DURGA PUJA 2014 (Part I)

 The work of an unknown artist - Sharatda Mandir,Parnasree

Sharada Mandir is a small temple of Parnasree with a wide open space in its front and right by the side of a water-body. This area is in centre of activities during  Durga Puja - Kali Puja phase.

During the Pujas, hordes of revelers crowd pandals erected here. During Durga Puja, 'bhog' is served against a modest charge - very popular with the residents. In 2013, I heard grumblings about over-booking. The evenings see  'arati' as well as interesting musical programs, quite popular with residents of Parnasree who do not venture much in the crowded streets of Calcutta.

This year Indra Pal and his small team is working here , shaping up three sets of Devi and her family. Famous he is not, but, has a very good temperament. I went to his work area during the last phase of preparation and brought a good nos of photographs. A few  are posted here .

Deity getting dressed up.

Mahisasura subjugated !

Young boy has a tummy ready to compete with that of Ganesha !

Indra Pal attends to Ganesha as Lakshmi Devi stands nearly ready !

Here is another photo of the deity of Sharada Mandir getting ready - she was surely way ahead of others. Had to be - this Puja Committee has provided space to Indra Pal for others' work. Hence, he presumably keeps his present bosses happy.

On the  morning of 'triteeya'.

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 !

IMAGES OF 'PURUSHA AND PRAKRITI'

 FROM TEMPLES TO CANVAS  TO  
STREETS OF CALCUTTA

Those who are worshipers of  Siva the super-ascetic may please stay away from this blog.

Idea of  writing this blog occurred to me when I could get a decent copy of  'Purusha/Prakriti' painting by  Bikash Bhattacharya during an internet search for my desktop background.  This painting - interpreted and discussed by many - is an unforgettable work of BB. Immediately , my thought turned to Sanatan Dinda's 'Durga' of Barisha Club, Puja-2012.

Famous painting by late Bikash Bhattacharya on the theme of 

'Purusha' and 'Prakriti',

marked for its social connotation.

Source - internet.

Lots of words , explaining background/origin of a concept and its evolution  through centuries and various mediums of expression,  are required to tackle the subject of this title. But, I have no big 'funda' on this subject. Therefore, whatever I write here is my very humble personal exposure to the big philosophy of 'Purusha and Prakriti' practiced by various religious groups across the sub-continent and neighbouring countries.

Variation of this concept  has been noted by philosophers studying religions and their practices  in various continents through ages.RamPrasad Sen has used this concept in many of his songs offering obeisance to Kali.  Dan Brown invoked this  concept in his famous book 'Da Vinci Code'.  I wonder if well-known Bengali writer late Probodh Kumar Sanyal used  the concept - somewhat superficially - in a few of his novels.  More visible are the creations of sculptors and painters - a selection from my collection will be presented here.

'Sankhya' is the  book to get at the root of this dualist concept. 'Purusha' is Consciousness , unchanging. "Prakrkiti' is the primordial force and ' material cause of the world'. It is through  intimate interaction of 'Purusha' and Prakriti' , life is created/sustained.The Dualism  can be identified in Yin and Yang of the Chinese, in Avalokiteswara and Tara in Vajrayana or Tantrik Buddhism and ....... in Siva and Shakti of Hindu Saivites.

 

Siva ( ithyphallic)  & Parvati @ 

Parashurameswara temple ,Bhuvaneswara.

Siva linga on square Gauripatta - 

anionic interpretation of Siva and Shakti.

from a small temple @ SriMukhalingam, A.P.

 
Iconic and anionic interpretations  of Siva and Shakti abound in Hindu temples.  Siva is super-ascetic - he is  the 'consciousness' of   'Purusha' too. In context with another Blog I wrote years ago, I found this interpretation of Siva's imagery is difficult for some modern day Saivites to accept. Nevertheless, interpretations of philosopher's and artist's  of the duo can be subject of a very interesting study. Let us examine a few more here :

Above is a Tantrik interpretation of  'Purusha' and Shakti. Here we find 'Kali' as  Shakti on top of passive 'Purusha'  - as if 'passed out' after a session of opium -  in one of the terra cotta temples of Baronagar.

