Description
Lord Shiva is one of the major deities of the cosmic trinity; he is the destroyer as well as the preserver among the entire Hindu pantheon; greatly known as a yogi for his kindness, mercy and justice, as he is the only god who is worshipped in the aniconic form of a linga, symbolizing both Shiva and Shakti. This painting aptly depicts Shiva’s Panchamukha form, as painter has very gracefully painted all the five heads in five different identifiable colors; the four heads face the four different directions and the fifth one at the top faces the sky. _x000D_In the Puranas, this five faced god represents the fivefold aspect of creation, five bodies in human beings, five directions, five elements, five senses, five colors, five energies, five divisions of time and five human races. Framed in a heavenly background of a clear blue sky and chirping birds with beautiful lotuses about to bloom at the bottom; he sits in padmasana on a full bloom lotus placed on a unique pedestal on the yellow-green hued grass. _x000D_Ornamented in lustrous jewels; a divine parasol and a deep gold polka dotted dhoti, carrying his ferocious ornaments in all the ten hands that symbolize the five aspects of panchana (five faced) as: Ishana, the lord (upward looking face)- he is Brahma, the creator and mind power; Tatpurusha, the cosmic being (eastward face)- he is Vishnu the lord or preservation and bliss; Vamadeva, the conceiler (westward face)- he is the suppressor who conceals Tatpurusha behind a veil of delusion. He is the evening sun and represents egoism and power of action; Sadyajata, the revealer (northern face)- he is Sada Shiva, the eternal being who manifests spontaneously and a granter of grace and enjoyment; Rudra, the destroyer (southern face)- he is Aghori, the fearless one who is the father of war gods and represents fire and desire.

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

This miniature, a contemporary masterpiece rendered against aturquoise green background in the late 18th century Kangra art style,represents five-faced form of Lord Shiva usually known in the Shaivitetradition as Sadashiva. This representation almost exactly pursues theiconographic convention of Shiva’s Pancha-mukha form as it initiallyevolved in early sculptures which have four of his faces carved on allfour sides believed to guard all four directions, and the fifth, abovethe other four skywards-facing. The representation is simply exoticfor in miniature paintings the canvas does not have the stone'smulti-dimensionality to portray four directions and to plant a fifth,above them. However, this miniature, reproducing a great masterpiecefrom Kangra in hill region of late eighteenth century, so manipulatesthe canvas that it imparts a strong sense of multi-dimensionality.Corresponding to his five faces Shiva’s anatomy has been conceivedwith ten arms, all carrying his one attribute or other : the rightside hands carrying four – trident, thunderbolt ‘mustaka’ orheavy-blow-beat rod, sword and axe, the fifth being held in protectiveposture – ‘abhaya’, and the left, snake, noose, bell, goad and‘damaru’, the double-drum. All five heads have their independent hairbut in addition also a large basket-type massive ‘jata-juta’ – mattedcoiffure, cradling on it the fifth head. Except a snake carried in oneof his hands merely as an attribute he has neither his usual elephanthide, tiger skin, serpents crawling on his body, skull-garland oranything revealing his ferocious form. On the contrary, in everything: from the iconography of his form – his large fluid eyes, sharpfeatures, hair-style and the style o ear-ornaments, to his modelingand moonlike translucent body-colour, he reveals a strange femininelook. Instead of seated on his usual tiger-skin this sublime form of theGreat Lord has been conceived as seated on a large double lotusinstalled on a beautifully inlaid hexagonal chowki in cross-leggedposture wearing a delicately printed ‘antariya’ – lower wear,reflecting a sari’s look. The figure reveals great benignity and raredivinity. The chowki, enshrining his figure, besides embedded withprecious stones, has a high back and an umbrella canopying over LordShiva’s form, though like the entire Creation it also falls short ofhis expanse. A large bolster in maroon-red affording pleasant contrastto his figure’s pearls-like translucent white and his yellow‘antariya’ is, like the lotus-seat, an element not usually representedin Shaivite iconography. In exact miniature tradition all five facesare in profile. The absence of his mount bull is noticeable. The formof his third eye has been conceived like an ornamental mark on theforehead, not like a feature that awed by its strange grotesqueness. In Shaivite thought, Shiva is one of the Gods-Trio but also the everpresent Sadashiva. The Pancha-mukha cult has broadly two lines, thoughboth accept that it is the manifest form of Sadashiva – the everpresent Shiva. Under one tradition, it is in his ‘ling’ form thatShiva has his five faces and that it is the ‘ling’ which is hisultimate manifestation. The ‘ling’ is the ‘jyoti’ – the potentialflame, which represents ‘pancha-bhutas’ – the five cosmic elements orconstituents of the cosmos. Thus, it is out of him that the cosmos isborn. The other tradition is not much different. It conceives Shiva asIshan, or as ‘Panchavaktramatrinetram’, that is, Shiva combines in himTatpurusha, Vamadeva, Aghora, Sadyojata and Ishan, representingrespectively the wind, the water, the fire, creative function, and thespace. Thus again Shiva's five heads manifest the five cosmic elementsand functions. 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 188.Pancha-Mukha Shiva

