SRIMUKHALINGAM TEMPLE's MOST EXCLUSIVE WALL-RELIEF

 Siva and SaptaMatrika in fierce battle with Andhakasura and Gajasura :Wall-relief  above the main entrance to Inner sanctum

Front view of  SriMukhalingam temple. There are several temples 

around the main temple in the compound

The main temple of SriMukhalingam is built around the theme of warrior and fierce image of Siva. SaptaMatrika are in his side, Andhakasura and Gajasura on the other. Siva is depicted in the fierce image of  Bhairava, with his fangs  exposed - not only when he is engaged in fights, but also when he is dancing after vanquishing  Andhakasura and Gajasura. Siva  is ithyphallic, very masculine - the whole temple , as I have mentioned in my earlier blogs, exudes masculinity and valour !

Front view of  SriMukhalingam Temple.

View of Wall-relief obstructed due to the 'Amloka' of the Mandapa in front.

Taking photograph of the wall-relief  I am writing on was extremely difficult.It would be apparent from the photograph above. The wall-relief is practically at the centre of the  wall on which the door to the inner sanctum of the temple is located, just above of the roof of the Mandapa at the entrance - with naked eyes, one can hardly see the details of the central portion, leave out those of the four parts of the panel at top, bottom, LH and RH sides. Apart from the distance, the other problem is that this wall-relief, though at the centre of the front wall, can be photographed from the right side of the entrance. I found no way of viewing it from the left side of the entrance. Shall try to capture more details if I re-visit this temple in future.

 Sub-divisions of the wall-relief.

Actually, after I downloaded the shots in my computer   and catalogued the lot, I realised  the importance of this wall-relief. From none of the shots I could take, the characters of the bottom arc was clear.

On closer inspection. I could see that the wall-relief is divided into  five sections ( see above). The central part  depicts the core scene - the most important part of the event - Siva and SaptaMatrika engaged in fierce battle with Andhakasura. The top arc has Gajasura trampling Siva's soldiers. The LH and RH arc have a story of a healer woman - well, I know nothing about the details to-day.The lower part, as I have already mentioned, is hardly visible. I have selected these portions one after the other, 'insert'ed them in separate powerpoint pages, wrote out notes and converted .ppt document to .jpg format. Please read through the notes on the lower margin .

 Central Portion - 

 The most important part of this Wall-relief

Siva standing  @ the centre, holding a big mace in his right hand  and a pot of Andhakasura's blood in his left . He wears a big moustache. His matted hair falls on his shoulder . All these and  a huge erect phallus (symbolises his Yogic control over ejaculation  - called 'Urdhareta/UrdhaLinga) create the 'image' of a very masculine  naked warrior in the thick of a  battle. SaptaMatrika are around him , fighting Andhakasura and his soldiers. Andhakasura is regenerating ( read about the story of this battle in  http://przmm.blogspot.com/2011/03/tale-of-siva-andhakaura-journey-from.html )  while one of the seven Matrikas drink the blood of Andhakasura from the pot in Siva's hand.

Peripheral - LH

 

Peripheral - RH

I could not fathom the 'story' of the healer  woman, as depicted in the Peripherals - LH and RH.But, that there is a 'story' is clear. Whatever little I have understood about it, I have cited in the respective photo inserts.If any reader  has a clue about the background , please do share it with me.
Noticeable in this temple as well as the smaller temples in SriMukhalingam village are the various stories of religious persons, Devdasis and devotees of those days on the gates and external walls.This healer woman must be quite important to appear in close proximity of Siva and SaptaMatrika.

In the concluding paragraph, I shall  return to the subject of  Siva's battle with Andhakasura and Gajasura.   Andhakasura was born in the surroundings of  Siva and Parvati, was brought up  as a foster son of Hiranyalsha , was a very successful warrior and his end came when he cherished Parvati.He had the power of re-generation - so he fought a long battle with Siva. He survived as emaciated 'Bhringee' after he got pardon from Siva and ,very likely, from Parvati too. Gajasura was killed and dancing Nataraja is seen holding elephant's hide in numerous wall reliefs ( https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibR_mY_-eDSkduZp-oEc-hpbMJmAsJpD3BARu_Ff2a4JbWFvn1uYzZJfd2vYFbjQUpDeXy-nmkQB2S7Y8rP72fOhyphenhyphenFQ1wPsnj2Nr0FmbiRAXsjTNA_qkLk78i6pwrXwjAO6_LOSxzcGwk/s1600/IMG_1456_aw.jpg ).

