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August 08th, 2019

8/8/2019

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In a strange innovation this miniature portrays Kamadeva, the god of love and beauty, holding his usual sugarcane bow and an arrow of flower-buds mounted on it on his vehicle parrot, a grotesque conceptualisation, composed of four identically conceived and clad maidens.

Targeted skywards he is shooting his arrow at the sun so that it does not rise and the hour of night, and thereby the period of love-making, becomes longer. The love god Kamadeva is represented in the painting as his form has been broadly described in Puranas; however, his mount parrot has been conceived in a grotesque form, figures of four maidens being composed in such manner that conjointly they acquire a parrot’s appearance.
​

The painting is thus a fine example of the medieval painting tradition of portraying a theme seeking to combine a grotesque form with a myth or reality. Sometimes the object of such painting was just its strangeness.

A blend of myth and grotesqueness, the painting portrays its theme against a simple background composed of three colour zones, the green with a few forms of floral plants, symbolising the earth and the month of Vasanta – Spring, golden middle, symbolic of the hour of dawn and termination of night – the period of love’s game, and the blue sky suggesting that from the earth to the sky Kama reigns everywhere.

Ingeniously composed, the fair-complexioned damsels are clad in green, the body-colour of a parrot, for giving them a parrot’s appearance. One of the damsels on the top, comprising the bird’s upper part, carries in her bird’s head-like moulded hands, a bell and a red flower, which forms the bird’s beak.

The form is exceptionally symbolic.

Kamadeva’s mount parrot is composed of red, the colour of its beak, and green, the colour of its body, red being the colour of love’s passion, and green, that of fertility, and thus, essentially the two in one form symbolised the union of male and female principles. Here in the painting, Kamadeva, the male principle, rides the parrot, the female principle, and thus the cycle of love’s passion, the resultant union of the opposites, and fertility is accomplished.

The painting adheres to the same iconographic norms of Kamadeva’s resplendent form as it has been visualised in Indian texts, mainly the Hindu scriptures. He has been conceived as one endowed with extreme handsomeness driving everyone that looked at him to the passion of love. Myths proclaim him as born of Dharma, a Brahma’s son born of his right breast. As lord of love and passion he was allocated a day for his rituals, and a month when his influence was most powerfully felt.

This made him arrogant and one day he annoyed Lord Shiva with his impertinence. The enraged Shiva opened his third eye and burnt Kamadeva with fire that it emitted, though subsequently on the prayer of his consort Rati proclaimed that Kamadeva shall continue to live but without a body just as an abstract force in all living beings.
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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Nag Panchami 2019

8/8/2019

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In Honour of Nag Panchani, Manasa the Mother of the Naga's.
O Victorious One, We worship you "Oh Mother."
Victory!, O Victorious One, who takes away the poison. Your bed was made of serpents, your throne was made of vipers. The snakes on which the Goddess' seat is made are enchanted by good words. 

The bark is shaken with fury
The ropes are pulled,
Who is the fool to abuse Mother Manasa

*******************************************


"She is the Mother Ma of the Naga's Manasa is worshipped in Bengal.
According to Devi Bhagavat She is called Manasa (mental) because She is the mind-born daughter of Kashapa Muni.

She is called Manasa because She is always worshiped in the minds of yogis; and She is called Manasa because She always meditates upon the form of Sri Krishna in Her mind.
She is worshiped for health and protection from snake bite and sharpa-dosha.
But yogis worship Her for perfection in mantra and awakening of kula-kundalini.


Om Hreem Sreem Kleem Aim Manasa Devai Svaha


Manasa
Padmavati
Manasa
Manasa
Kadru
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KALI as DASAMUKHI

8/5/2019

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‘Dasamukhi’ means ten headed. This image represents Dasa Mahavidya Mahakali and stands for the ten Mahavidya of Great Wisdom Goddesses. In this form, Mother has ten heads, ten arms, ten legs. Each of her hands carry various weapons representing the power of Devas and male Gods. Thus as Prakriti, the female of Purusha or Consciousness, she has the powers identical with the Ultimate Reality or Brahman.

Otherwise Mother Mahakali displays ‘Ekhamukha’ or single headed. Ekhamukhi also shares the ten-hand concept and the powers of the Gods to shower Her Grace. The Ekhamukhi depiction does not in any way compromise Mother's role as the manifestation of Adi Parashakti.

Both as Dasamukhi or Ekhamukhi, Mother is always depicted standing on inert or shava of Shiva. In that Mother represents Shakti, the power of pure creation in the universe and Shiva represents pure Consciousness. Shava means corpse, hardly a representation of Lord Shiva, the Supreme Godhead in Shaiva Siddhanta. What is represented here is Mother balancing prakriti, nature by stepping on to the Lord’s unlimited spiritual energy or ego. It is the killing of the ego that She depicts symbolically so that balance of life is not run over by wild nature. Mahakali means maha-prema, greatest Love. Jai Maa Maha Kali.

by Yogi Ananda Saraswathi
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    Trishula  Sandra Das

    Practitioner of Jyotish, Yoga Tantra, Ayurveda,  Shakti Sadhana
    ​for 40 years.

    ~ VedicAstrologer ~

    ~ Researcher East & Western Wisdom, Past Life Regression, Mysticism ~

     ~ Mind Body Soul~
     Believer in Love,  Humanity, Peace, freedom & Soul Mates 
    ​
     ~ Baul Scholar ~
     ~ Qigong Master ~

    ~ MOTHER ~
    ~Photographer~

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