Mahishasura-Mardini Durga

Email

Whatsapp

Facebook

Pinterest

Twitter

Copy link

Goddess Durga's Mahishasura-Mardini form prevails over her all other forms. In votive art she is more than often represented as Mahishasura-Mardini. Incidentally it is in this form of hers that her aesthetic beauty, too, is most perceived for it combines in it the sublimity of aesthetic beauty with sublime force. This form of Durga is, hence, as much the theme of aesthetic art. In this 'pata' the Orissa artist has packed the character and colours of his own land as well as the textual tradition of Devi rituals. In adherence to ritual tradition the artist has armed her with various weapons prescribed in texts - spear, wheel, mace, arrow and sword on her right and shield, serpent, conch, lotus and bow on her left. The features of her face - a parrot-beak like pointed nose, large fish like eyes, well defined round chin and coiled neck, massive anatomy and large angular crown have reflection of 10th-11th century Orissa sculptures and 13th-14th century Orissa palm leaf drawings and paintings. She has been clad and adorned in typical Orissa costume and ornaments.

There prevail two traditions as regards the origin of Devi. According to one she has always existed. When in great deluge all had perished and Vishnu, floating on a fig leaf as a child after the deluge, was in bewilderment not knowing what he had to do, it was Devi who appeared before him and helped Creation. The other tradition, and more akin to public mind, relates to her killing Mahishasura. As the texts have it, a demon by the name of Mahisha, meaning buffalo, once ruled the earth. By his great penance he had won from Brahma the boon of invincibility against all male. This turned him into a highly ambitious and arrogant ruler. After grabbing the entire earth he decided to invade Indra's heaven. In the war that ensued Indra and all gods were defeated and had to flee from heavens.

Gods later learnt from Brahma of Mahishasura's boon and that he could be killed, if at all, only by a female. After due deliberations gods decided to create a female power out of their own attributes as also bestowing on her the absolute divine beauty and female graces, such as made her represent also the absolute womanhood on earth. Her head was formed by the powers of Shiva, hair by that of Yama, arms, breasts, feet, toe-nails, fingernails, nose, teeth, eyes, brows and ear respectively by the powers of Vishnu, Moon, Indra, Brahma, Sun, Vasu, Kuber, Prajapati, Agni, Twilight and Vayu. Ocean offered her its glittering jewels and Shesha a necklace inlaid with celestial gems. Alike they all gave to her their respective weapons. Finally, Mahamuni Narada disclosed to the newly created Goddess the sad plight of the gods and the errand for which she had been created. The Goddess delightfully accepted the prayer of gods and later in a fierce war killed the buffalo demon Mahisha.

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.

Free Shipping. Delivered by to all international destinations within 3 to 5 days, fully insured.

Of Related Interest:

Mahishasuramardani (Kishangarh School Sketch on Paper)

Mahishasur Mardini (Madhubani Painting on Hand Made Paper treated with Cow Dung)

Mahishasur Mardini - Durga (Green Stone Sculpture)

Durga Slays the Demon Mahishasur (Miniature Painting on Paper)

The Divine and Demoniac Mahisha's Heroic Struggle with Durga (Paperback Book)

Durga : Narrative Art of an 'Independent' Warrior Goddess (Article)

Mastering the Ancient Technique: Exploring the Meticulous Creation of Pattachitra Paintings

The traditional Pattachitra is a scroll painting that is done on cloth. This is revealed in the name; Pattachitra is a Sanskrit term made from two words i.e. Patta meaning cloth and Chitra meaning picture. The main subject of this painting is portraying Hindu mythological narratives, scenes from religious texts, and folktales. Pattachitra paintings are especially practiced in eastern Indian states such as West Bengal and Odisha, and also in some parts of Bangladesh. This art form is closely related to Shri Jagannath and the tradition of the Vaishnava sect. It is believed that Pattachitra art originated in the 11th century and the people of Odisha practice it even today without any discrepancy. Bengalis use these scroll paintings for ritual purposes (as a visual device) during the performance of a song or Aarti.

Pattachitra paintings are characterized by creative and traditional motifs/designs, decorative borders, and bright colorful applications. The outline of the figure and motifs are bold and sharp. Some common shapes and motifs seen in these paintings are trees, flowers, leaves, elephants, and other creatures. The artists of Odisha and Bengal still use the traditional method of painting which gives a unique look to it altogether.

1. Canvas is prepared

The process of painting a Pattachitra begins by preparing the canvas (patta). Generally, cotton cloth is used for making the canvas. The local artists dip the cotton cloth in a mixture of tamarind seeds and water for a few days. The cloth is then taken out and dried in the sun. Now natural gum is applied over it to stick another layer of cotton cloth on it. Thus a thick layer of cotton cloth is formed. This layered cotton is sun-dried and a paste of chalk powder, tamarind, and gum is applied on both sides. The surface of the cloth is then rubbed with two different stones for smoothening and it is again dried. This process gives the cloth a leathery finish and it is now ready to be painted.

2. Natural colors are made using traditional method

The painters prepare and use vegetable and mineral colors for application in the painting. White color is made from conch shells, black is made by burning coconut shells, Hingula is used for red color, Ramaraja for blue, and Haritala for yellow.

3. Colors are filled in

The artist now makes a double-lined border on all four sides of the canvas. The local artists are so expert in painting that they do not draw figures and motifs with pencil but directly draw them with a brush. The paint brushes that the painters use are made of the hair of domestic animals, a bunch of which is tied to the end of a bamboo stick. The figures are now painted with natural colors using the indigenous brushes. The outline is thickened with black color.

4. Painting is given a finishing

Finally, the painting is varnished/glazed to protect it from any damage and to get a glossy shine on the surface.

The making of a Pattachitra is laborious work and therefore, one painting may sometimes take over a month to complete. Due to their classical look, these paintings are admired by people from all over the world. The artistic skills used in Pattachitra are passed down from one generation to another and thus are preserved to date.