ShodhKosh: Journal of Visual and Performing ArtsISSN (Online): 2582-7472
Depiction of Hindu Iconography in the paintings of Thota Vaikuntam Banti Kumar 1 1 Research
Scholar, Department of Fine Arts, Aligarh Muslim University, Aligarh, Inida 2 Associate
Professor, Department of Fine Arts, Women’s College, Aligarh Muslim University,
Aligarh, India
1. INTRODUCTION In Hinduism, the imagery of Vishnu, Shiva and Devi constitutes the primary visual imagery. Gods and goddesses are worshipped as a concrete image (murti) made, generally, in stone, terracotta, plaster, ivory, and metal ("Hindu iconography" 2021). Over the millennia of its development, Hinduism has adopted several iconic symbols, forming a major part of Hindu iconography, that are imbued with spiritual meaning based on either the scriptures or cultural traditions. The exact significance accorded to any of the icons varies with region, period, patronization and denomination of the followers. Over time, some of the symbols, for instance, the Swastika, have broader association while others like Aum are recognized as unique representations of Hinduism ("Indian Iconography and sculptural art" 2021). Other aspects of Hindu iconography are, for example, the terms murti for icons and mudra for gestures and positions of the hands and body. An icon, derived from the Greek word
"eikon," refers to a representation of a God or Saint in a painting,
mosaic, or sculpture that is intended for worship or is related to religious
rites. While it shares some similarities with primitive fetishist signs used in
simple rituals, it holds a clearer and more sophisticated meaning. This Greek
term "eikon" finds its close counterparts in Indian terminologies
like area, beta, and vigraha, which also refer to
representations of deities or saints receiving the adoration of their bhaktas
or worshipers. In some Indian works of literature, these icons are described as
the actual bodies or forms (Tanu or Rupa) of the gods. Most often, these
depictions are anthropomorphic
or theomorphic, but they can
also take the form of symbolic representations with no clear shape. Iconography
is a specialized discipline that concerns itself with the study of these
religious images. Banerjea (1956), p. 1. In the
realm of religious iconography, icons or images of religious figures and symbols
hold importance in worship and religious rituals. These icons carry specific
meanings and convey theological concepts to believers. Additionally,
iconography encompasses the process of creating sacred images and the artistic
techniques and conventions employed in their production. The
Hindu iconography is largely anthropomorphic, which implies the depiction of
Gods and goddesses in humanized forms. For example, the artists depiction of
ten heads of a human to represent Ravana, symbolizes that Ravana’s mind was as
powerful as the mind of ten humans. In Indian art there are examples of
enormous scale of the statutes of Gods and goddesses made in
order to demonstrate the superiority of God. In Hindu idols, each idol
has two, four, six and sometimes eight hands. And in each hand, there is a
different symbol or instrument or gesture denoting various meanings (Achar). Everything connected with the Hindu
icon has a symbolic meaning; the posture, gestures, ornaments, number of arms,
weapons, vehicle, consorts and associate deities (parivāra
devatā). The symbolism or the iconic imagery has
its origin in various sacred texts such as Brāhmanas
and Aranyakas, and later the iconic symbols are
explained in the various Purāṇas such as Srimad Bhāgavatam, Viṣṇu Purāṇa,
Śiva Purāṇa; Upaṇiṣads
such as Gopāla-uttara-tāpini Upaniṣad, Kṛṣṇa
Upaniṣad and Āgamas
and so on. The research
paper focuses on the paintings of Thota Vaikuntam who
predominantly draws from Hindu iconography. The objective of employing such
references is to convey ancient cultural aspects to contemporary society and to
fulfill the purpose of Hindu iconography through the artist's work. Many modern
Indian artists have incorporated, depicted or appropriated Hindu iconography
into their artworks. Of the several reasons, the one that appears most common
is that, by means of re-visiting iconographic themes the artists want to
reconnect with the values that they hold to be significantly relevant to the
contemporary society and reclaim as a perennial way of life. Investing each
symbol and sign with a sense of profundity the artist brings the ancient Indian
aura of divinity and spirituality back to life through these paintings. Some of
the most recurrent examples of iconographic representation that Vaikuntam has extensively explored are, for instance,
Krishna with a flute; Krishna shown lifting the Govardhan Mountain to protect
Vrindavan's villagers, birds, and animals from Indra's wrath; Radha and Krishna
and so on. 2. RESEARCH METHODOLOGY In this
research paper, the researcher aims to explore and analyze scripts and
artifacts that shed light on the fundamental dimensions of art, particularly
focusing on the unexplored aspects within Hindu iconography. To achieve this,
the researcher extensively examines relevant literature and thoroughly
