Para-Shakti (the primordial feminine energy) whose manifestation is goddess Parvati, is envisioned in this mesmerizing watercolor on canvas as the supreme Yogini, the counterpart of the supreme Yogi- Shiva.
Devi Parvati’s ethereal form resonates with the Hindu religious traditions where she is exalted as the source of 64 (Chausatha) Yoginis, Sapta Matrikas, Dakinis, and other innumerable incarnations of the warring aspect of the great goddess, who emerge time and again to ward off the forces of evil.
Encompassing the otherworldly magnetism of Uma (Devi’s calm aspect) and Mahakali (the ferocious goddess), this artwork by Kailash Raj speaks for the paradoxically divine nature of Shivaa (the wife of Shiva) and the inseparability of the two.
The great mother-goddess stands in the depths of the wilderness accompanied by her Simha (lion) who acts as Devi’s hand rest. His mighty roar and raised paw add magnificent dynamism to the painting. In her appearance, goddess Parvati mirrors the mystifying appearance of Shiva, with her luxurious hair knotted in Jata while forming a cape on her back, the Chandrama (crescent moon) adorning her Jata, the third-eye marking her supreme wisdom, Mundamala (garlands of skulls) in her neck and waist, Sarpa (serpent) Aabhushana (ornament) on her arms, and Baaghacharma (tiger hide) as her waist cloth.
These perplexing fineries of Shiva are also seen in the artistic rendition of Devi Mahakali, who represents goddess Parvati's Taamasic (potent and destructive) nature. Complementing her baffling Shringaar (ornamentation) are pieces of jewelry fashioned out of pearls, emeralds, and rubies worn by the goddess in her ear (Ratna-Kundala), neck (Ratna-Haar), and ankles (gemmed anklets), a cue to her immensely graceful form as Uma, who is Shiva’s beloved wife and the zenith of auspicious womanly qualities.
The watercolor goddess Parvati painting depicts her in a four-armed or Chatur-Bhuja form- her Trishula (trident) resting on the severed head of an enemy on the ground which she uses victoriously as her foot-rest, a Khadaga (sword), a bowl containing a blazing fire that symbolizes Chidagni (the fire of consciousness) whose embodiment is the goddess herself and another severed head in her primary left hand.
Smoke emerging from the fire covers the background of the painting, instilling a distinctive mystique to it. A body that probably belongs to one of the two severed heads lies near Maa Parvati’s left leg, lifeless and covered in blood.
The theme of paradoxical beauty seems to be running throughout this Devi Parvati painting, where on one hand the heart softens upon seeing the majestic grace of Devi’s posture and the pink wildflower tucked in her hair, but on the other hand the tightened grip of Shakti on the sword and the hair of her enemy bring to mind the image of a vicious Mahakali on the battleground.
Unwavering and emanating a celestial calm, the countenance of Devi Parvati is unaffected by the wondering ambiance that she inhabits. Just as Shiva remains above the rules of Kaala (time and death), Shivaa (Parvati) is beyond the ripples that form in the Bhava-Saagara (the ocean of existence). She is the entire ocean and what lies farther away!
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