Devi Padmavati

I have in my meditative vision the goddess Padmavati. She reclines on the Great Serpent Sheshnaga who has on each of the thousands of branches of his hood a gem radiating into thousands of rays. The lap of the goddess is the abode of the all-knowing Shiva.

Padmavati, meaning lotus-Iike, itself defines the Padmavati form of Devi, which is essentially the manifestation of beauty. She is the giver of eternal joy and immense prosperity and is an aspect of Mahalakshmi and as such represents fertility and prosperity, and as Padmavati the beauty, she has been conceived in scriptures with a creeper like delicate form, sun-Iike radiating yet moon-like soothing. She reclines on the Great Serpent Shesh whose hood with its thousand branches embedded with gems creates a rosary type ring and shines like the Sun. She has Lord Shiva seated on her lap. Padmavati has three eyes on her face and four hands which carry on them a rosary, a pitcher, a lotus and a human skull. The Ocean is her abode. She is adorned with rich jewels and costume.

The painting here is in exact pursuance of scriptural norms. Her figure seems to radiate with the light emitting from the gems contained on the hood of the Great Serpent. The all- knowing Shiva, the supreme manifestation of wisdom, occupies the lap of Padmavati who is primordial female energy incarnate. In Indian tradition Shiva, the wisdom, becomes an operative potential principle only when grounded in and supplemented by energy, that is, Devi, here in Padmavati form. Seemingly unrelated attributes of the Devi have a coherent symbolism. Her rosary stands for divine attachment, pitcher for abundance and the accomplishment of spiritual aspirations, skull for renunciation and lotus for the glorious and all-embracing fullness of life.

The painting reveals an excellent workmanship executed with fine strokes of brush and most delicate and soft colours. The waves of the ocean are wonderfully rendered. The depiction is neat, distinct and balanced and rendered with great effort and patience. The contours and curves of Shesh and its coiled form have been led to a lively climax. The balanced colour synthesis and exquisitely discovered forms characteristically define the great merit of the painting.

This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.

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