investigates the icons and symbols present in the artist's work concerning
Hindu iconography. The study involves a comprehensive review of books written
by prominent authors who specialize in Hindu iconography, along with a thorough
analysis of the artist's body of work. Through this examination, the researcher
uncovers confidential information pertaining to previously unexplored areas
within the realm of iconography. The research
methodology relies on secondary data and draws from various sources, including
books, journals, research papers, and artworks. By utilizing descriptive
research methods, the paper documents and observes the multiple transformations
in art forms facilitated by the influence of Hindu iconography. Overall, this
research paper delves into the lesser-explored dimensions of art and
iconography by drawing from a wide array of data sources and using a
descriptive approach to comprehensively understand the changes brought about by
Hindu iconography in the realm of art. 3. OBJECTIVE The focus of
the present study is to trace and investigate the impact of Hindu iconography
on modern art in India with specific reference to the works of Thota Vaikuntham.
By examining the influence of Hindu iconography on modern artists, the research
aims to shed light on how this rich traditional practice of the past has
inspired and shaped artistic expressions in the present. By closely
examining contemporary artworks, the research seeks to identify how artists
have adapted, appropriated and reinterpreted traditional iconography to suit
modern sensibilities and societal contexts. The research
also focuses on understanding the transformative changes that Hindu iconography
has brought to different art forms over time. By studying the evolution of
artistic styles, techniques, and themes, the study aims to reveal the dynamic
relationship between Hindu symbols and icons and their influence on the visual
arts. In essence,
this study endeavors to present a comprehensive and detailed exploration of how
Hindu iconography has left an indelible mark on the artistic landscape of
India, from ancient times to contemporary art scenes. By tracing this influence
and delving into the nuanced connections between icons, symbols, and art forms,
the research provides valuable insights into the cultural and artistic heritage
and its continuing relevance in the contemporary art. 4. LITERATURE
REVIEW Many
scholars hold the view that image worship was part of the Vedic culture, though
there are many contrary views as well. One of the most cited book
in the context of Hindu iconography is Elements of Hindu Iconography, 1912 by
Gopinath Rao, (1872-1919), Indian archeologist and
epigraphist. Gopinath Rao for instance, affirms that image worship in India to
be a very ancient tradition citing examples from the period of Yaksa and Ptanjali. As mentioned by Ratan Parimoo,
‘Ptanjali had defined dharana as the process of fixing the mind on some object, well
defined in space, while Panini (around sixth century B.C.) had explained the
meaning of pratikrti
as “anything made after an original”’ Parimoo (2023): 19. As mentioned by Parimoo that Rao was clear in his methodological approach
by ‘listing postures of deities and ayudhas including their symbolism before describing the
deities based on references from Silpa
texts as well as Puranic myths. Rao’s contribution in the field of Hindu
iconography, especially his scholarship on Saivism and Saiva iconography, will
form the basic framework in identifying and classifying the knowledge of Hindu
iconography with respect to traditional Indian art. The classical scholarship
on Hindu iconography will further guide in identifying, assessing and analyzing its impact on modern Indian art in general and in
the artwork of select modern Indian artists in particular. The
references that Parimoo is hinting at are very
crucial in developing a basic understanding as how Hindu iconography was
formulated to interpret the ancient and classical art of India. For instance, Parimoo recounts that: “Rao had incorporated
Coomaraswamy’s paper on Dance of Siva (1911) in his section on nrtya-murtis, the latter had acknowledged in
a paper of 1920s that Gopinath Rao had quite rightly affirmed that the
so-called Trimurti of Elephanta caves was essentially
a Saivite image known by the nomenclature, Sdasiva or
Mhadeva, citing references concerning the five heads
and corresponding five powers attributed to Siva. He identified further Saivite
images under this classification. He also discovered textual sources for the
eight-headed images of Siva. This section paved the way for Stella Kramrich’s paper on Siva Mahadeva at Elephanta
(1946) and with the readymade textual sources available, enabled her to create
an integrated prose, interweaving form and content. Parimoo further cautions about the
possibility of prejudices and biases that the implication of iconography can
lead to, as he cites the views asserted by J.N. Banarjea, Indian historian and
Indologist, in his book The Development of Indian Iconography, 1941: The term ‘icon’ (icon, Gr.
