The finish of this Kuber-Deva statue befits His status as Lord of the divine treasury. And it is no ordinary treasury that He presides over - it comprises of the rich earth, its gorgeous mountains, the jewels and mineral riches annealed in its bosom. Hindus and Buddhists turn to Lord Kubera to pray for the protection and preservation of what they value, and the sculpture of Him that you see on this page would inspire just that kind of devotion.
A deity so fair, the gold of Her shringar blends in with the complexion of Her body. The jet black of Her wildly flowing tresses makes for a stark juxtaposition. In fact, this work captures the Devi in all Her beauteous contrasts - garlands of snakes and severed heads right next to streams of gold, a multi-sipred bejewelled crown and kundalas set off by a band of miniscule skulls, and a composure of invincible determination on a tender-featured countenance. In Her numerous hands She cradles temple bells and lotuses as well as the sword and the shield.
In the foreground, Stygian waters cradle a gentle lotus. The snake She is seated on spews fire enough to provide for a terrifying aureole. In the inky black background of the thangka, one could see the roof tiers of the typical Himalayan temple. The structure bears resemblance to Her earthly abode in the heart of Nepal, and lends a great deal of authenticity to the painting.
It captures to spine-chilling perfection the frightening demeanour of the cross-cultural deity. His skin is adorned with the ashes of the cremation grounds. A wild, bloodthirsty gaze characterises the eyes. He bares His teeth at the onlooker, the twin fangs on either side of the jaws making a picture of the doom that adharma deserves. For a moustache He has the slithering bodies of two snakes sculpted on His upper lip.
It is not just iconographical perfection that makes this a must-have for the Lord Mahakala devotee. Dual rows of serpents with their hoods raised constitute the crown of Mahakala. It is a complex work, a sharp pointed spire punctuating the snakes that seem to be as fierce as the deity whose head they are sitting on. This could be a powerful visualisation aid for highly advanced sadhana or a remarkable item of home decor.
In fact, the colour white dominates the palette of this work. Her skin is dewy, the unusual colour of crushed olives. A milk-white swan, Her vahana, is seated in perfect stillness behind Her. Her asana is a gigantic lotus in full bloom, its pristine petals featuring undertones of powdery pink and gold. The waters flowing underneath are calm and clear as crystal.
There is so much of the dynamic in this painting. If you gaze into this painting long enough, you could almost observe the displacement of the swans flying in the background and see the flora in the foreground sway in the breeze. The brushstrokes employed at the waters convey a sense of gentle motion. From the tilt of Her neck and the direction of Her gaze, it seems that She is in close communion with the miniscule swans and lotus-buds in the stream, as if She is playing to infuse them with life and nourishment.
Also, the floral motif is an undying bridal statement. Zoom in on the kameez to truly appreciate the intricacy of the embroidery, which is done with zari (gold thread), a style of embroidery that defines traditional Indian fashion. Similar sequined motifs in gold grace the translucent peachy pink dupatta, which matches the hemline of the kameez. The super-flared style of salwar that completes this dress, popularly called the sharara, is what makes this an unusual wedding dress.
The primary identifying aspects of the Mahishasuramardini iconography is the Mahishasura (bull-demon) brought to his knees at Her feet. It is a powerful portrayal of adharma’s defeat - She has him by the hair, Her trishool piercing His very being, while the head of his mahisha has rolled off from the body that is dangling by the tail from another of Her hands. The tremors that could be read in his body language are the result of a skill that lends dynamism to even a static form of art.
The typical Nepal-style crown rests upon a brow lined with determination and invincibility. The kundalas from Her ears give way to a garland of severed demon-heads that reaches all the way down to her skirts. She is flanked by Her numberless arms, each bearing a divine weapon (note the damru in one, indicative of Her husband). The entire composition is framed by an aureole from which coils of fire are jutting out into space.
As expressive as the emotional current flowing between them is, this is a watercolour of multifaceted beauty. Krishna's majestic turban, the colour of a field of marigolds in the Indian countryside, has been secured with strings of pearls. The miniscule rubies and emeralds that punctuate the pearls have been painted in with rich, irresistible colours. Krishna's skin has been given the colour of cool twilight, His fingers long and slender, His attire regal. Radha shields Her face with Her bootie-studded dupatta, Her tattooed and bejewelled hands holding it in place against Her flawless skin. Her shringar is elaborate, becoming Her great beauty. Her jet black tresses fall about Her frame, the slender curves of which are revealed rather than concealed by the translucent dupatta. Both have been given classically handsome features by the artist.
Do not miss the frame painted around each profile. Characterised by soft pastels, gold and silver tendrils set off the beauty of the subject. Note how the royal green background is darker in the case of Radha, in harmony with Her fair complexion. Pristine marble railings in the respective foregrounds indicate that the two lovers are enjoying each other's company on a moonlit terrace.
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