SLAYING OF MEGHNAD - DRAMA STAGED BY KASBA ARGHYA

  A PERFORMANCE EXTRA-ORDINARY

I read about the  drama  enacted by 'Kasba Arghya'  group in Sunday 'Pratidin' published on 21/6/11. I searched for the group in the internet and found  them in the Facebook. I also found Anirban Ghosh, Ranit Modak and Seema Ghosh - the principal actors - in the Facebook. I enquired and learnt from them about their next show - which was @ Madhusudan Mancha on 24/6/11. It was quite a  wet evening - but we did not want to miss the chance.

 Anirban Ghosh as Indrajit.

The effort was worth-making.We were  rewarded with a performance that touched our heart.  An intelligent yet simple stage setting, excellent  lighting, music and choreography.  Ranit  and Seema performed in various roles - Ranit and Anirban simultaneously enacted the scene of 'Nikumbhila Yagna',  which was very well-conceived and  well-enacted. Over-all impact of direction of Maneesh Mitra and presentation by his team leave a deep impact on the viewer.

 Ranit and Seema.

A couple of years ago, I visited the temple cluster of Guptipara . The temple dedicated to Ramachandra has a long wall-relief on  'Nikumbhila Yagna', This wall-relief was crafted with a perspective in view , with Meghnaad in the 'front' and Lakshman aided by Bibheeshan was shown entering the scene stealthily towards the 'rear'. This panel is certainly a remarkable panel , created decades before Michael conceived and wrote 'Meghnaad Badh Kavya'.

This  wall-relief on 'Nikumbhila Yagna' inspired me a lot, I brought the copy of Michael's anthology from my library and enjoyed a his epic creation another time. That was the time when I wrote my blog
'Slaying of Meghnaad - a ballad' ( http://przmm.blogspot.com/2009/03/slaying-of-meghnad-ballad.html).

Needless to say, I had a special attraction towards this drama - 'Meghnaad Badh Kavya'. I must say that both Ruby and I enjoyed the drama a lot. I do have a few comments to make - I intend to share the link with 'Kasba Arghya' and hope that the Director and the team will accept the comments in a positive frame of mind.

First the positives. The production - lighting, sound - and music , stage setting, acting of Ranit, Seema and Anirban,  'Chow'-dance  - well the Director knows all these. He must have received many accolades  for all these and more. Shadow dance of Ranit , wallow of Ravan , 'Indrajit 1 and 'Indrajit 2' during 'Nikumbhila Yagna' in 3rd scene are the bits what we carried in our heart !The few areas where he can improve upon  are here :

• Was Pinaki Biswas  present in the stage show of 24/06/11 ? Why there was hardly any 'Kathakali' dance movement of Ravan on that day? Ravan, tall and elegant in the make-up and costume of a Kathakali dancer  appeared on the stage and stood nearly still !
• Pronunciation of one the two 'Kathak's - the one who was in the right-side of the audience - need improvement.He has miles to go.
• Indrajit was a great warrior. Why he would need so much effort to put string on his own bow ? May be Ranit was asked to show off his dancing skill - but his endeavour did not match the storyline.
• Ranit acting as Chitrangada and Seema  acting as Ravan  did not look OK to me. May be the Director showcased the actors' versatility. But, I was not impressed.
• Involvement  of the gods, their conspiracy  in Lakhsman slaying Indrajit have  been blanked off totally ! Director's liberty - but, I could not agree with the same.

Nonetheless, I shall recommend this production strongly. Enjoy the very interesting production of 'Meghnaad Badh Kavya' directed by Maneesh Mitra.

 'Nikumbhila Yagna'  

Wall-relief  from Rama Temple, Guptipara.

AN OEVURE OF HANDSTICHED DRESSES & SAREES _2

Another set of selected work from 'Ruby's Boutique'

A lovely party wear, can be given to the bride as an addition to her wardrobe, which she would treasure. It is done with a combination of two materials. Half is done in lace and half is tissue. The two piecesare then  joined .Next, the design is done upon. The work is done in such a way that it is difficult to make out the joint itself.The design has been done in silk and sequence and stones.

These are a close look to the design itself.

This is a combination of lace and chiffon, the work has been done on it. You can have a closer look to the details of the design below.

The sky blue raw silk kurta with hand crafted designs done on it.It brings out grace of a man of any age. Excellent for Indian party wear,shows our culture which we should be proud of . One can   make it a regular wear during such occasions we can call them our 'own'. Or showcase it in any other social event too.
A peep into the design can be taken in the next close up.

