Indian Literature and Arts Thread

Dovah

Untermensch
Senior Member
Joined
May 23, 2011
Messages
5,614
Likes
6,793
Country flag
This is a thread for collecting and discussing Indian poetry and prose and art. Please post literature and art from all regions and languages here. If possible, provide English translation for all non-English work, so every one can appreciate the content.

Thanks.
 

Johny_Baba

अज्ञानी
Senior Member
Joined
May 21, 2016
Messages
3,754
Likes
19,206
Country flag
Language - Gujarati
--------------------------
Chaaran Kanya by Zaverchand Meghani

A poem depicting bravery of some Chaaran girl named Heerbai who fought with a lion that killed her calf.

The poem starts with narrating the might and awe of a lion, the king of the jungle! Describing in minute detail the fearful effects the lion had on different creatures, the poem goes on to narrate the extensive preparations the villagers make to guard themselves against the lion. With this backdrop, the poet introduces Charankanya, a young 14-year-old innocent Charan girl, playful and full of life.

Suddenly we are confronted with the situation of Charankanya coming face to face with the lion! We see the girl transforming into a fiery fighter. The rhythm of the poetry picks up pace. Something unbelievable happens — the girl sees the lion eye-to-eye and then runs behind him with a stick, screaming out loud. Seeing her, the lion gets afraid and runs away! The 14-year-old Charankanya is a force to reckon with, the sheer manifestation of power — the energy to which one either surrendered or rose to the full potential. Indeed, such a gorgeous representation of the power of a woman!

I wish i could translate this into English but my skills are not that much honed for such task,so enjoy the lyrics and video.

Lyrics:-

સાવજ ગરજે !

વનરાવનનો રાજા ગરજે
ગીરકાંઠાનો કેસરી ગરજે
ઐરાવતકુળનો અરિ ગરજે
કડ્યપાતળિયો જોદ્ધો ગરજે
મોં ફાડી માતેલો ગરજે
જાણે કો જોગંદર ગરજે
નાનો એવો સમદર ગરજે !

ક્યાં ક્યાં ગરજે ?

બાવળના જાળામાં ગરજે
ડુંગરના ગાળામાં ગરજે
કણબીના ખેતરમાં ગરજે
ગામ તણા પાદરમાં ગરજે
નદીઓની ભેખડમાં ગરજે
ગિરિઓની ગોહરમાં ગરજે
ઉગમણો, આથમણો ગરજે
ઓરો ને આઘેરો ગરજે

થર થર કાંપે !

વાડામાં વાછડલાં કાંપે
કૂબામાં બાળકડાં કાંપે
મધરાતે પંખીડાં કાંપે
ઝાડ તણાં પાંદડલા કાંપે
પહાડોના પથ્થર પણ કાંપે
સરિતાઓના જળ પણ કાંપે
સૂતાં ને જાગંતાં કાંપે
જડ ને ચેતન સૌએ કાંપે

આંખ ઝબૂકે

કેવી એની આંખ ઝબૂકે
વાદળમાંથી વીજ ઝબૂકે
જોટે ઊગી બીજ ઝબૂકે
જાણે બે અંગાર ઝબૂકે
હીરાના શણગાર ઝબૂકે
જોગંદરની ઝાળ ઝબૂકે
વીર તણી ઝંઝાળ ઝબૂકે
ટમટમતી બે જ્યોત ઝબૂકે

જડબાં ફાડે !

ડુંગર જાણે ડાચાં ફાડે !
જોગી જાણે ગુફા ઉઘાડે !
જમરાજાનું દ્વાર ઉઘાડે !
પૃથ્વીનું પાતાળ ઉઘાડે !
બરછી સરખા દાંત બતાવે
લસ લસ કરતા જીભ ઝુલાવે.

બ્હાદર ઊઠે !

બડકંદાર બિરાદર ઊઠે
ફરસી લેતો ચારણ ઉઠે
ખડગ ખેંચતો આહીર ઊઠે
બરછી ભાલે કાઠી ઊઠે
ઘર ઘરમાંથી માટી ઊઠે
ગોબો હાથ રબારી ઊઠે
સોટો લઈ ઘરનારી ઊઠે
ગાય તણા રખવાળો ઊઠે
દૂધમલા ગોવાળો ઊઠે
મૂછે વળ દેનારા ઊઠે
ખોંખારો ખાનારા ઊઠે
માનું દૂધ પીનારા ઊઠે !
જાણે આભ મિનારા ઊઠે !

ઊભો રે’જે

ત્રાડ પડી કે ઊભો રે’જે !
ગીરના કુત્તા ઊભો રે’જે !
કાયર દુત્તા ઊભો રે’જે !
પેટભરા ! તું ઊભો રે’જે !
ભૂખમરા ! તું ઊભો રે’જે !
ચોર લૂંટારા ઊભો રે’જે !
ગા-ગોઝારા ઊભો રે’જે !

ચારણ કન્યા

ચૌદ વરસની ચારણ કન્યા
ચૂંદડીયાળી ચારણ કન્યા
શ્વેતસુંવાળી ચારણ કન્યા
બાળી ભોળી ચારણ કન્યા
લાલ હિંગોળી ચારણ કન્યા
ઝાડ ચડંતી ચારણ કન્યા
પહાડ ઘૂમંતી ચારણ કન્યા
જોબનવંતી ચારણ કન્યા
આગ ઝરંતી ચારણ કન્યા
નેસ નિવાસી ચારણ કન્યા
જગદમ્બા શી ચારણ કન્યા
ડાંગ ઉઠાવે ચારણ કન્યા
ત્રાડ ગજાવે ચારણ કન્યા
હાથ હિલોળી ચારણ કન્યા
પાછળ દોડી ચારણ કન્યા

ભયથી ભાગ્યો !

