Ardhanarishvara - Manifestation of a Divine Metaphysical Principle

$175
Item Code: DJ70
Specifications:
Madhubani Painting on Hand Made Paper Treated with Cow Dung Treated with Cow DungFolk Painting from the Village of Madhubani (Bihar)Artist: Vidya Devi and Dhirendra Jha
Dimensions 21.0 inches X 28.5 inches
Handmade
Handmade
Free delivery
Free delivery
Fully insured
Fully insured
100% Made in India
100% Made in India
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Fair trade
This brilliant Madhubani painting by the renowned Mithila artists Vidyadevi and Dhirendra represents Lord Shiva as Ardhanarishvara – half male-half female. Not the Shaivite metaphysics alone perceived Shiva’s initial form as combining male and female aspects, even the Rig-Veda professed this unity of male and female elements and applied it to the entire creation when the great scripture contended that the male is as much the female, as the female is male, the emphasis being clearly on the unity of the two aspects. Shiva the seed out of which emerged the entire creation and yet the seed was ever the same was essentially the male as also the female, and this is precisely what the Ardhanarishvara myth symbolises in art or literature. Shiva’s Ardhanarishvara sculptures, pouring in from around first-second century AD itself, are among his earliest forms to evolve in art.

The painting brilliantly manifests this metaphysical principle. In typical folk idiom of Madhubani art it renders using bright blue, the body-colour of Shiva, the right half of the figure as male, obviously, Shiva’s own form, and the left, that of gold-complexioned Shakti, his inherent feminine aspect. Whatever the mythical position, such choice of body-colours involves strange symbolism that folk traditions often reflect. Shakti’s body-colour manifests energy, while Shiva’s, the lifeless mass, which Shiva is without his inherent Shakti. Besides the two different sets of anatomy, other features, too, have such symbolic breadth.

On the Shiva’s side is his trident, the tool of destruction; Shakti, with the gesture of her arm and the leg raised in semi-dance posture, reveals rhythm, the tool of delight. Obviously, it is in his union with Shakti that his Tandava – the dance of dissolution, becomes Ananda-Tandava – dissolution for delightful re-creation. His right half wears a skull-garland – the death and decay; parallel to it are flowers flowing down from Shakti’s shoulder along her sari like a waving stream, besides her jewels, symbolic of life and beauty. Otherwise presiding over destruction, death and decay Shiva, when in union with Shakti, represents also the life and the beauty. Shiva’s Nandi, the bull, seated on right, lacks agility and readiness, Shakti’s mount, the robust lion, stands ready to charge. Even the tiger head appended to the skin Shiva-Shakti is seated on reveals tension on its right half, and jubilation, on the left.

In the course of creation and its slow progress, Brahma realised that with ‘maithuni srashti’ – procreation by self-generating sexual union, alone it could gain momentum. Brahma himself, Vishnu and other gods, all mere males, could not instrument ‘maithuni-srashti’. Shiva alone was Brahma, manifest and unmanifest, representing not merely the male and the female but also all animate and inanimate aspects. It was Shiva alone who could create ‘the female’ by separating his feminine aspect and thus the separated male and female could unite sexually and the process of ‘maithuni-srashti’ could begin. Hence, for Shiva’s favour Brahma entered into a long penance. Appreciating Brahma’s objective Shiva appeared before him. He had a half male-half female form – Ardhanarishvara. On Brahma’s prayer Shiva separated Shakti, his feminine aspect, from his being. Brahma then prayed Shakti, herself or her part, to be born as the daughter of his son Daksha. The prayer was granted and a part of her was born as Daksha’s daughter Sati. She wedded Shiva. Shakti, after Sati’s death, was re-born as Parvati, Himvan’s daughter, and was again married to Shiva. The painting represents Shiva in his Ardhanarishvara form but it portrays no part of the Brahma related event.

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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Colors of Tradition: Exploring the Artistry Behind Madhubani Paintings

Madhubani painting is also known as Mithila art as it is practiced in the Mithila region of India and Nepal. It has specifically originated from the Madhubani district of the state of Bihar. Traditionally, the women of this region created these paintings and in recent years, it has become a widely practiced art and has now become renowned throughout the world. This art expresses the creativity and culture of the people of Mithila and is passed from one generation to another. In this way, the heritage of Madhubani art has been preserved for many decades. The subjects of these paintings are usually religion, love, and fertility. Sometimes, social events like festivals, weddings, and royal court are also depicted in the paintings. The most commonly painted designs and themes are the forms of Hindu Gods and Goddesses such as Ganesha, Shiva, Saraswati, Lakshmi, Krishna, and Ram. The characteristic features of Madhubani paintings are their vibrant colors and eye-catching geometrical patterns. The empty spaces are filled with traditional motifs such as floral and foliate patterns, animals, birds, geometrical structures, and other designs. The local artists create these paintings using a variety of items such as matchsticks, twigs, brushes, pens, or even their own fingers. The paints are usually made with natural dyes and pigments.
As simple as it may seem, the making process of the world-famous Madhubani paintings is certainly not easy and requires lots of hard labor.
Traditional Madhubani paintings are done either on cloth, handmade paper, or canvas. Select the medium of painting as per your choice. If you have chosen cloth, attach it to cardboard to make a solid base. The making of the painting begins with making a double-lined border. This is a very important step because the border is filled with various geographical shapes and patterns or other motifs. The average width of the border is 1.5 - 2 cm. Now that the border is created, you will be left with a blank middle space. This is the main workspace. Start drawing your choice of figure, designs, and shapes. These must be relevant to the Madhubani painting themes.
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When the key design has been made, the empty spaces in between are filled with some designs.
Now is the time to color the painting using vivid shades and hues. Colors in Madhubani are sourced from nature; Indigo is used to produce blue, flower juice produces red, turmeric gives yellow, leaves produce green, cow dung mixed soot gives black, and rice powder gives white.
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To paint these colors, the artist uses a bamboo stick and wraps cotton around it. This acts as a traditional brush.
The entire painting is now painted using this special brush with natural vibrant colors. · However, in modern times, the common brush is used and instead of natural colors, artists prefer to use acrylic paints.
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Since the entire painting is made with natural materials and colors, it appears simple yet enriching. Originally, this art was created on mud walls or soil grounds but when it evolved over many years, the people of Madhubani started to make it on fabric and paper. Today, this art has become globalized and is receiving worldwide attention and appreciation.
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