Eikon), figure representing a deity, or a saint, in painting, mosaic and
sculpture, which is in some way or the other associated with the rituals
connected with the worship of different divinities. Banerjee’s
understanding of Hindu iconography, however, is limited in the sense that he
perceived iconography as subservient to religion. His accounts on iconography
also suffered due to his prejudiced response to pre-historic and tribal artists
for treating them as fetishistic and crude. It is
important to refer to and take into account all shades
of scholarship in order to fully understand the significance of Hindu
iconography and its relevance to modern Indian art. In
the western art history, the contribution of Erwin Panofsky is considered
paramount in the development of iconography as a branch of study that deals
with “exploration and interpretation of the subject-matter in a work of art”. The term iconography has its origin in the
Greek words where ‘eikon, means “image” and graphe,
means “writing”. In this way iconography implies “the way in which an artist “writes” the image, as well as what the
image itself “writes”—that is, the story”. Taking into
account both the approaches as applied by Rao and Panofsky, we can
conveniently overcome the limited and prejudiced approach of the likes of
Banerjee. Panofsky formulated three broad methods of iconography: description,
analysis and contextualized interpretation of the art object.
As a
comparative method, iconography will attempt to explore, analyse and interpret
the content or subject matter of the artworks in a specific context, that is,
to locate the impact or influence or presence of Hindu iconography in the
selected paintings of modern Indian artists. Further, Panofsky realized that iconography is limited as it
is traditionally concerned with religious content, and thus, in
an attempt to expand its scope, he introduced the term “iconology.” Iconology, according to
Panofsky, not only expands the scope of ‘iconography’ beyond religious content
but also includes all possible aspects that would “illuminate the content of a
work of art”. The progression from “iconography studies” to “iconology”
emphasizes the fact that mere “identification”, “authentication” or even
“stylistic analysis”, attributes of “iconography studies”, was not enough to
grasp the holistic understanding of a work of art, hence a more rigorous
approach is required to not only study the content of an artwork but also the
contextual circumstances and temporal environment, historical purpose, cultural
significance, political dynamics and so on. In
this way, methodologically, the present study will apply both ‘iconographic’
and ‘iconological’ approaches. ‘Iconographic’ approach will address the
traditional/classical Indian art in the light of Hindu iconography with
reference to the textual scholarship and visual sources. ‘Iconological’
approach will explore, analyze and contextually
interpret, using qualitative interpretation, the selected art works in the
light of the impact of tradition on Indian modernism. The
works of some of the prominent scholars that will play a crucial role in
identifying and exploring various dimensions of Hindu iconography are: Bhattacharya, B.C. The Jaina Iconography, Chandra,
Pramod, On the Study of Indian Art, Coomaraswamy, A.K. ‘The Origin of the
Buddha Image’, Eck, Diana L., Darśan: Seeing the
Divine Image in India, Flood, Gavin, An Introduction to Hinduism, Huntington,
Susan, The Art of Ancient India, Sivaramamurti, C.
Sanskrit Literature and Art: Mirror of Indian Culture, Memoirs of the
Archaeological Survey of India. Many
modern and contemporary Indian artists have drawn inspiration from various
aspects of Hinduism. Some inspirations are direct while some are subtle or
metaphorical. The present paper may not be able to incorporate all such
artworks. However, the artists who have been consistently drawing inspiration
from Hinduism and whose works reflect a sustained aesthetic and conceptual
engagement with Hindu iconography will find a mention here. There is a great
possibility that not many artworks, that bear an explicit impact of Hindu
iconography, will have been a subject of some serious research. This would
imply that many relevant art works have hardly been approached with an academic
investigation in the form of books, articles, curatorial exhibitions and so on.
