Tanjore and Mysore Paintings at the CSMVS Mumbai

My first trip to Vaishnodevi was unimpressive. Climbing was hard, and it only served to highlight how badly out of shape I was, while my in-laws managed to cope so much better. Further, I hadn’t quite realized that the cave experience wouldn’t be the same as I had imagined, since the original cave was only opened at certain times a year, and that we only entered a newly created tunnel, one far easier to access, and hence more manageable with the crowds that thronged the mountain shrine. The resulting experience at the shrine, for barely a fraction of a second, hardly compared to what I had expected / imagined / heard about. So, for me, Vaishnodevi was like any other temple, nothing to write home about, something that was reflected (though not explicitly mentioned) in the blog post I wrote then.

Tanjore and Mysore Paintings at the CSMVS Mumbai

A chubby, naked, fair Krishna, holding a butter ball, covered in golden ornaments, Yashoda by his side, an indulgent smile on her face, even as her finger is raised in admonition. Rama and Sita seated on the throne, Lakshmana on one side, Bharata and Shatrughna on the other, surrounded by sages and kings; Rama a distinctive green in colour. These are both popular themes in Tanjore Art. I first saw both these in temples, the Navaneetha Krishna in many homes as well, if not original, at least a recent replica or just a copy. The Ramar Pattabhishekam I have better memories of, having seen it often at the Matunga Bhajan Samaj in Mumbai, as well as at my mother-in-law’s ancestral house in Thanjavur. The latter especially is close to our family’s heart, and it’s an exquisite piece of work, the expressions on Rama and Sita’s faces as intricately done as the gold work that surrounds them.

Navaneetha Krishna

Beautiful as they are, to me, they are associated with divinity more than just works of art. Maybe it has something to do with me seeing them at temples (and the family shrine), but I rarely think of them as Tanjore paintings. Which is why I relished the opportunity to feast my eyes on Tanjore paintings at the CSMVS.

Ramar Pattabhishekam

Three Dimensions Of Divinity: Thanjavur Art Revealed, is a special exhibition at the museum, to showcase their new collection of Tanjore and Mysore Paintings. This collection is part of a set of 350 paintings bequeathed to the museum by the late Kuldip Singh, an ardent collector. The museum has showcased about 50 of the paintings as part of this exhibition.

Hayagriva

The paintings cover a variety of topics – from deities, such the Navaneetha Krishna and Ramar Pattabhishekam , Hayagriva, Vitthala, Muruga, Ayyanar and Madurai Veeran.

Vitthala

Karthikeya

Narratives such as the marriage of Krishna to Satyabhama, the naming ceremony of Rama and his brothers, the story of Markandeya

Wedding of Satyabhama

Detail of Satyabhama (left) and Krishna from Wedding of Satyabhama

Story of Markandeya (detail)

Temples, such as the Srirangam temple. I was especially fascinated by the fact that this painting of a Vaishnava temple included the figure of a Shaiva sanyasi. It turns out that the painting was probably commissioned by the mutt or the sanyasiat the opening of a new choultry (dharmshala or place for pilgrims to stay) at one of the Shaiva mutts at Srirangam.

Srirangam Temple
showing the entire temple complex including the smaller shrines

Detail of Srirangam Temple - Ranganatha in the sanctum

Detail of Srirangam temple - The Shaiva Sanyasi

The 108 Divya Desams

Saints such as Nammalvar, and the 63 Nayanmars

Detail from painting of Nammalvar

The 63 Nayanmars

There are also non-Hindu themes, such as these Jain paintings, as well as a portrait of Guru Nanak.

The gallery also has a series of paintings depicting the process of creation of these paintings, as well as an AV presentation.

The exhibition is on till the end of June, so if you haven’t already been to see it, don’t miss it.

Gokarna Part II – The Five Lingams

We continued our Gokarna trip by visiting four other Shiva temples in the vicinity, all connected to the same story of Gokarna. The story of Gokarna mentions the Mahabaleshwara Lingam as the one brought from Kailas by Ravana, and kept at this place on the ground by Ganesha. (See my earlier post- Gokarna – Pilgrimage and Pleasure). However, the story does not end here. It is believed that, in his anger, Ravana flung aside the materials which covered the lingam- the casket, its lid, the string around the lingam, and the cloth covering it. All these items became lingams as soon as they touched the ground. These four lingams, along with the main Mahabaleshwara lingam are collectively called the ‘ Panchalingams’ . These are: Mahabaleshwara – the main lingam Sajjeshwar – the casket carrying the lingam. This temple is about 35 Kms from Karwar, and is a 2 hour drive from Gokarna. Dhareshwar – the string covering the lingam. This temple is on NH17, about 45 Kms south of Gokarna. Gunavanteshw

The Havelis of Bikaner - A Photo Post

The lanes are narrow , twisting and turning amidst buildings old and new. Crumbling old structures with intricate workmanship stand side by side with art deco buildings, and more modern constructions, which follow no particular style. Autos, bicycles, motorcycles and vans rush past, blowing their horns as loudly as possible, while cows saunter past peacefully, completely unaffected by the noise. In the midst of all this chaos, children play by the side, and women go about their chores, as we explore these by-lanes of Bikaner, and its beautiful Havelis. Facade of one of the Rampuria Havelis

The Power of 8 - The Ashta Dikpalas and Ashta Vasus at Khajuraho

The four cardinal directions form the axis on which a temple is built, and are thus the basis of temple architecture. Leading from them are the eight directions, which are believed to be guarded by the eight guardians, or Ashta Dikpalas . In the temples of Khajuraho, great care has been taken by the sculptors to carve the Ashta Dikpalas on the walls, both inside and outside. They not only guard the temple, but also look over us as we circumambulate the shrine, protecting us by their presence. They are augmented by the Ashta Vasus , celestial beings which represent natural phenomena. Together, they enhance the idea of the temple as cosmos, enfolding within it, all the aspects of nature, both, on earth, as well in space.

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