AN OEVURE OF HANDSTICHED DRESSES & SAREES _1

Photos of designs by 'Ruby's Boutique' on the occasion of marriage of Sujash and Moumita

Sujash and Moumita. The Kurta of Sujash designed by 'Ruby.

Silk cloth used as base and silk threads and jari threads have been used for the works done by hand by artisans.Design idea and colour combination has been done by me.

Details of Sujash' kurta.

The sherwani are done in South raw silk as base,the work is done using kashmiri stitches and a varied number of stitches,again lot of jari and silk threads have been used to bring out the motifs,a pains taking work done the the artisans.Was highly appreciated by invitees.
The lehenga has been done in brocade cloth,the blouse is in south raw silk and the top in tissue silk.The design has been thought for months before being worked upon. There are a lot of thread sequence and stone work done on it.
Men's dupatta has been specially bought from Bikaner to bring out the authentic look.

Sujash, Moumita and Surath wear Sherwani  and Lehenga designed by me.

Details of the needle work of Sujash' Sherwani.

The above pictures offer a closer look into the designs.

The South silk has  a shaded mauve colour sari with a second shade of blue hue showing. It is a perfect blend of colours, the work just complements the whole sari in totality. A perfect evening wear,for a reception or a party wear.One would love to own it, a princely possession I would like to believe.

One of the masterpiece the karigar has done, could really bring out the imagination on cloth which I could design on paper. Silk-Thread, sequences have been used to give it a dimension I was looking for.

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 !

IMAGERIES OF SHAKTI IN LAND OF SAIVITES - I

 

'Shakti' - with a lot of resemblance to the imagery of 'Bhairava'. She has fangs, holds trident and 'akshamala in her right hands. Left hands hold a snake and a 'bhanda' - a small vessel .A skull prominent in her head gear.

Parvati temple inside the main complex of SriMukhalingam.

When we embarked on our visit to SriMukhalingam/Hampi/Badami/Aihole/Pattdakal in February,11, we had some idea about the wonderful 'MahishasuraMardini' wall-reliefs that await us. This imagery of 'Shakti' , we found, was quite popular among the builders of temples - oldest being @ Badami, newest being @ Hampi.

Parvati sits on the left thigh of Siva. Nandi the bull and Shakti's lion ( the sculptor could not 

bring out the shape well !) rest at the respective master's foot.

SriMukhalingam temple.

Hindu religion , through centuries, have worshiped 'Shakti' - the female power. Female power have power to vanquish 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 interpreted  in Hindu religion from  many angles. Some are quite complex with 'tantrik' innuendos - like 'Sati's corpse on Siva's shoulder and conversely, Kali on a corpse-like Siva.

'ArdhaNaareeswara' - Siva in right half. Shakti in left.Siva holds trident.
Shakti holds a mirror.Nandi the bull on the right side whereas the lion is on the left.

East-side alcove in Someswara temple,SriMukhalingam.

A major imagery of 'Shakti' is  embodied in 'ArdhaNaareeswara' - Androgynous Siva. It has a complexity which  cannot be stated in simple terms. The 'concept' of  'ArdhaNaareeswara' is linked with birth and propagation of mankind. Sages and architects of our scripture and mythology have interpreted the 'concept' in various Puranas . It is not possible for common people like us to fathom the same . I read 'Presence of Siva' by Stella Kramrisch  to understand the 'concept'.'ArdhaNaareeswara' was born from 'Brahma'. He agreed to let 'Shakti' be released from this embodiment to the world with her full power.Release of 'Shakti' in the Universe  led to birth of 'Sati' whose parent was  'Daksha'. Siva married 'Sati' and then  lost her in a tumultuous event.

 Close-up of  'ArdhaNaareeswara'.

Ravana Gudi Cave.Aihole.

The release of 'Shakti' from the embodiment of 'ArdhaNaareeswara' brought the female sex into this world. Manu , born from Brahma and his consort 'Satarupa' - the hundred beings - gave birth to mankind, through the process of sexual intercourse. This is when sensual pleasure and sexual urge originated in the Universe. Having accomplished her mission,'Shakti' returned to the embodiment of 'ArdhaNaareeswara' . In words of  Stella Kramrisch,'the timeless,changeless image was a seal that comprised, in its paradoxical unity, the simultaneous and equivalent existence of opposite entities.' 