In this case various other methods, such as interviews, exhibition catalogue,
newspaper reviews, dairies of the artist, letters and so on will compensate the
absence of literature. 5. THOTA VAIKUNTHAM Thota Vaikuntham was
born in 1942 in Burugupali, Andhra Pradesh, in South
India. He drew inspiration from rural areas of the state, with village men and
women often being central characters in his works. In
particular, women from Telangana have been the main subjects of his
artworks. His
earliest childhood sketches were largely based on the religious figures, Rama,
Hanuman, Krishna, and Ravana, drawn from the great Hindu epic Ramayana, the
engagement that later set the tone for his works based on Hindu iconography. Born to a very modest family his parents understood his passion for art and
allowed him to peruse it as a career, a very rare dispensation in a middle
family. He joined painting department at the College
of Fine Arts, Hyderabad and later had the privilege to continue his
training at the prestigious Faculty of Fine Arts, M S University Baroda. Under the guidance of the great mentor-artist
K G Subramanyan Vaikuntham was able to develop a
sustained engagement with indigenous cultural milieu he was part of and, as a result,
developed a distinctively unique pictorial vocabulary. Vaikuntham,
today, is primarily known for his lifelong artistic engagement with the rural
life of Telangana and rich and vibrant colour plate.
However, he has exuberantly painted figures that explicitly draw from Hindu
iconography, which doesn’t find much mention, and thus becomes the focus of the
present study. 6. ICONOGRAPHY OF KRISHNA Krishna holds a
significant place in Hinduism as the eighth incarnation of Lord Vishnu and is
revered as the Supreme Lord in his own right. He is adored for his qualities of
compassion, sensitivity, and love, making him one of the most revered gods in
Indian culture. Hindus celebrate Krishna's birthday annually as Krishna
Janmashtami. He is commonly depicted with a flute in hand. In paintings and
sculptures throughout India, Krishna is portrayed in various forms. He has a
beautiful blue body with four arms, holding a lotus flower symbolizing purity,
a crescent moon above his head representing knowledge, and two wheels
representing power. Vredeveld (2022) In Indian
tradition, Krishna is depicted in various forms, sharing common characteristics
with dark, black, or blue skin colour, as the term
Krishna means black in Sanskrit. In this incarnation, he, like Vishnu, has
slain numerous entities, including his maternal uncle Kansa. His bride in this
form is Rukmini. Dashavatar (2015). However, in ancient and medieval
stone carvings and stone-based artworks Krishna is depicted in human skin
color. In some texts, his body color is poetically described as the color of a
jamun, which is a purple-colored fruit. Vredeveld (2022) 1) Krishna and Govardhan Mountain Vrindavan is
situated on the banks of the river Yamuna, and Mathura is a city near
Vrindavan. Krishna's life, from infancy to adulthood, unfolded in this place,
making it a significant pilgrimage center for Vaishnavism. Figure 1
Figure 1: “Krishna lifting the Govardhan Hill” In this painting, Vaikuntham depicts the
story of Krishna lifting the Govardhan Hill, which was a mountain known as
Govardhan Hill. The story behind this painting is that Krishna lifted the
Govardhan Mountain on his finger to protect the Brajwasis
from Indra's wrath. Krishna is portrayed in a three-fold posture known as the Tribhang Mudra, adding movement to the picture. He is
adorned with jewels and a crown, holding a flute in one hand. The surroundings
feature Brajwasis, animals (cows), and birds (parrots).
Representations of Krishna
(2023) 2) Krishna and the Gopis The story of
Krishna stealing the garments of gopis bathing in the
Yamuna frequently appears in works of art. The folio from the Bhagavata Purana
manuscript, received in the 16th century, contains its reference. Krishna's
intention in stealing the clothes was to teach the gopis
not to bathe half-naked in the water, as it exposes them to the water deity
(Varun). After learning of this, the Figure 2
Gopis express
regret to Krishna, who then returns the garments to them. The Gopis desired him
as a spouse due to their affection for him. Representations of Krishna
(2023) Artists have
portrayed Krishna and the Gopis more frequently, particularly depicting the gopis dancing and chanting around Krishna in what is known
as Ras Leela. The artist positions Krishna at the center of this painting, with
Gopis seated around him. Krishna is depicted playing the flute while dressed in
a blue T-shirt and a white dhoti, symbolizing purity. A parrot sits on his
thigh, and the gopis are shown engaging in various
activities, with each of them having two or more parrots as a symbol of their affection.