Notable here is the similarity and difference from the 17th century interpretation of  Shakti vis-a-vis 'Purusha'.  Devi is on top of 'Purusha' in both the depictions. But,Sanatan has portrayed 'Purusha' not as inert or passive. He has gone deeper into  Tantra  in planning this imagery where there several layers. I have stopped at the stated interpretation of this unconventional imagery - more on this at appropriate juncture.

 

Present day interpretation of  Siva and Shakti. 

Devi has transformed the 'evil self ' of Mahishasura . What we find here is consciousness of 'Purusha' supporting Shakti !  

Sanatan Dinda's creation @ Barisha Club, Calcutta. Puja - 2012.

 One very interesting point of this 'work' of Sanatan is the cluster where faces of lion,'Mahisha' and Siva co-exist. In Sankhya, it is 'Prakriti' which has manifestation of 'Sattwa', 'Rajah' and 'Tamo gunas' . Here,  the artist has created a reverse imagery - the 'Purusha' manifests the three 'Gunas' !

Three Indian painters have become famous for their interpretation of  Tantra  and interplay of 'Purusha and Prakriti' .  The oldest among them is late Nirode Majumdar who also  contributed to a book on RamPrasad Sen's songs on Kali ('Song for Kali:A Cycle of Images and Songs'- published by Seagull). SH Raza and Ghulam Rasool Santosh have created  niche for their work based on Tantra among connoisseurs. A painting of GR Santosh titled 'Siva-Shakti' is copied here from the internet :

'Siva-Shakti' by Ghulam Rasool Santosh.

Source - Internet.

During last ten years, Sanatan Dinda has used Tantra-inspired motif of 'Yantra'  several times. I follow his current work in Durga's pavilions as he brings out complex interpretation of 'Purusha and Prakriti' there. Revelers of Calcutta Pujas may miss out  some of his imageries and/or their inner meaning - more on this subject in a separate blog.

Nandalal Basu painted 'Annapurna' where Siva is shown as an emaciated 'Nataraja'. Here the 'Purusha' is suffering - not the 'consciousness' unaffected by external factors. Debatable subject - let us have a look :

 AnnaPurna by Nandalal Basu.

 Is this a portrayal of Avalokiteswara and Tara ?

Buddhist Monastery, Bylakuppe, Karnataka.

The last photo of this blog is from Tibetan Buddhist Monastery of Bylakuppe, Karnataka.Their interpretation of Vajrayana Buddhism has a lot of imageries of a  'Purusha' - with specific traits and power - and his consort in deep embrace.More erudite person can compare the inner meaning/s of the imageries,  passive-vs-active 'Purusha' and explain the complexity.  Present blog's scope ends with recording the visuals from my computer's HDD.

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 !

IMAGERIES OF SHAKTI IN LAND OF SAIVITES - II

A remarkable and large wall relief of 'MahishasuraMardini'  @ cave of Ravana Phadi, Aihole.

Devi  mauls ( - 'mardana'-)  Mahishasura with one of her four left hands as well as the left knee. She pierces Mahishasura too by a spear held in one of her right hands.The earliest 'MahishasuraMardini' can be found mauling 'Mahishasura' only with her hands . Here, 'Mahishasura'  suffers mauling ( - 'mardana'-) 

as well as attack by spear.

During our visit to SriMukhalingam/Hampi/Badami/Aihole/Pattdakal in February,11, we 

came across beautiful wall-reliefs of 'MahishasuraMardini' - as was expected.Here, 'Mahisasura' is often a buffalo, not the dark-complexioned well-built masculine figures we come across during DurgaPuja in Calcutta and other cities.We saw interesting figures of 'Shakti' riding a lion too - 'Singhabahini'. The origin of this imagery can be traced to 'Nonaa' of West- and Central- Asia. These imageries of 'Shakti' , we can reckon, was quite popular among the builders of temples in the region we traveled - oldest being @ Badami, newest being @ Hampi.

