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 :

PUBLICATIONS ON DURGA PUJA OF CALCUTTA

MY EXPECTATIONS  AS A READER

Work of Tarun Dey @ Behala Udayan Pally , 2013.

 Excellent work on Durga's Iconography.

Work of Tarun Dey @ Behala Udayan Pally , 2012. 

 Devi descends from the skyalong spiral of jyoti and lotuses

and Asura at the  bottom of spiral . !

I enjoy writings/ photos of Durga Puja pandals and the idols published in newspapers and periodicals as well as coverage in  TV shows . Since we returned to Calcutta permanently in December,2003,  I gradually learnt to pick-up the best from the pre-Puja reports and the publications during the active days of Puja. Ruby and I visit  pandals  in early mornings and on Panchami/Dashami/Ekadashi mornings/nights to enjoy the work of art  and  take photos to add to our collection.  Being a senior citizen, I always avoid crowd.  Crowd is a deterrent to taking photos . Sometimes, the volunteers  are too pushy . Only occasionally they demonstrate  tolerance when they notice my age and  a DSLR with a telephoto.

 Work of Bhabotosh Sutar @Naktala Udayan Sangha, 2013.

 Installation resembles a  temple and its court-yard.

 Apart from  serious writings in Newspapers/periodicals - example : Tapati Guha Thakurta of CSDS, Shouvik Sengupta - I have not come across much in print on modern day Durga Puja of Calcutta.  So much  hard work is done for 3/4 months every year ahead of  Calcutta's greatest show of autumn festival, so little impact  the event makes in our books and periodicals. Films do use  Durga Puja  many times - but it is 'Kahani' that used  the street festival spirit in a manner that attracted major attention of people.

 Work of Partha  Roy @ Suhrid Sangha ,2013.

 Unconventional Iconography .

 From my side, I have made humble effort to write blogs containing photos  of pujas of Behala, of Sanatan Dinda's work, of  some good work of Tarun Dey, Sibsankar Das  and Bhabotosh Sutar.  The most  viewed among them is a Puja very dear to my heart  -  that of Nalin Sarkar Street in  2011.

 

Work of Sanatan Dinda @ Nalin Sarkar Street, 2011.

 A grand composition positioned within  a superb installation.

 In 2013, news about two publications have made me very happy - one book on Durga puja of Calcutta has already has been published  and the other reportedly is getting ready. I read about the 1st book from a post by my friend Kanad Sanyal. It is compiled by Samrat Chatterjee who is my one-time neighbour and a well-known name in  Calcutta's Durga Puja circuit. The second one is pleasant revelation  - on 20/10/2013,The Telegraph published an extract from a Coffee-table  book which is being made ready by  Mudar Pathreya of Trysis .

 @ Badamtala Asharhsangha,2008.

Pandal styled on Kalighat Pata.

 I take this opportunity to convey to  Mr Pathreya that I look forward to   some serious writings on iconography of Durga,  comparison of concepts of 'Installation Art' among the  present crop Art College pass-outs, their contribution in  changing face of Puja pandal decoration,  plagiarism ....... etc.

 Mr MUDAR PATHREYA, our expectation is high !

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.

SAVOURING 'ART' OF HOYSALA TEMPLES

CREATIONS EXTRAORDINARY - II

'Built from the wealth amassed from the sword' 

- King Vishnuvardhana, 

in context with his having built ChennaKesava temple,Belur.

To enjoy the temple art of Hoysala dynasty, homework before the trip is a MUST. There are lots of articles in Internet, giving history/timeline and photographs of the  more popular temples around Hassan and Mysore. I  even found a suggestion about a guide  of Belur temple - though  I could not locate him when we were  there during November,12.  Please search for Prof S Settar  and do not miss his interview in Frontline,April,2003.

Trikuta Kesava temple at Somnathpura.

Simply stated, Hoysala temples have a complex building plan with artistic projections aplenty, a 'scroll' of wall-reliefs of deities and other characters unfurling on the 'parikrama' , dazzling female dancers and musicians together with mythical animals staring down at you, rows of  human figures on animals and chariots fighting mythological and real battles. These temples are virtually a  gallery created to educate viewers of  Hindu Iconography and 'naba-rasa' as well as dance   plus music .

Rich wall frieze of Kedareswar temple of Halebid.

Kirat-Arjuna &  Bali-Sugriva duels, Hoysaleswara temple,Halebid.

Vishnu rests on Seshanaga - Lakshmi 'serves' at his feet, Yogamaya sitting near his head. He rests within  a pavilion, with roaring vertical waves filled with fish and tortoise - Vishnu's incarnations.
Kesava temple,Somnathpura.

Note : Interesting to watch one small part in each of the last two panels - Sugriva's right leg & Sheshnaga's tail - sneak out of the frame ! Typical Hoysala style .