The painter effectively demonstrates that despite being involved in multiple
activities, the gopis' focus remains on Krishna. Representations of Krishna
(2023) 3) Krishna and Radha Radha holds a
special place among the Gopis and is frequently depicted with Krishna in
various settings. The Vaishnava sect, centered around Rama and Krishna, gained
popularity in western, northern, and central India as a Bhakti movement until
the sixteenth century. After that, the movement spread throughout the Indian
subcontinent, and Krishna came to be worshipped not only as a god but also as
an ideal. Krishna was
regarded as the creator of the universe, while Radha symbolized the human soul.
The devotion of the soul to the Supreme is beautifully portrayed in the Gita
Govinda painting, showcasing Radha's self-sacrifice for her beloved Krishna. Gita Govinda, a remarkable composition
by Jayadeva in the twelfth century, stands as a profound Sanskrit poem where
the dominant Shringar Rasa, or the essence of
romantic love, prevails. Within its verses, the spiritual love shared between
Radha and Krishna manifests in a tangible, physical form, evoking deep emotions
and devotion to its readers. Representations of Krishna
(2023) Figure 3
Similarly, in
the fourteenth century, Bhanudatta
crafted the Sanskrit text Rasa Manjari,
a literary masterpiece referred to as the "Bouquet of Bliss." This
enchanting work not only explores the diverse rasas or emotions but also delves
into the intricate differences between the hero (male) and heroine (female)
characters. These distinctions are based on various factors, such as their age
- encompassing childhood, youth, and adulthood - and their individual
characteristics, aptly described through Angik Vaskasajja - categories like Padmini, Trani, Shankhini,
Hastini, and more. Representations of Krishna
(2023) Both Gita Govinda and Rasa Manjari
hold a significant place in Indian literature, showcasing the depth of emotions
and portraying the eternal love and devotion that has captivated the hearts of
countless readers and devotees over the centuries. The richness of their poetry
and the exploration of human emotions continue to inspire and resonate with
audiences, making them timeless classics in the realm of Indian literature. Representations of Krishna
(2023) 7. ICONOGRAPHY OF GANESHA The name
Ganesha is derived from the combination of two words - "Gana" and
"Ish." "Gana" refers to a "host,"
"crowd," or "an army of deities," while "Ish"
signifies "ruler," "lord," or "sovereign."
Therefore, Ganapati, or Lord Ganesha, can be understood as the "lord of
hosts" or the "Lord of the Gunas." His divine presence holds
significant importance in Hinduism. Forms of Ganesha. (2020) Lord Ganesha is
known by an array of names and forms, each
representing unique aspects of his divine nature. Some of his well-known
epithets include Vighneshwar, the remover of obstacles; Ekdant, the one with a
single tusk; Siddhi Daata, the bestower of success;
Sumukh, the one with a beautiful face; Kapil, the reddish-brown one; Gajakarnak, with elephant-like ears; Lambodar, the one with
a large belly; Vikat, the formidable one; Vighnanash,
the destroyer of obstacles; Vinayaka, the leader of all beings; Dhumraketu, the one with smoke-hued banner; Gandhakshya, the one with a fragrant aura; Bhalchandra, the
moon-crested one; Gajanan, the elephant-faced; and many more. Each name
encapsulates the divine qualities and attributes of Lord Ganesha, endowing him
with diverse significance and symbolism. Forms of Ganesha. (2020) In traditional
iconography, Ganesha is often depicted with his consorts, Buddhi and Siddhi,
standing alongside him. Buddhi, representing wisdom and intellect, symbolizes
the power of knowledge and discernment. Siddhi, on the other hand, embodies
success and achievement, representing the fruition of one's endeavors and
spiritual accomplishments. Together, Buddhi and Siddhi are seen as the two
powers of Lord Ganesha, signifying the union of wisdom and success, which are
integral in navigating life's journey with divine guidance and blessings.
Ganesha's divine presence radiates profound wisdom, auspiciousness, and
benevolence, making him a beloved and revered deity among devotees across the
world. Forms of Ganesha. (2020) Elephant head: The iconic representation of Ganesha
with an elephant head has a fascinating mythological background. When Ganesha's head was
accidentally severed, Lord Shiva brought him back to life by placing the head
of an elephant on his body. In recognition of his bravery and loyalty, Shiva
blessed Ganesha to be worshiped before all other deities. There are three
different versions of the story behind Ganesha’s severed head. Murthy (2017) According to the first story
described in Varaha Purana, Shiva created Ganesha by mixing five elements.
