Vishnu Offering His Eye in Place of the Missing Lotus
(Illustration to the Shiva Purana)

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As the text has it, once gods, unable to confront some mighty demons who ousted them from Heaven and stripped them of all their powers and possessions, approached Vishnu for rescuing them from the clutches of their foes and regain their lost abode and belongings. Vishnu consoled them but also expressed his fear that he might not eliminate them as they were great warriors and exceptionally powerful. He however assured them that he would seek Shiva's blessings and with his help would surely destroy them. This revived their confidence and well assured they returned. For fulfilling gods' errand Vishnu meditated on Shiva and began thinking how to please him. Considering penance to be its most potential instrument he retired to the Himalayas and close to the Mount Kailash, Shiva's abode, made a fire-place, installed fire in it, collected fresh lotuses from the nearby Mansarovara lake, adorned with them the yajna premises, and seated by it began doing rigorous penance.

He started with ritual worship by making offerings to the Agni, reciting sacred syllables and hymns hailing Lord Shiva and praying him for his favour. This, however, did not please Shiva. Vishnu thought of other ways. He then indulged in every mode of penance but this too did not yield result. Suddenly in his mind occurred Shiva's Sahastra-nama-japa - recitation of Shiva's one thousand name-hymns. He collected one thousand lotuses with the vow to offer one lotus each time the nama-mantra - name-hymn, completed, and after so deciding resorted to the japa-rite. To test his commitment Shiva secretly removed one of his lotuses. Hence, when Vishnu completed the last hymn and with closed eyes directed his hand to pick up the last lotus, it was not found. He opened his eyes but only to find it missing. With no part of the world beyond him, Vishnu searched every inch of its space but with failure. He remembered suddenly that in hymns hailing him he was admired as 'lotus-eyed' and hence he could offer one of his eyes in place of the missing lotus. With this he removed one of his eyes and accomplished his vow by offering it. Finally, convinced with the genuineness of Vishnu's devotion Shiva appeared and gave him the Sudarshana-chakra, the weapon never to fail in achieving its target, and blessed him to succeed against gods' foes.

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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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.