Vaman Avatara (The Ten Incarnations of Lord Vishnu)

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Item Code:	PG51
Artist:	Rabi Behera
Specifications:	Watercolor on PattiArtist Rabi Behera
Dimensions	11.0 inches X 17.0 inches

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Vishnu's incarnation as Vamana is one of his three incarnations which had their origin in Vedic literature. In Vedic texts Vamana seems to have been a mere transform of Vishnu, a form to which Vishnu resorts when gods pray him for freeing their habitation from demons. Here, with his third stride he covers the Vedas and Vak, that is, all manifest and unmanifest, and known and spoken. However, in Puranas Vamana emerges as a regular incarnation born as Aditi's son by sage Kashypa for recovering gods' lost power and position. As the myth has is, Bali, fourth in the line of Hiranyakashipu and grandson of Prahlad, was the king of demons. His exceptional prowess had given him the name Mahabali - the mighty. Once when battling for taking possession of Ambrosia, the nectar, obtained from churning of ocean, Indra beheaded him with his disc. However, his demon-followers picked up his body and carried it to nether world where Shukracharya, demons' teacher, revived him to life. Now he devoted himself to further penance and acquired such powers as would defeat gods. With renewed vigour and powers he not only defeated gods, destroyed their power and position but also evicted them of their habitation. Indra's mother Aditi, sage Kashyapa's wife, heard all about it which filled her with grief. When Kashyapa knew the reason of her sadness, he advised her to observe a particular fast which would please Vishnu who alone could restore to gods their position and power. Aditi did as Kashyapa advised her. Pleased by her fast, Vishnu appeared before her and as she desired he took birth as her son. He was born in dwarfish form and was named Vamana.

At that time Mahabali was celebrating the occasion of his conquest over the world at Narmada's banks by performing sacrifice. In the gathering were a large number of hermits and Brahmins. Vamana also joined them. When his turn came, he prayed Mahabali to grant him a piece of land measuring three strides as alms. Mahabali's teacher Shukracharya warned him against granting the request but Mahabali paid no heed and granted it. He asked Vamana to measure it. Vamana expanded his body to such size that in two steps he covered the entire earth, heaven, and Patala, and asked the demon king for the space to put his third. Mahabali, true to his words, presented his head and asked Vamana to put it there. Vishnu placed his foot on his head and pushed him into the Patala and thus, gods' position and power were restored. Vishnu in this form has been designated in Puranas as Vishnu-kranta, Tri-Vikram or Vikranta, a form widely represented also in early sculptures.

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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.