Because of this, he looked very beautiful and attractive. Due to this, there
was panic among the deities. That is why Shiva increased the size of Ganesha's
stomach and gave the shape of an elephant's head to his head, which would
reduce his beauty and attractiveness. Saffronart (2023) According to the second story,
due to the sight of Shani Dev, the head of baby Ganesha was burnt to ashes.
Brahma told the sad Parvati that whose head would be found first, his head
would be placed on the head of Ganesha. The first head found was that of a baby
elephant. In this way, Ganesh became 'Gajanan. Kishor (2019) According to the third story
described in Siva Purana, Mother Parvati created Ganesha from the dirt of her
body. After making him sit at the door, Parvati started taking a bath.
Meanwhile, Shiva came and started entering Parvati's house. When Ganesha stopped
him, an angry Shiva beheaded him. Then, to please the sad Parvati, Shiva placed
the head of an elephant on the head of the child Ganesha. From then onwards,
Ganesh started being called 'Gajanan'. Unveiling the Symbolism of Ganesha (2023). Ganesha's hands and feet: Ganesha is often depicted with four arms, but in
various forms, he can be seen with 2, 6, 8, 10, or 16 arms, each representing
different attributes. Symbolically, Ganesha's multiple arms signify his ability
to overcome physical and spiritual obstacles. He is portrayed holding various
objects, such as a conch shell, axe, rope, noose, and trident. Like other
deities, Ganesha is often shown seated on a lotus, representing knowledge and
divinity. One of his hands is usually seen in the Abhay Mudra, a gesture of
fearlessness and protection. Furthermore, Ganesha's posture, with one leg on
the ground and the other bent, symbolizes the balance between fulfilling
worldly duties and recognizing our divine nature. Left-facing trunk and Right-facing trunk: The direction of Ganesha's trunk
also holds significance. When his trunk faces the left, it is called Ganesha Vastu, representing the peaceful aspect of Ganesha and is
preferred for attaining inner peace. Conversely, when his trunk faces the
right, it is known as Dakshinabhimukhi or
Siddhi-Vinayak, depicting a more aggressive and powerful energy. Broken tusk: In some depictions, Ganesha is shown with a broken
tusk, earning him the name Ekadanta. According to legend, Ganesha used his tusk
as a pen to write the Mahabharata, symbolizing his wisdom and intellect. The
multifaceted symbolism of Lord Ganesha's various attributes reflects his
profound significance as the remover of obstacles, the bestower of blessings,
and the embodiment of wisdom and divine energy in Hindu tradition. Forms of Ganesha. (2020) The meaning behind some of the characteristic symbols
depicted in Hindu iconography: ·
Big ears and small mouth: listen more and speak less ·
Big head - think big, learn more, and use your intelligence to its full
potential. ·
Small eyes - concentrate, see beyond what you see, and use all senses. ·
Rope - to bring you closer to the highest goal. ·
One Tusk - Keep the Good and Throw the Bad ·
Trunk - high efficiency and adaptability ·
Modak - Reward of Sadhana ·
Axe - To cut all the bonds of attachment ·
Blessings - Blesses and protects on the spiritual path to the Supreme. ·
Big stomach - digest all the good and bad in life calmly ·
Prasad - The whole world is at your feet and begging for you ·
Mouse: Desire, unless controlled, can cause havoc. You ride the desire
and keep it under control and don't let it take you for a ride. Ganesh symbols and their
meanings. (n.d.) Thota Vaikuntam has painted
several forms of Ganesha in his paintings:
Figure 4 Ganesh Pooja: The painting depicts the ritual of Ganesh Pooja where
Ganesh is in a standing posture. And his one hand is in Abhay Mudra. According
to Hinduism the two-hand form of Lord Ganesha is known as “Dwibhuja
Ganapati”. He has worn a crown on his head.
