Description
Specifications:
Water Color Painting on Paper
Artist: Kailash Raj
11.0 inch X 8.5 inch

Essentially a votive image, the painting represents a form of goddessDurga as it most often emerges in her devotees’ vision : thefour-armed lion-riding female glowing with divine aura and carrying inher hands the attributes of destruction, and on her face, thedetermination to destroy evil-doers, a tender-hearted mother and aformidable warrior. Not represented as engaged in an act ofannihilation of any of the demons named in her related scriptures,this image of the mother assures general protective cover she isbelieved to provide not only against evil forces but also againstworldly foes, the foes within oneself – one’s anger, greed,temptations, ill-will, unqualified desires among others, and ailments,failures and worldly ties. The ultimate, she destroys all that impedesthe path to redemption and liberates the being from all materialbonds. This image-type of the goddess might be seen as emerging in someunidentified early stone-reliefs; however after Puranas, particularlythe Devi-Mahatmya, wove around her image the legends of her exploitsagainst various mighty demons she appeared in stone or any visualmedium as the ultimate operative force engaged in one act ofannihilation or other. This image-type manifests a subsequent phasewhen priority of one sect over the other, that is, Vaishnavism andShaivism, emerged as contentious issues endangering the sectarianunity of the Hinduism. Devi, claimed to synthesize into her being thedivine lustre and attributes of all gods, irrespective of theirsub-sectarian line, emerged as the most potential tool to those whosought to reconcile the warring factions. Sages and seers perceived Devi not only as the ultimate power : themightiest and the most potent, against evil forces but also as oneabove all gods, Vaishnavite or Shaivite, even ‘Tri-murti’. While mythswove around her the legends of her exploits against all demons thathad grown invincible against any male god, visual arts innovated suchimage of her that transcended sectarian divides. The destroyer of evilforces, her links with Shiva – the Destroyer, were a little moreemphatic but her form reflected with as much emphasis her Vaishnavabearings, especially in the attributes she carried. This synthesis hasbeen more powerfully revealed in this image that carries in three ofher hands the Vaishnavite attributes : mace, conch and sword, andShaivite, Trident, in the fourth. The lotuses, cresting her crown, anessential element of Vaishnava iconography, further strengthen herVaishnavite bearing. Though a horizontal line suggestive of‘Tri-punda’ – the Shaivite ‘tilaka’ mark, balances it, she has on herforehead a regular Vaishnava ‘tilaka’. The painting, a contemporary masterpiece, has been rendered using thelate eighteenth century Pahari art idiom, or rather a stylistic blendof two of its major art-styles, Basohli and Mandi, besides the form ofthe goddess’s mount lion that rendered in ochre with white patches andblack stripes represents the common idiom of almost all Pahari artschools. The form and style of lotuses used with the goddess’s crownis typical of Basohli art style. However in most other things,iconography with awful large eyes and bold features, voluminousbody-structure, style of seating and the palette, all characteristicfeatures of Mandi art school, the painting represents Mandi art style.Devi has been the most chosen theme of Mandi artists but while thepaintings from the early phase, that is, the late seventeenth andearly eighteenth century, are crude and somewhat awful, those from thelater phase, as this one, are quite refined. 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.

Lot 91.Sinha-vahini Durga

Go to lot
Online

Specifications:
Water Color Painting on Paper
Artist: Kailash Raj
11.0 inch X 8.5 inch

Essentially a votive image, the painting represents a form of goddessDurga as it most often emerges in her devotees’ vision : thefour-armed lion-riding female glowing with divine aura and carrying inher hands the attributes of destruction, and on her face, thedetermination to destroy evil-doers, a tender-hearted mother and aformidable warrior. Not represented as engaged in an act ofannihilation of any of the demons named in her related scriptures,this image of the mother assures general protective cover she isbelieved to provide not only against evil forces but also againstworldly foes, the foes within oneself – one’s anger, greed,temptations, ill-will, unqualified desires among others, and ailments,failures and worldly ties. The ultimate, she destroys all that impedesthe path to redemption and liberates the being from all materialbonds. This image-type of the goddess might be seen as emerging in someunidentified early stone-reliefs; however after Puranas, particularlythe Devi-Mahatmya, wove around her image the legends of her exploitsagainst various mighty demons she appeared in stone or any visualmedium as the ultimate operative force engaged in one act ofannihilation or other. This image-type manifests a subsequent phasewhen priority of one sect over the other, that is, Vaishnavism andShaivism, emerged as contentious issues endangering the sectarianunity of the Hinduism. Devi, claimed to synthesize into her being thedivine lustre and attributes of all gods, irrespective of theirsub-sectarian line, emerged as the most potential tool to those whosought to reconcile the warring factions. Sages and seers perceived Devi not only as the ultimate power : themightiest and the most potent, against evil forces but also as oneabove all gods, Vaishnavite or Shaivite, even ‘Tri-murti’. While mythswove around her the legends of her exploits against all demons thathad grown invincible against any male god, visual arts innovated suchimage of her that transcended sectarian divides. The destroyer of evilforces, her links with Shiva – the Destroyer, were a little moreemphatic but her form reflected with as much emphasis her Vaishnavabearings, especially in the attributes she carried. This synthesis hasbeen more powerfully revealed in this image that carries in three ofher hands the Vaishnavite attributes : mace, conch and sword, andShaivite, Trident, in the fourth. The lotuses, cresting her crown, anessential element of Vaishnava iconography, further strengthen herVaishnavite bearing. Though a horizontal line suggestive of‘Tri-punda’ – the Shaivite ‘tilaka’ mark, balances it, she has on herforehead a regular Vaishnava ‘tilaka’. The painting, a contemporary masterpiece, has been rendered using thelate eighteenth century Pahari art idiom, or rather a stylistic blendof two of its major art-styles, Basohli and Mandi, besides the form ofthe goddess’s mount lion that rendered in ochre with white patches andblack stripes represents the common idiom of almost all Pahari artschools. The form and style of lotuses used with the goddess’s crownis typical of Basohli art style. However in most other things,iconography with awful large eyes and bold features, voluminousbody-structure, style of seating and the palette, all characteristicfeatures of Mandi art school, the painting represents Mandi art style.Devi has been the most chosen theme of Mandi artists but while thepaintings from the early phase, that is, the late seventeenth andearly eighteenth century, are crude and somewhat awful, those from thelater phase, as this one, are quite refined. 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.