Here, however, the combined form of Shiva and Parvati has been depicted as the primordial parents of the universe. In the painting the four-armed Ardhanarishvara is shown standing on a lotus above the water in Agni. It is said that primeval parents first revealed themselves in the Agni at the creation of the world when all was perfect void and from which at his own will the primordial parents was produced. The concept of Ardhanarishvara has been depicted in many Brahmanical texts. The opening verse of the Raghuvamsam of Kalidasa gives a beautiful exposition of this image concept in the following words: "vagarthaviva sampriktau vagartha-pratipattaye, jagatah pitarau vande parvati-parameshvara." Kalidas's concept of the primeval parents of the world, Pavati-Parameshvara, united closely and inseparably like world and their senses, brings to our mind the image of Ardhanarishvara.

This composite form is not only referred to as Ardhanarishvara or Parvati-Parameshvara, there is several other terms frequently used to denote the combined form of Shiva and Parvati. The Vishnudharmottaram refers to this image type as Gaurishvara, and states that this type of image has its left part visualized as consort (vamardhadayitatanuh) of Shambhu or Shiva. It further states that this type of image embodies the concept of non-duality of Purusha (male principle) and Prakriti (female principle) : abhedabhinna prakritih purusena. This text also gives simple definition of this iconic form – the image should be four-armed, the two right hands hold the attributes of Shiva – and the two left hands show the attributes of Parvati. Sometimes vahana (vehicle) of the respective deities have also been shown. The Manasollasa gives a more elaborate description of the image-type: the right chest of the figure should be flat, while the left should show the female breast as shown in the present painting. The hair of right half of the image should be arranged in matted locks, while the hair of the left part of the head should be disposed in a bun. The forehead should have, on its right part, the half third eye.

The composite figure has sweet oval face with gold crown. The right half of the head has skulls in the crown. River Gang is flowing from the coils of Shiva's matted hair. The right half is wearing necklaces of Rudraksha, while the left half, gold necklaces. The right half, moreover, is adorned with serpent armlets, bracelets and anklets of Rudraksha, while the left half is adorned with exquisitely designed gold armlets, bracelets and anklets. There is a serpent and a flowing scarf on the shoulder of Shiva. The right half is wearing a tiger-skin skirt, while the left half a silk dhoti. One right hand of Ardhanarishvara is holding a trident with damaru, while the lower right hand is in abhaya-mudra. The upper left hand holds blooming flowers, while the lower right hand is in varada-mudra. The vahana of Shiva, Nandi has been shown on the right of the lotus throne, while lion, vehicle of Parvati, on the left of the throne. The border of the aureole of the left side is exquisitely designed in gold. The composition and colour-combination is brilliant.

Select Bibliography

D.C. Bhattacharyya, Iconology of Composite Images, Delhi, 1980

D.C. Sircar (Ed.), Shakti Cult and Tara, Calcutta, 1967

Jitendra Nath Banerjea, The Development of Hindu Iconography, Delhi, 2002

N.K. Bhattasali, Iconography of the Buddhist and Iconographical Sculptures in the Dacca Museum, Dacca, 1929, Delhi, 1972 (reprint)

R.C. Majumdar (Ed.), The Age of Imperial Kanauj, Bombay, 1955

T.A. Gopinatha Rao, Elements Of Hindu Iconography, Delhi, 1997

This description is by Dr. Shailendra K. Verma, whose Doctorate thesis is on "Emergence and Evolution of the Buddha Image (From its inception to 8th century A.D.)".

Unveiling the Divine Art: Journey into the Making of Thangkas

A Thangka is a traditional Tibetan Buddhist painting that usually depicts a Buddhist Deity (Buddha or Bodhisattva), a scene, or a mandala. These paintings are considered important paraphernalia in Buddhist rituals. They are used to teach the life of the Buddha, various lamas, and Bodhisattvas to the monastic students, and are also useful in visualizing the deity while meditating. One of the most important subjects of thangkas is the Bhavacakra (the wheel of life) which depicts the Art of Enlightenment. It is believed that Thangka paintings were developed over the centuries from the murals, of which only a few can be seen in the Ajanta caves in India and the Mogao caves in Gansu Province, Tibet. Thangkas are painted on cotton or silk applique and are usually small in size. The artist of these paintings is highly trained and has a proper understanding of Buddhist philosophy, knowledge, and background to create a realistic and bona fide painting.

The process of making a thangka begins with stitching a loosely woven cotton fabric onto a wooden frame. Traditionally, the canvas was prepared by coating it with gesso, chalk, and base pigment.

After this, the outline of the form of the deity is sketched with a pencil or charcoal onto the canvas using iconographic grids. The drawing process is followed in accordance with strict guidelines laid out in Buddhist scriptures. The systematic grid helps the artist to make a geometrical and professional painting. When the drawing of the figures is finalized and adjusted, it is then outlined with black ink.

Earlier, a special paint of different colors was made by mixing powdered forms of organic (vegetable) and mineral pigments in a water-soluble adhesive. Nowadays, artists use acrylic paints instead. The colors are now applied to the sketch using the wet and dry brush techniques. One of the characteristic features of a thangka is the use of vibrant colors such as red, blue, black, green, yellow, etc.

In the final step, pure gold is coated over some parts of the thangka to increase its beauty. Due to this beautification, thangkas are much more expensive and also stand out from other ordinary paintings.

Thangka paintings are generally kept unrolled when not on display on the wall. They also come with a frame, a silken cover in front, and a textile backing to protect the painting from getting damaged. Because Thangkas are delicate in nature, they are recommended to be kept in places with no excess moisture and where there is not much exposure to sunlight. This makes them last a long time without their colors fading away. Painting a thangka is an elaborate and complex process and requires excellent skills. A skilled artist can take up to 6 months to complete a detailed thangka painting. In earlier times, thangka painters were lamas that spent many years on Buddhist studies before they painted.