There is a circle behind his head, which is called Sahasrar
Chakra, which means thousand, infinite, innumerable Pawandevi (2023). He wears a red color, dhoti. We see
Ganesha is surrounded by many people praying with
folded hands. The sublime scale of Ganesha is shown by making him larger than
the devotees. Figure 5
Figure 5 Ganesha (2015): In this painting, the artist has shown the four hands of
Ganesha. One hand is in
Abhaya Mudra, while the other is holding a Modak. He has a snake tied around his stomach. There
is also a mouse sitting near him, which is his vehicle, which is a symbol of
Ganesha's abilities. The mouse is also called Mooshak.
The mouse
represents wisdom, brilliance, and intelligence, which is presided over by
Ganesha. The mouse symbolizes the ego, which can gnaw at all virtues and must
be tamed. There are some laddoos (sweets) in the basket. Two utensils are also kept near them. And two other hands are in different postures. He is wearing a
blue dhoti. Ganesha’s vaahana.
(2020)
8. ICONOGRAPHY OF SHIVA Shiva, a
Sanskrit word meaning 'auspicious,' is one of the three main deities in
Hinduism and is worshipped as the supreme God. He is also known by several
names, such as Shambhu (gentle), Shankara (benevolent), Mahesh (great Lord),
and Mahadeva (great deity). Shiva is represented in various forms, alongside
his wife Parvati and son Skanda, as the cosmic dancer Nataraja, as a naked
ascetic, a mendicant, a yogi, with a dog (Bhairava),
and even with a body that is half male and half female (Ardhanarishvara),
symbolizing the union of Shiva and his consort. Shiva embodies
diverse aspects, including being a great ascetic and the Lord of fertility. As
a bisexual deity, he holds dominion over both poison and medicine. His
multifaceted nature makes him a significant and revered figure in Hindu
mythology and spirituality. Doniger (2023) There
are explained some symbols and their meanings: ·
Moon: Shiva is the element where there is no mind and the moon is the mind's symbol. Without meaning,
'mindless' cannot be expressed or understood. No-mind, infinite consciousness
requires a mind to express itself in the manifested world. So that little mind
(crescent) is on the forehead to describe the indescribable. Wisdom is beyond
the mind, but it needs to be expressed by the touch of the mind, and the
crescent moon symbolizes this. Knowledge is beyond the mind, but it needs to be
expressed with the color of the mind and is symbolized by the crescent moon. Symbolism Behind the Form of
Shiva (2023) ·
Snake: In the state of
meditation, when the eyes are closed, it appears as though the individual is
unconscious, but he is awake. A serpent is depicted around the neck of Lord
Shiva to signify this state of consciousness. To demonstrate Shiva's attention,
they wrapped a serpent around his neck. Therefore, the snake represents
alertness. Snakes are also very sensitive to certain energies. There is a snake
around Shiva's neck. Vishuddhi stops the poison, and the snake carries the
poison. The center of Shiva is considered to be
Vishuddhi, the word Vishuddhi meaning “filter.” Hence, he is also known as Vishkanth or Neelkanth, as he filters all the poisons. Purohit (2015) ·
Third Eye: The third eye of Shiva,
also known as the mystic eye, differs in appearance from the actual eye.
Typically, the third eye remains closed, because as soon as it opens it
unleashes destruction. The third eye symbolizes Shiva's karmic memory.
Generally, Shiva's third eye is viewed as a symbol of power and destruction.
People recognize the third eye as the innate wisdom and knowing eye. His third
eye also symbolizes the rejection of desire. Purohit (2015) ·
Trident (trishul): Shiva's Trishul represents life's three most important aspects. These are the three basic dimensions of life. They are
also called Ida, Pingala, and Sushumna.
These are the three mains basic nadis referring to
the state of energy in the human body system. These nadis
are left, right, and central. Seventy-two thousand nadis
emanate from these three basic Nadis. The balance between Pingala and Ida makes
us influential in the world; it helps us handle life's aspects. Pingala and Ida
symbolize the basic duality in existence. Shiva’s adornments – the symbols
and symbolism of Shiva. (2015)
·
Damru: Damru represents his relationship with Shiva.