 A remarkable  wall relief of 'MahishasuraMardini'  @ Someswara temple, SriMukhalingam.

Devi has ten hands. 'Mahishasura' is in human form. Remarkably, 'Mahishasura' is in human form in other temples @ SriMukhalingam too !

Devi can be seen with four, eight and even ten hands in SriMukhalingam, eight hands in Hampi, hands in Badami, eight hands in Aihole and two hands in Mahakuteswar. Her 'aayudhas' - the weapons -  also vary. Sword and Spear - specially spear - being very common.

'Singhabahini' @ Hampi.Devi has eight hands. She wields a sword, but, no spear. Face of the lion clearly indicate that the sculptor has never come across a real life lion !

From the present entrance gate to Vitthala temple.

 Those who have followed my blogs on Siva Iconography are aware that 'SaptaMatrika' came into the being to help Siva in his battle against 'Andhakasura'. Those who might have missed the particular blog where I have recounted this episode may please refer to : http://przmm.blogspot.com/2011/03/tale-of-siva-andhakaura-journey-from.html. I found the most fierce 'SaptaMatrika' depiction on a high point at the entrance of the main temple of SriMukhalingam. Capturing the photo of this wall-relief was  difficult .My friend and guide Mr Netaji Rao and I have made several attempts to capture this very special wall-relief. I intend to devote one blog to detail the same.  The most benign depiction of 'SaptaMatrika' is at Ravana Phadi, Aihole where they are part of the dance of Nataraja - his celebration after subjugating 'Andhakasura' and slaying of 'Gajasura' .

 Four of the seven 'SaptaMatrika'  at Ravana Phadi, Aihole.Ganesha and 'Bhringee' - 'Andhakasura' redeemed  and re-christened  - are seen on the right side of Nataraja.

Celebration of  subjugation of 'Andhakasura' and slaying of 'Gajasura'.
All the participants in  classical dance poses .

Hindu religion , through centuries, have worshiped 'Shakti' - the female power. Female power have power to annihilate enemies - as in 'MahishasuraMardini' and 'SaptaMatrika'. Female power has potential  of creation, fertility - as in 'LajjaGouri'. She is the consort of  Siva - 'Uma/Parvati' .This 'relationship' has been viewed and interpretated  in Hindu religion from  many angles. Some are quite complex - like 'Sati's corpse on Siva's shoulder and conversely, Kali on a corpse-like Siva.

 Kali on corpse-like Siva.

Terra cotta temple at Baronagar, Murshidabad,WB. 

The finest 'LajjaGouri' I found is at the Museum of Badami - a beautiful sculpture.Unfortunately, I could not click a a photo since I did not have permission for the same. The In-charge advised me to get permission from DG, ASI,New Delhi - he promised  me a photo as soon as the DG sends his permission. I wrote to him twice without result. This Executive suggested that I visit the Hulegamanaolla temple at the village of the same name.We did visit this temple next day, on our way to Aihole and found representative wall-reliefs of 'LajjaGouri' and also 'SaptaMatrika' - a bonus  indeed !

 The most beautiful 'MahishasuraMardini' we came across this trip - eight-handed Devi @

'Durga Gudi ' , Aihole.

Such a blog on 'MahishasuraMardini' cannot be completed without her oldest depiction we came across.It is the stunning  wall relief of 'MahishasuraMardini', 'Kartikeya' and 'Ganesha' in an alcove next to the famous 'Nataraja' in the very first pavilion of the cave temples of Badami - popularly known as 'Siva's pavilion'. Devi has four hands.She has pulled the buffalo up by his tail, mauled him down by placing her right foot on his head and pierces his neck by a spear.

'MahishasuraMardini' at Badami. 454 AD.

 One important point to note here  is :  in typical Brahminical style of Iconography, the vanquished  'Mahishasura', appears to be quite small  compared to 'Durga' - now-a-days in Calcutta, and often in other cities too, we find much more formidable - more 'macho' -  'Mahishasura' during the 'Puja'. At Badami and Aihole, vanquished 'Mahishasura' does not look like a demon who kept 'Durga' engaged in a battle for quite a long time !