Kama and Rati Attempting at Disrupting Shiva’s Meditation

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The blue-bodied Shiva clad in deep orange loincloth made of tiger-hide is seated in padmasana – cross-legged posture, on a tiger-skin. Prominently conceived locks of hair unfurl as in Tandava – the dance of dissolution, on either side, obviously a wrathful demeanour. His eyelids, painted in red, are symbolic of fire bursting from them. The skull-garland lying on his breast, symbolic of death and decay, and the serpent around his neck, symbolic of life, represent the cycle of dissolution and creation that accomplishes in Shiva for he is beyond them both. Its relevance in Kama myth is far greater for he destroys Kama’s body but allows him to sustain as the formless desire in the minds of all living beings. The linga icon – his non-anthropomorphic form, which according to the Shiva Maha Purana and other texts is his ‘Nirakara’ manifestation, enshrining his coiffure’s apex, symbolises that he is both, the form and the formless.

The figure of the love-god Kama on the right has been represented as shooting an arrow towards Shiva which enrages him and his eyes turn fiery, and hair, tense. The effect is seen in the form of flames of fire that burn Kama and reduce him into ashes. Clad in identically designed ‘antariya’ Rati also carries a bow and arrow but does not release it perhaps because of the fear of annoying Shiva who had already burnt her husband Kama. The dancing maid in the centre in the lower register is an artistic addition to the legend connotative of the spirit of jubilation and gaiety that as the season of Spring accompanied Kama in the myth when he was sent to target Shiva as his prey.

As the legend has it, Brahma had filled for Kama’s greater effectiveness, when he commanded him to charge Shiva’s mind with sexual desire, each valley with colourful trees and shrubs, each meadow with sweet fragrant grass, ponds with lotuses, rivers and cascades with rhythm and dance, and birds with sweet music, and further, created a flower on each twig, maddening fragrance in each flower, and black bees, greedy of honey, passionately hovering all over inciting passion in every mind. The dancing maid has on her figure, in the form of her costume, the entire range of colours and floral and other motifs that the season of Spring gives forth, and hence, is Spring’s manifestation. Besides the figure of the dancing maid that seeks to personify this spirit of jubilation and gaiety, the artists, the renowned Vidyadevi and Dhirendra, have added around her, as also around the figures of Shiva and Rati, flower-plants, floral designs and birds perched on them.

Almost all Shaivite texts have the myth of Shiva burning Kama. When a lot of time had elapsed and his act of creation did not yield due results Brahma felt that ‘Maithuni-srashti’ – creation by the self procreating sexual intercourse, alone could accomplish the goal. Gods, along with him, were all males. Shiva alone was Parabrahma – the Absolute One, and comprised masculine and feminine aspects which, when separated, alone could initiate ‘Maithuni-srashti’. Brahma resorted to a hundred years long penance pleased with which Shiva appeared as half-male and half-female and, as desired by Brahma, separated his Shakti from him. Later, she was born as Sati, Daksha’s daughter, and married Shiva. However, before long, she immolated herself and a bereaved Shiva retired to forest and subjected himself to penance deciding not to ever marry.

Thus, not merely that Brahma’s idea of ‘Maithuni-srashti’ could not take effect but also some of the demons, one being Taraka, that a Shiva’s son alone could eliminate had become invincible. Hence Brahma, in some texts Indra, commanded love-god Kama, Brahma’s grandson, to incite sexual desire in Shiva’s mind, disrupt his meditation and goad him to marry and become the fountain-head of creation. As commanded, Kama went where Shiva was engaged in penance and shot at him his arrows of flowers. Shiva, though his mind was charged with sexual desire, enraged by Kama’s impertinence for disrupting his penance, opened his third eye and with the fire that emitted from it Kama was burnt.

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.

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.

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.

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.