The two triangles in the Damru symbolize Purusha and
Prakriti and their union, which results in the creation, motion, speech, and
sounds, or Shabda. When they are separated, everything ends
and the mind becomes mute. Damru also represents the Jiva, the embodied soul, who is helplessly entangled in
Shiva's drama and acts based on his own will and strength. The two triangles in
the Damru represent the mind and body, whereas the
Jiva represents its connection to birth and mortality. Rudralife. (2022) ·
The Holi River (Ganga): Ganga is also called the
most river and the goddess of the river; this represents the water coming out
of Shiva's head through the matted hair and falling to the ground, hence the
name Gangadhara, which means “the bearer of the river Ganges.” Shiva is not
only the god of destruction but also the bearer of peace and purity. The Ganges
is also considered a symbol of knowledge.
Surabhi (2020) ·
Nandi (the bull): Shiva's vehicle Nandi
symbolizes eternal waiting; waiting is considered the greatest virtue in Indian
culture. One who knows to sit and wait. he knowns the
true essence of meditation. Nandi does not expect Shiva to come out tomorrow.
He doesn't expect anything. He'll stay forever. This quality is the essence of
receptivity. Before going to any temple, it should have the qualities of Nandi.
Purohit (2015) ·
Figure 6 (Shiva, 2008) In this painting, the artist has painted Shiva in Nataraja form. ('Nataraj' translates to
'monarch of dancers” in Sanskrit (nata = dance, raja = king). It is a unique
form of Shiva. In this form, Shiva is dancing. Therefore, this form is also
called a dance of Shiva (Tandava). According to this form, Shiva is the lord of
the dance. In this Tandava pose, his hair has spread all around. The unusual
form of Shiva as Nataraja is beautifully displayed in this painting. This pose
of Shiva is a wonderful result of artistry. Shiva is dancing in the Tandava
dance style. The lower left hand comes across the chest in Gajahastha
Mudra, pointing to the feet in the air; the lower right hand represents Abhaya
Mudra as a blessing. The Secret Behind Lord Nataraja
form of Lord Shiva. (2023) Figure 6
The Tandava
represents the rhythmic motion and dynamic energy of the universe. According to
Ananda K. Coomaraswamy, Nataraj is “the clearest representation of God's
activity that any art or religion can claim.” It would be hard to discover a
more fluid and dynamic depiction of a moving figure than Shiva's dancing form.”
This cosmic dance of Shiva is called 'Anandtandava,'
meaning dance of bliss, and represents the cosmic cycles of creation and
destruction and the everyday rhythm of birth and death. The dance is a visual
allegory of the five principle manifestations of
eternal energy – Creation, Destruction, Preservation, Moksha and Illusion.
According to Coomaraswamy, Shiva's dance also represents his five activities:
'Srishti' (creation, evolution); 'status' (protection, support); 'Samhara' (destruction, development); 'Tirobhava'
(illusion); and 'Anugraha' (release, liberation, grace). 9. CONCLUSION In Indian
culture and art, Gods have been revered and worshipped in various forms since
ancient times. These divine beings hold a significant place in society and
religion, with each incarnation teaching unique qualities, virtues, and morals.
As a result of their distinct characteristics, they become the subjects of
iconography. The artist, Thota Vaikuntham, has
skillfully incorporated Hindu iconography into his artworks, evoking timeless
emotions of love and sacrifice for the contemporary society. Vaikuntham portrays Krishna as the epitome of love and Ganesha as a symbol of renunciation. Krishna as an iconic symbol of love is beautifully articulated in paintings based on Krishna and Radha and Krishna and gopis. Krishna is also depicted as a protector, for instance in the painting titled as Krishna and Gobardhan Mountain, in which Krishna is protecting the cowherds and animals by lifting the mountain on one of his fingers. In the Ganesh Puja artwork, the artist has portrayed the people's faith and devotion to Lord Ganesha. In the depiction of Shiva doing the tandav, Shiva is recognized for his abilities as a destroyer and conservator. Each icon in Hindu iconography holds its own identity and significance. The artist wants to convey a powerful message to art enthusiasts and fellow artists that, despite the numerous representations of Ganesha and Krishna abundantly available in the long history of Indian art, an artist can still revisit, re-think, re-appropriate these perennial symbols of love and sacrifice with renewed energy and great enthusiasm. More importantly, Vaikuntam’s diverse articulations, interpretations, appropriations and adaptations based on Hindu iconography reflect a deep emotion to make these iconic divinities strike a chord with the present world order and inspire the contemporary man to distance from the greed of materialistic yearnings and seek peace in the spiritual way of life taught by the great Hindu religion.
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