I shall present photographs of  'SinghaBahini' , 'MahisasuraMardini' and 'SaptaMatrika' in Part -II of this series.

CELEBRATION OF 'KAMA' - LOVE - FROZEN IN STONE Part I

PHOTOS FROM MY DIARY OF TEMPLE VISITS 
IN FEBRUARY,2011 - I

NOTE OF WARNING -  Those who are below 18 years  OR dislike discussions on 'erotic' work of art in Hindu temples are requested to stay away from this Blog.

Dance of 'Kama' under tree of life. 

Man dances with his woman held in tight embrace - posture resembling 'Tantrik Bouddha' depictions. Does the man have a 'jata' - matted hair - and a snake on his right upper arm? Siva and Shakti  in union , tree of life blooming in joy ? 

Obscure and damaged ,yet a remarkable wall-relief at Virupksha temple,Pattadakal
( Note - Can a viewer please tell me - what I have described as 'tree of life'
is actually a collage of celestial viewers ?)

During  my visits to the temples of SriMukhalingam, Hampi, Pattadakal and Aihole, I often wondered what was the attitude of the creators of these temples  - the kings, religious leaders and the society in general - towards  'Kama' , the primal urge . A lot has been written analysing  Hindu scripture , religious practices and Hindu art through centuries.  I am no student of sociology - but, I felt, 'Kama' was ever-present in the mind of the people who 'created' these temples. The society did believe that expressions depicting  primal urge need not  be be put away from public view. The society were told that 'Dharma' - religion, 'Artha' - money,'Kama' - primal urge and 'Moksha' - salvation form the core of human strives. Meaning of each word has been expanded - yet, each segment of Hindu society, through ages, interpreted those words in their own way.

Excellent craftsman ship in this wall-relief of 'Mithun murty'.Woman stands  with a slight 'bibhanga', her right hand around the trunk of a long and slender tree, a 'kamandalu' - water-pot in her hand. A hermit with matted hair , standing in 'swastika' pose, touches her chin tenderly.

SriMukhalingam temple.

'Kama' - is it Love or Lust ? It is Desire  and there is a force,an urge  inherent in this word. Like any feeling , it has shades of varying range. The borders between these shades are not so distinct - and as I go through the photos of numerous  'Mithun murty', sculpted by different artists, in different centuries, the study looks very interesting. Physical proximity - postures showing eagerness of the poignant moments - or lack of it - was brought out in varying details. Some of these  'Mithun murty' were sculpted by inexperienced hands , therefore do not  have much artistic merit. Such wall-reliefs were often placed away from the most-visited areas, yet, worth a 'dekko'. I have posted photo of one such wall-relief in this blog.

 The couple is stimulated. Man pulls  the woman  closer during embrace.She  is all but naked - her lowered girdle highlights her nudity.Man's right hand holds forward a full bloomed lotus which covers his erected  phallus.  She is  pushing  down the man's girdle. 

The companion's lower body is covered. She turns away from the ensuing 'act'. 

Durga temple,Aihole.

The couple is stimulated. Woman pulls  the man  closer during embrace.She  is  explicitly working on her companion's crotch . Man's right hand holds  a flower which is yet to bloom. The sizes of the flowers indicate the states of male excitement ! 

Huchchappyana Matha,Aihole.

We can see the fervour of 'Kama'  brought out through postures of couples - 'Mithuna murty' , gods and their consorts - in standing and seated postures. Then the sculptors often took a step forward - they added companion/s to the 'twosome'. As the postures evolved with the society ,'Tantrik' practices  came out on the open. In this phase, we find men and women engaged in coitus and other acts of sex , often in groups.  Michael D. Rabe, in his well-researched book - 'Tantra in practice' - has devoted a big chapter to 'Secret Yantras and Erotic Display for Hindu' . Here, he has correlated 'Tantrik Yantras'   with the sculptures created.

 'Kamakala Yantra' superimposed on a famous sculpture from Khajuraho temple. 

Source - Internet .

In this blog , I  have brought out 'Kama'-enriched work with 'Mithuna murty' which I came across  my February,11 visit and shall leave out  those where acts of sex have been shown explicitly.  Explanatory notes and my comments are in the descriptions of the photos.

 A near-Rape scene. Crudely sculpted, yet the postures captured the woman's resistance 

to the act of violation.

Huchchappyana Matha,Aihole.

Passion of Sugriba.

Vitthala temple,Hampi.

Note - Part II in http://orange-leaves.blogspot.com/2011/06/celebration-of-kama-love-frozen-in.html