And .... not-to-miss the exceptionally carefully executed  layout and 'art-work' in the  interiors of temples.Some of the secular ceiling art , round and serrated ends  of load-bearing columns, female bodies serving as brackets on  top-ends of columns almost hidden in the darkness of 'Mantapa' will not fail to mesmerise discerning viewers. Topping the list are the principal deities wherever we can view their splendour not hidden under silk robes and garlands.

Venugopala, one of the three deities of

Somnathpura temple.

Dancer on one of the four pillars within 'Garbhagriha' of 

ChennaKesava temple, Belur.

Hundreds of figures and motifs curved on famous 'Narasimha' pillar within'Garbhagriha' of 

ChennaKesava temple, Belur.

Notes :1.  It  is said  that this pillar used to revolve on its vertical axis.  

2. Comparable are stone pillars of Vitthala and Hazara Rama temples, Hampi.

Once  a person spends time among the temples built by Hoysala dynasty, it becomes clear that a martial spirit had worked in bringing these temples into being. The name  king Vishnubardhana chose for his lineage and also the symbol are result of this military spirit. We all know, 'Hoysala' means 'Kill Sala', reportedly the uttering of  a sage whose life Sala, a tribal leader and ancestor of the king , saved by slaying a pouncing lion.

My favourite 'Sala slaying the lion'. Sala is in pain , yet he pierces right ear of the beast with his long dagger, held in his left hand !

Wall-reliefs of Vishnu and Kamadeva in the background.

ChennaKesava temple, Belur.

This may be a myth,established  firmly by king Vishnubardhana , while adopting the 'Sala' symbol and sculptures of  'Sala and the lion' in the entries to ChennaKesava temple's 'Mantapa'.


While working within the limitations of 'canon', some of the artists broke ground in their efforts to stand apart among the 'many'.Collectively, the following characteristics will immediately draw attention of the viewer :

Krsna tames 'Kaliya-the-snake'. One of his wives asks for forgiveness 

on behalf of her husband.

Kedareswar temple, Halebid.

• the decorative features of the wall-reliefs, e.g. the dresses , ornaments and other attributes are carved so meticulously that one feels s/he is viewing a wood, and not a stone-carving.
• a toe here, a finger there overflow  the frame , just to add drama to the 'scene'.
• the fierce manifestations of Siva and Shakti are often  not stiff, but in smooth postures of dance.

I end here with ten. nos of photos . More will follow.

DURGA PUJA 2012 _ PART II

ICONOGRAPHY OF  MAHISASURAMARDINI -  ' সাবেকী  ' vs ' থিম '  পূজা   

( 'SABEKI', i.e. traditional vs 'THEME' PUJO ).

'No to cloning' -

ShibMandir.

 This time every year ,  argument rages between the groups supporting ' সাবেকী / SABEKI'  i.e. traditional  and ' থিম /THEME'  puja .  Often the ardent supporter from each group  excitedly uses language which further increases the temperature. One such example is here :
https://www.facebook.com/photo.php?fbid=433354780054711&set=a.433354663388056.97877.118216318235227&type=1&comment_id=1300755&ref=notif&notif_t=like&theater.
It is the exchange between Pradipta Nan and Payel Rinks Banerjee on one hand, Shibmandir Durgapuja's representative on the other  prompted me to prepare my submission.

  Durga mauls Mahisasura  - 

Famous traditional depiction at Vaital temple, Bhubaneswar.

 Centuries ago, when sculptors following  canons of Iconography were creating wonders at Badami, Aihole or later at Vaital temple, those who wanted to break with the tradition created the  relief at Mamallapuram where Devi is shown engaged  in combat with Mahisasuramardini . After centuries, another sculptor 'created' a Durga which has 4 hands, no trident  and the severed head of the buffalo  lying at the centre of Devi's feet ! This  depiction seems to have influenced many of our present day artists - I do not have to mention the names.

  Devi has won the battle - she no longer needs ten hands nor weapons. Even the trident is not here.

Severed head of the Asura lies at her feet.

 We can guess the ruckus the purists of those days had raised ! Yet, the wall-relief was installed and stayed put to the delight of Iconographers of these days. I have in my HDD another Durga where she has slain the Asura. Here she  has the trident in her hand.

 During the middle of  the 20th century, we found  many  artists broke from the mould. Reportedly Sunil Pal was  one of the pioneers of this trend. His work of 1945 at Kansaripara  is now forgotten - I could not get any photo of the same from a senior Art critic from whom I heard the 'story'. Later on Jiten Pal took the trend forward during 1950s. I used to admire the tremendous imagination his idols at 23 Pally used to demonstrate . I can still visualise his Durga turning away from the arena of combat with severed head of Mahisasura in her hand, her face and eyes red with anger. As far as my memory goes, she had two hands , not ten. Her dresses were unconventional too. This particular depiction attracted notice and criticism from purists and orthodox  section of  Durga's worshipers. But, Puja Committee of 23 Pally continued to patronise the trend and Jiten Pal .

