I worship Kameshwari in my heart. She is as delicate and beautiful as the crescent moon.
Kameshwari, another aspect of the primordial female energy, combines in her form the oneness of Shiva and Shakti, that is, matter and energy and is the giver of form, fame, bliss and victory. She is the upholder of good and at times the destroyer of enemies. She is revered as the mother of the world, embodiment of truth and consciousness. Burnt gold-like is her complexion and of the sun, moon and fire consist her eyes.
Kameshwari is the spouse and the half of Kameswar Shiva and is hence endowed with many of Shiva's attributes and half of Shiva's form. It is said that pleased by the severe austerities of Parvati and the ardor of her sacrifices, which she performed for attaining him as her husband, Lord Shiva offered Parvati the left half of his body. Thus, the spirit, the purusha who was Shiva, united with energy, the prakriti which was Parvati and the form that evolved was a comprehensive existence wherein energy and matter combined. In artistic innovations, as here in this painting, there evolved a deity form which combined half male and half female, obviously the right side that of Shiva and the left of Parvati. This is what is known in art as the likeness of Kameshwari. In Kameshwari hridi bhajami dhratendulekham
Kameshwari is the spouse and the half of Kameswar Shiva and is hence endowed with many of Shiva's attributes and half of Shiva's form. It is said that pleased by the severe austerities of Parvati and the ardor of her sacrifices, which she performed for attaining him as her husband, Lord Shiva offered Parvati the left half of his body. Thus, the spirit, the purusha who was Shiva, united with energy, the prakriti which was Parvati and the form that evolved was a comprehensive existence wherein energy and matter combined. In artistic innovations, as here in this painting, there evolved a deity form which combined half male and half female, obviously the right side that of Shiva and the left of Parvati. This is what is known in art as the likeness of Kameshwari. In Tantrika worship Kameshwari is re-named as Bhairavi capable of fulfilling all desires. This deity form embodies the principle of the union of matter and energy which can overcome all obstacles and achieve all desired ends.
Kameshwari occupies here a large magnificent throne and holds in her four hands a bow, a dart, a noose and a goad. Her right half, which relates to Shiva, has been defined by a snake around it and the tiger-skin wrapped on its lower part. Her other side is wrapped in a sari richly laid with gold work. The artist seems to have kept in his mind even the minutest details. The earrings in the right and left ears vary from each other. Her two palms are painted in feminine manner, while the other two are plain. The leg representing Shiva is exposed to view but the other one is fully covered. Even her breasts and bodice have been variedly cast. The faces of devotee figures too have been enlivened with great devotional serenity.
This description by Dr. Daljeet. Dr. Daljeet is the keeper of the Miniature Painting gallery, The National Museum of India, New Delhi. worship Kameshwari is re-named as Bhairavi capable of fulfilling all desires. This deity form embodies the principle of the union of matter and energy which can overcome all obstacles and achieve all desired ends.
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. devotion, is the only other presence, which the artist has successfully used for creating an atmosphere of serenity.
In various Indian religions and their rituals, the Yogini cult has been since early days, an essential form of ecclesiastic systems. In Brahmanical system Yoginis were classified to have sixty-four types. There are in various parts of the country several ancient temples with sixty-four female devotee images named the chausatha yogini temples. In Buddhism and Jainism, the female penance doers had their distinctive place, a separate terminology defining the stages of their accomplishments and codes for their ritual conduct. In Tantra-sadhana,a form of meditation based on tantrika lines, these female meditators were often the prime instrument of penance accomplished conjointly by male and female devotees.
Though portraying a lady performing penance, the artist's concern with the beauty of the female form reigns supreme. Her fine long fingers, beautiful large eyes, oval cute face with well receding chin and as well defined neck, heavy thighs and receding shoulders all are rendered according to the canonical ideals of the beauty of the female figure.
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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