The beautiful brass statue image is cast in pursuance to the classical tradition of South Indian bronzes, its represented the great Chola masterpieces of A.D.1011-12, from Tiruvenkadu in Tanjavur district. In the tradition of faith, as prevalent in South India, Vrishavahana murti Shiva is the giver of ultimate boon. It is believed, he emerges before his devotee with Devi on his left and Nandi on his right and his appearance alone fulfills all desired and redeem the devotee from the cycle of life and death. his right arm seems to lie on the back of his bull Nandi, yet the ease, which defines his posture, is unique. With his right leg place across his left, he imparts a feeling of absolute ease and casualness. The gesture of the left hand suggests that he is engaged in conversation elaborating something to Parvati.
Showing posts with label Folk Art. Show all posts
Showing posts with label Folk Art. Show all posts
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Thursday, 21 March 2013
Lord Varaha Retrieves The Mother Earth
In this way, while
Brahma was deliberating with his associates, Sri Hari roared
tumultuously like the great mountain Giriraja. The omnipotent Sri Hari
enlivened Brahma and the other highly elevated brahmanas by again
roaring with His uncommon voice. The sound of His roar was so sweet that
it destroyed all the miseries of the hearer. Brahma, Svayambhuva Manu,
and other sages who reside on Janaloka, Tapaloka and Satyaloka, chanted
auspicious mantras from the Vedas as offerings to Varahadeva. Lord Visnu
in the form of Varaha accepted the prayers of Brahma and other sages
and for the benefit of the demigods, entered into the waters of
annihilation. Before entering into the water, Lord Varaha rose into the
sky lashing His tail. The Lord raised the hair on His shoulders and
scattered the clouds in the sky with His hooves. With raised hairs and
white tusks, and with luminous effulgence, the Lord's form was
brilliant. This is Sri Hari's unique transcendental pastime. Just the
remembrance of it causes shivering in the body. He was omnipotent and
omniscient, yet like an animal, He searched for the earth by the sense
of smell. His external appearance was fearful; however, He pleased the
sages engaged in offering prayers by glancing over them and entered into
the water. His dive into the water with his thunderbolt-like body
divided the ocean. The ocean prayed to Lord out of fear, "Please protect
me, O Supreme Lord!"
The Lord of all sacrifices penetrated the water with His hooves, and in the depths of the Rasatala Ocean, He saw the earth lying there as he carried it in his stomach during the time of devastation. Lord Varaha lifted the earth on His tusks and appeared very splendid. At that time, a very powerful demon named Hiranyaksa challenged Him with a huge mace. An enraged Lord Varaha killed the demon within the water, just as a lion kills an elephant. The body, head and face of the Lord became red with the blood of the demon. The Lord, being thus satisfied with the prayers of the great sages, placed the earth on the water with His hooves.
The Lord of all sacrifices penetrated the water with His hooves, and in the depths of the Rasatala Ocean, He saw the earth lying there as he carried it in his stomach during the time of devastation. Lord Varaha lifted the earth on His tusks and appeared very splendid. At that time, a very powerful demon named Hiranyaksa challenged Him with a huge mace. An enraged Lord Varaha killed the demon within the water, just as a lion kills an elephant. The body, head and face of the Lord became red with the blood of the demon. The Lord, being thus satisfied with the prayers of the great sages, placed the earth on the water with His hooves.
The
third incarnation among the Ten Incarnations is Varaha avatara, (Boar
incarnation.) At the beginning of the creation of the universe, Brahma, a
male named Svayambhuva Manu and a female named Satarupa manifested from
his body. By the desire of Brahma, Svayambhuva Manu accepted Satarupa
as his wife for the purpose of creation. Seeing the earth submerged in
the water of annihilation and desiring to seek a dwelling place for the
living beings, Manu approached his father Brahma and prayed to him to
rescue the earth. When Brahma saw the earth submerged in the water, he
thought for a long time about how it could be rescued. He had earlier
established the earth after removing all the water but he could not
understand why the earth had sunk into the water again. He had been
appointed for the work of creation but the earth had become inundated in
a deluge and had sunk down to the Rasatala planetary system. Even after much effort, Brahma was not able to think of any solution. At last, he took shelter of the Supreme Lord Visnu. While Brahma was still deep in thought, a small boar the size of the tip of a thumb manifested from his nose. But the most surprising thing is that the small boar expanded in front of Brahma and within moments, filled the sky and assumed a form as big as an elephant. Brahma, together with the great brahmanas like Marici, as well as the Four Kumaras and Svayambhuva Manu saw the transcendental Varaha form and began to discuss among them. Lord Brahma thought that this was some denizen of the transcendental world in disguise; traveling in the form of a boar.
Tuesday, 8 November 2011
Miniature painting - The Indian Art

Miniatures are one of the many things that make one proud of its rich Indian cultural heritage. Miniature paintings come far in the history of India. Indian Miniature paintings can be classified as wall paintings and miniatures. Murals are huge works executed on the walls of solid structures in the caves of Ajanta and temple Kailashnath.
Miniature is a painting style and technique, and as a wall-sized work could be painted "in miniature. It’s like what many people do when they want to show love and care for their loved ones and take a position on the photo with them.
The miniatures are executed in a very small scale of perishable materials such as paper and cloth. The Palas of Bengal were the pioneers of miniature painting in India. The art of miniature painting reached its zenith during the Mughal period. The tradition of miniature painting has been postponed by the painters of different Rajasthani schools of painting as Bundi, Kishangarh, Jaipur, Marwar and Mewar. Ragamala paintings also belong to this school.
Miniature is an art form, which is a very rich history that continues to this day, artists from around the world. Beautiful miniature decorative elements should be retained regardless of pieces of large, complex, or intimate hand held works.
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