#indic art

[mahartha]

viśrānti-viśrāntiḥ

𑆪𑆳 𑆑𑆳𑆬𑆓𑇀𑆫𑆳𑆱𑆮𑆴𑆯𑇀𑆫𑆳𑆤𑇀𑆠𑆴𑆱𑇀𑆠𑆢𑇀𑆫𑆷𑆥𑆁 𑆥𑆫𑆩𑆼𑆯𑆴𑆠𑆶𑆂  𑇅 𑆪𑆳 𑆠𑆶 𑆮𑆴𑆯𑇀𑆫𑆳𑆤𑇀𑆠𑆴𑆮𑆴𑆯𑇀𑆫𑆳𑆤𑇀𑆠𑆴𑆱𑇀𑆠𑆢𑇀𑆢𑆼𑆮𑆵𑆫𑆷𑆥𑆩𑆴𑆰𑇀𑆪𑆠𑆼 𑇆 That which rests on the Consuming of Time (kāla-grāsa-viśrāntiḥ) is the Nature of the Supreme Lord (rūpam parama-īśituḥ). Though that in which this resting rests (viśrānti-viśrāntiḥ) is said to be the Nature of the Goddess (devī-rūpam). || Mahānayaprakāśaḥ, 3/110 ||

[nuancedcreation]

The Saptarṣis

“Master of Pahari painting at the court of Mankot (attr.), c. 1675–1700. Government Museum and Art Gallery, Chandigarh.” Image and text from: Ardor (2010)- Roberto Calasso

“The hymns of the Ṛgveda were said to have been seen by the ṛṣis. The ṛṣis may therefore be described as “seers.” They saw the hymns in the same way as we see a tree or a river. They were the most disconcerting, least easily explainable beings in the Vedic cosmos. Chief among them were the Saptarṣis, the Seven who lived in the stars of the Great Bear, who have some affinity with the Seven Greek Sages, with the Islamic abdāls, and with the Seven Akkadian Apkallus of the Apsu. But something in the very nature of the ṛṣis was an epistemological scandal: they alone were allowed to belong to the unmanifest and at the same time take part in the events of everyday life, which they secretly ruled.”

(Calasso, p. 93)

[kailasanath]

Krishna playing colour with the Gopikas

On occasion of Dhulwad - Dhuleti (धूळवड - धुलेटी), may the festival of colours bring joy and togetherness

Pahari Miniature, Kangra Style, circa 1800 CE

National Museum, New Delhi

[kailasanath]

The daliances of Radha and Shri Krishna

Radha playfully mock whips Shri Krishna with her dupatta. Folio from Geeta Govinda manuscript - the second work on this theme - from Guler.

The second generation of masters after Manaku and Nainsukh, circa 1775 - 1780 CE

Pahari style, Guler

Collection of Horst Metzger

[kailasanath]

Phật – the Buddha

Gilt wood, 17th Century CE

Japan

Museum of Vietnamese History, Saigon

[kailasanath]

Bodhisattva Avalokiteśvara – Bồ Tát Quán Thế Âm

The Indianised Hindu - Buddhistic Kingdom of Champa in what is today central Vietnam tracing its roots to the 2nd Century CE and lasting till the 1800s when it was completely absorbed into Modern Vietnam, reached it’s apogee in the 9th and 10th Centuries CE, which also saw the production of some exquisite religious art including this bronze image of the four-armed Avalokiteśvara.

Bronze, circa 9th Century

Kingdom of Champa, Hoài Nhơn District, Vietnam

Museum of Vietnamese History, Saigon

[kailasanath]

Garuḍa with Nāga

Garuḍa, the vahana or vehicle of Śṛī Viṣṇu, often depicted combatting serpents or nāgas, is a popular motif in south-east Asian Hindu sculpture. This magnificent and surprisingly well-preserved pediment is representative of Cham artwork in the collections of the Saigon Museum

Sandstone pediment, circa 10th Century CE

Museum of Vietnamese History, Saigon

[kailasanath]

Īśāna – Lokapāla and Guardian of the Northeast

Relief on panel in the outer parikrama of the central temple dedicated to Lord Śiva in the great Trimūrtī temple complex of Prambanan, central Java.

Lokapālas or guardian deities of the cardinal directions is a concept common to Buddhist temple architecture. Īśāna is often associated with the Yakṣa Kubera – the Lord of Wealth and divine treasurer. While the triśūla or trident is sometimes an attribute of Īśāna absence of vāhana is unusual.

The Prambanan Temple Complex was built Circa 850 CE by the Sanjaya Dynasty of Medang, Central Java