Go to lot
Online

Lord Shiva is one of the major deities of the cosmic trinity; he is the destroyer as well as the preserver among the entire Hindu pantheon; greatly known as a yogi for his kindness, mercy and justice, as he is the only god who is worshipped in the aniconic form of a linga, symbolizing both Shiva and Shakti. This painting aptly depicts Shiva’s Panchamukha form, as painter has very gracefully painted all the five heads in five different identifiable colors; the four heads face the four different directions and the fifth one at the top faces the sky. _x000D_In the Puranas, this five faced god represents the fivefold aspect of creation, five bodies in human beings, five directions, five elements, five senses, five colors, five energies, five divisions of time and five human races. Framed in a heavenly background of a clear blue sky and chirping birds with beautiful lotuses about to bloom at the bottom; he sits in padmasana on a full bloom lotus placed on a unique pedestal on the yellow-green hued grass. _x000D_Ornamented in lustrous jewels; a divine parasol and a deep gold polka dotted dhoti, carrying his ferocious ornaments in all the ten hands that symbolize the five aspects of panchana (five faced) as: Ishana, the lord (upward looking face)- he is Brahma, the creator and mind power; Tatpurusha, the cosmic being (eastward face)- he is Vishnu the lord or preservation and bliss; Vamadeva, the conceiler (westward face)- he is the suppressor who conceals Tatpurusha behind a veil of delusion. He is the evening sun and represents egoism and power of action; Sadyajata, the revealer (northern face)- he is Sada Shiva, the eternal being who manifests spontaneously and a granter of grace and enjoyment; Rudra, the destroyer (southern face)- he is Aghori, the fearless one who is the father of war gods and represents fire and desire.

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

This miniature, a contemporary masterpiece rendered against aturquoise green background in the late 18th century Kangra art style,represents five-faced form of Lord Shiva usually known in the Shaivitetradition as Sadashiva. This representation almost exactly pursues theiconographic convention of Shiva’s Pancha-mukha form as it initiallyevolved in early sculptures which have four of his faces carved on allfour sides believed to guard all four directions, and the fifth, abovethe other four skywards-facing. The representation is simply exoticfor in miniature paintings the canvas does not have the stone'smulti-dimensionality to portray four directions and to plant a fifth,above them. However, this miniature, reproducing a great masterpiecefrom Kangra in hill region of late eighteenth century, so manipulatesthe canvas that it imparts a strong sense of multi-dimensionality.Corresponding to his five faces Shiva’s anatomy has been conceivedwith ten arms, all carrying his one attribute or other : the rightside hands carrying four – trident, thunderbolt ‘mustaka’ orheavy-blow-beat rod, sword and axe, the fifth being held in protectiveposture – ‘abhaya’, and the left, snake, noose, bell, goad and‘damaru’, the double-drum. All five heads have their independent hairbut in addition also a large basket-type massive ‘jata-juta’ – mattedcoiffure, cradling on it the fifth head. Except a snake carried in oneof his hands merely as an attribute he has neither his usual elephanthide, tiger skin, serpents crawling on his body, skull-garland oranything revealing his ferocious form. On the contrary, in everything: from the iconography of his form – his large fluid eyes, sharpfeatures, hair-style and the style o ear-ornaments, to his modelingand moonlike translucent body-colour, he reveals a strange femininelook. Instead of seated on his usual tiger-skin this sublime form of theGreat Lord has been conceived as seated on a large double lotusinstalled on a beautifully inlaid hexagonal chowki in cross-leggedposture wearing a delicately printed ‘antariya’ – lower wear,reflecting a sari’s look. The figure reveals great benignity and raredivinity. The chowki, enshrining his figure, besides embedded withprecious stones, has a high back and an umbrella canopying over LordShiva’s form, though like the entire Creation it also falls short ofhis expanse. A large bolster in maroon-red affording pleasant contrastto his figure’s pearls-like translucent white and his yellow‘antariya’ is, like the lotus-seat, an element not usually representedin Shaivite iconography. In exact miniature tradition all five facesare in profile. The absence of his mount bull is noticeable. The formof his third eye has been conceived like an ornamental mark on theforehead, not like a feature that awed by its strange grotesqueness. In Shaivite thought, Shiva is one of the Gods-Trio but also the everpresent Sadashiva. The Pancha-mukha cult has broadly two lines, thoughboth accept that it is the manifest form of Sadashiva – the everpresent Shiva. Under one tradition, it is in his ‘ling’ form thatShiva has his five faces and that it is the ‘ling’ which is hisultimate manifestation. The ‘ling’ is the ‘jyoti’ – the potentialflame, which represents ‘pancha-bhutas’ – the five cosmic elements orconstituents of the cosmos. Thus, it is out of him that the cosmos isborn. The other tradition is not much different. It conceives Shiva asIshan, or as ‘Panchavaktramatrinetram’, that is, Shiva combines in himTatpurusha, Vamadeva, Aghora, Sadyojata and Ishan, representingrespectively the wind, the water, the fire, creative function, and thespace. Thus again Shiva's five heads manifest the five cosmic elementsand functions. 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.