 Traditional idol - ageold Puja.

Source - Bengali Statesman.

 Since  1950s,not only Jiten Pal , but some more artists started the trend of experimenting with Durga's iconography. In traditional format, Durga stands erect with her right foot on lion's back, left one on Mahisasura, her trident piercing Asura's breast . The implication is : the battle is over. The image is somewhat static.Many artists brought out scene of combat - somewhat like  the famous wall-relief of Mamallapuram -  thereby  a  sense of tremendous movement. During 2011, Bhabotosh Sutar  could portray  such dynamism in his Naktala idol.

One of the finest Durga I have come across - the 'movement' here is captured so perfectly !

Naktala Udayan  Sangha. Bhaboiosh Sutar.

Gradually,over the decades, Durga's depiction changed . These days, we have lots of varieties. Purists have their Bagbazar,Maddox Square,Durga Bari (Ballygunge Place).  Theme lovers have Sanatan Dinda, Tarun De, Shibsankar Das and .... also ShibMandir.

  Iconography of this idol of Durga is not easy   - 

it is important to 'understand' the interpretation before commenting !

95 Palli, Jodhpur Park

I appreciated Shibmandir's concept of merging 'RaktaBeej' and 'No to cloning' ! That neither means Pradipta Nan and Payel Rinks Banerjee will have to like the current (2012)  idol of Durga  of  ShibMandir  nor that  means SbibMandir will get so angry at dissents as to question the grey matter content of such viewers ! But, it is proper  that people like Pradipta Nan and Payel Rinks Banerjee refrain from using rude language.

Each to his/her views and choices !

DOWN MY MEMORY LANE TO HOYSALA TEMPLES

RECOLLECTION OF  BELUR, HALEBID ... AUGUST 1977.......

NOTE - These scanned  1977 photos have been retrieved  from my wife Ruby's album.Please do not copy.

Kedareshar temple (?), Halebid.

UMA-MAHESHASHWARA.

HOYSALESHWAR TEMPLE , HALEBID.

'Those who have  not seen the temple of Belur have not seen one of the finest in India'  : advised me  Pritish Ghosh, an erstwhile colleague of mine in August ,1977, when I was planning our visit to Bangalore, Mysore and Ooty .On his advise, I added Belur, Halebid and Sravanabelgola to my itinerary. The visits were indeed very rewarding. My wife Ruby and I were charmed by the beauty of the bracketed figures of  the main temple of Belur and the wall-reliefs of Hoysaleshwar temple of Halebid.

SIVA AS  NATARAJA ,DANCING ON APASMARA  & BHAIRAVA. 

HOYSALESHWAR TEMPLE , HALEBID.

I am not a person who  remembers small details of a trip decades ago - the smaller impressions are lost. I recollect that we  started from Bangalore early, reached Hassan and Belur around lunch-time and hung around  till sun-set. We reached Halebid  couple of hours after  sun-set. The only food-stall of Halebid was closed for the night and we could not have even  a cup of coffee. Next morning , we started our day early. We reached the temple before eight 8 AM, after a decent break-fast of tea and toasts. The morning was just crisp! There were very few visitors around. And ... the splendour of Hoysala architecture was in front of us , almost taking our breath away.

 SIVA AS NATARAJA. CLEARLY DIFFERENT FROM THE ONE ABOVE. HE IS  DANCING ON A LOTUS , WITH GANAs JOINING HIM IN REVELRY !

HOYSALESHWAR TEMPLE , HALEBID.

Though I carried my SLR  camera and the accompanying lenses with us, I could not locate any photo of Belur temple in our album ! But thankfully, a few photos of Halebid has survived. I have scanned these photos of my 1977 trip . Surely these will  compliment our future collection during the forthcoming trip of November,12.

VAIRAVA

HOYSALESHWAR TEMPLE , HALEBID.

During 1970s, within the 1st few years of our marriage, we visited temples of Puri, Bhubaneswar, Konark, Belur and Halebid. Those days, we  had no formal or informal exposure to temple art , yet, we realised that  temple art of RajaRani temple,Konark and , Belur  and Halebid need re-visits. I recollect  having visited temples of Belur and Halebid 2nd time  during February,2003. I had a day free from official work while on tour in Bangalore which I utilised  in paying a visit to these great sites. But, I had  no camera and could not bring back anything but memory with me.

 A SECTION OF THE FAMOUS STAR OF

HOYSALESHWAR TEMPLE , HALEBID.

 Our February,12 visit to Bhubaneshwar and Konark was really very enjoyable. We had  good amount of time - but, more studies for preparation and thrice the time we spent at each of the temples would have satisfied me.During the coming visit to Karnataka, I would like to return with a good collection from Kedareshwar temple of Halebid and Keshava temple, Somnathpura.