Lakshmi-Saraswati-Ganesh-Kartik, of the demons and the ones we took when we went  during the pre-Puja visit.  In fact, several photos which we took during that visit could not be re-shot this time because of crowd. For example, the scroll lying in front of the idol.

 The scroll  must have been overlooked by many.

Wish the space management was as good as in 2012 !!

  Is  this a scene of submission of the Evil ?

I end with a photo at the bottom of the layout where lies a person with horns, painted in angry red colour, coming  from the extended  roots of the 'Brihshadevi' standing at the entrance - both the figures' hands outstretched !

FIERCE MANIFESTATIONS OF SIVA & SHAKTI FROM HOYSALESWAEA TEMPLE, HALEBID

 HAVE YOU MISSED THESE WALL-RELIEFS

 IN YOUR 'parikrama' ?

 Siva's fierce manifestation . He has three eyes, fangs out,

carries a severed head in his lower left arm. 

Noticeable : his earrings are identical, 

Ganas are normal people - no skeletal figure here.

Sculptor could not manage the shape of Siva's right leg !

We  would have missed them if we did not decide to look for interesting wall-reliefs on the Nandi Pavilions. The circumbulatory path of this sprawling temple with two 'garbhagrihas' and its  interior offer  such an oeuvre of photographer's delight !  Only on 2nd thought, we decided to venture this side. As such , I was bogged down with a weak battery and my enthusiasm level was low. Ruby covered  more than I could with my sleepy camera.

 A close of the severed head, being carried by Siva Bhairava.

 Hoysaleswara temple - those who have  visited this temple physically know this well - had several problems of  the curator function.  Wall-reliefs of same nature were  'created' by several top sculptors and all had be be accommodated on the temple's walls , leaving no recess inbetween. If at all a relief was to be provided, wall-reliefs of musicians were inserted . The wall-reliefs with apparent defects were banished to Nandi Pavilions.

MahisasuraMardini. A perfect study of attributes.

She  is about to pierce a demon mounted on the lion's shoulder - strange & uncommon  imagery.

Sculptor could not manage buffalo's shape & size.

I have picked up two wall reliefs of fierce manifestations of  Siva and Shakti   as proof of my 'theory'. Let me see  if comments come forth !

NOTE - Ruby Chatterji has suggested that the demon/lion  corner is not at all clear ! Here is an exploded view :

SANATAN DINDA'S 'DEVI PUJA' @ JODHPUR PARK , 2012

AN EXERCISE IN DE-CONSTRUCTION AND ... 

A QUEST FOR HER BLESSING !

An overview of the inner sanctum. 

Devi's depiction unfurled from a 'scroll'.

She has no weapons but her trident as the demons have been vanquished. Trident raised upwards in right arm transfer the thrust diagonally through her left leg  touching 

one of the two demons in subjugation.

A view of the entrance to the  main pavilion. 

Black-on-white illuminated paintings of  Devi's emergence and battles adorn the pathway.

During 2012 , I had an opportunity to pursue the build-up of Sanatan's work at Jodhpur Park while the pavillion was getting ready - thanks to a  friend of mine, associated  with Press and the organisers of the Puja committee. I had two face-to-face meets with Sanatan during this phase and I appreciate his sharing with me bits of  his thought process which went into his iconography of Devi in 2012.  Sanatan creates an ambiance for the iconography within the pavilion and the path leading to it - viewer's mind and eyes get 'conditioned' . The best time to appreciate and photograph such work of 'art' is to visit Sanatan's pavilions at an hour  when only serious pandal-hoppers are there and not a jostling crowd.  For us, the convenient time was the dawn of Saptami.

Arms raised in conferring divine blessing ....... 

as well as seeking the same.

At JP pavilion, Sanatan  has  repeated a motif of extended arms and palms . Of Devi, granting solace and blessing (barabhaya). Of gods and goddesses accompanying her. In the characters of his decoration - trying to reach out , seeking the divine blessing. There is only one character in the whole show whose hands are not extended - the lower cog of a scroll on which Devi is depicted.

 In typical Sanatan's signature style, this man stares  at Devi with soulful look.  There are other 'souls' too in this frame who extend their hands upwards. All these characters are in the right-hand side of the 'scroll' in which Devi has been pictured  in state of non-equilibrium. She has her eight hands on her left side in an arc, arms extended and palms stretched in posture of granting blessings, vanquished demons - looking very human - pressed under her left feet and the lower roll of the 'scroll' - all on the left hand side of the frame we face. A great effort towards de-construction of Durga's iconography.

 Very small sized Lakshmi and Saraswati, painted on the unfurled 'scroll'.

 Triangles and small circles, signature mark of Sanatan Dinda.

 A few 'tantric' motifs , plenty of lotus - on Devi's being and among adornment of the pavilion,  and  illuminated black-on-white paintings on   Shakti's emergence - done in Hussain's style appeal to the discerning viewers. For last couple of years, I am following Sanatan's  installations with interest and I am very happy with the photos Ruby and I have on my HDD. Anyone who needs more of JP Puja's photos of 2012 may please get in touch with me.