સિંહણ, તારો ભડવીર ભાગ્યો
રણ મેલીને કાયર ભાગ્યો
ડુંગરનો રમનારો ભાગ્યો
હાથીનો હણનારો ભાગ્યો
જોગીનાથ જટાળો ભાગ્યો
મોટો વીર મૂછાળો ભાગ્યો
નર થઈ તું નારીથી ભાગ્યો
નાનકડી છોડીથી ભાગ્યો !

– ઝવેરચંદ મેઘાણી

I recommend everybody to watch this video,if you could not understand the lines then it has killer drums
 
Last edited:

Indrajit

Senior Member
Joined
Feb 27, 2018
Messages
4,009
Likes
15,228
Country flag

A Unique Motif In Indian Art- Part II: Gandabherunda
Shefali Vaidya August 28, 2021



All Indian Art forms are essentially symbolic in nature. Motifs inspired by religious scriptures and beliefs play an important role in the design vocabulary of Indian art, as all art forms possess a spiritual element as per the Hindu view of aesthetics.
Motifs based on flora and fauna such as the lotus, the goose, the elephant, the lion, the peacock, the parrot and the eagle feature abundantly in Indian art, not just because they occur in nature, but also because they are symbols strongly associated with Hindu, Jain and Buddhist scriptural legends.
Mythical composite animals like the Vyala, and the Makara also feature in all forms of Indian art and crafts, including sculpture, paintings, weaving and jewellery making.
Today, we talk about a mythical bird called gaṇḍabheruṇḍa in Sanskrit that has held a special place in the world of Indian motifs for centuries. In Sanskrit, the word bheruṇḍa means ‘terrible to behold.’
Origin of Gandabherunda:
The gandabherunda is a two-headed eagle, often depicted in Indian art as a terrifying figure clutching elephants by its talons. The concept of a two-headed mighty bird existed among Hittites, Egyptians and Sumerians as well as Indians. Probably the idea of a mighty celestial bird, with more than one head watching in all directions is a metaphor that appealed to all cultures.
According to British archeologist John Marshall, this motif of the double-headed eagle was brought to India by the Shakas. In his book ‘Taxila: An Illustrated Account of Archaeological Excavations’, John Marshal states that:
“The presence of the ‘double-headed eagle’ motif on this stupa at Taxila is interesting, supplying another link in a long chain of its migrations….. It was the Sakas (Scythians) who introduced the symbol to Taxila. From the Sakas, it found its way southward, through India to Vijayanagara and Ceylon.“
However, there is a mention of a two-headed eagle named Bherunda in the Panchatantra stories. The surviving copy of the Panchatantra is dated to roughly 200 BCE – 300 CE. Based on a much older oral tradition, the Bherunda bird is also mentioned in the Mahabharata and as Prof. Subhash Kak has pointed out in a paper, Panini’s grammar written in 400 BCE mentions the Mahabharata. The KalpaSūtra, a Jain text traditionally ascribed to Bhadrabahu and dated to 4th century BCE mentions that the 24th Tirthankara Mahāvira was always watchful in all directions like bird Bherunda. Thus, it is possible that ancient Indians knew about the two-headed eagle as a symbol much before the Scythians arrived in India.
In the Indian subcontinent, gandabherunda motif is first seen carved at the base of a Stupa in Sirkap, near Taxila in present day Afghanistan as an artistic representation. It is depicted as an eagle with two heads, one looking ahead and the other looking behind, a metaphor for the past and the future. A similar motif is also seen at the entrance gateway to the Sanchi Stupa dating to 2nd century BCE.

Gandabherunda in Literature:
Gandabherunda also finds a mention in Buddhist literature, with a Buddhist fable that mentions a bird with two heads known as Garuḍa and Upagaruḍa. The two heads used to take turns in waking and sleeping. One day when Upagaruḍa was sleeping, Garuḍa ate a delicious flower. When Upgaruda woke up, he got so angry that he ate a poisonous flower and the bird died. The same story is told in the Panchatantra as a lesson in unity. In Panchatantra, the bird is named Bherunda.
Gandabherunda in Temple Sculpture:
It is noteworthy that it is in Hindu temple sculptures of Karnataka that the gandabherunda attains its full artistic representation as a terrifying mythical creature with great strength and power. According to the Narasimha Purana, the gandabherunda is said to be a terrible form of Shri Vishnu, When Shri Vishnu took the form of Narasimha to kill Hiranyakashyipu, so terrible was his wrath that his simmering anger continued to scorch the universe even after Hiranyakashyipu’s death. In order to pacify him, Gods asked Lord Shiva to intervene. Lord Shiva manifested himself in the form of another terrifying creature, Sharabha (an elephant headed lion) to calm Shri Narasimha down. However, Lord Shiva himself lost his cool as the terrible Sharabha, and Shri Vishnu had to assume the form of gandabherunda, the mighty eagle with two heads to calm Sharabha down.
The oldest sculptural representation of gandabherunda in Hindu temple art was seen at the village of Balligave, in Shimoga District in Karnataka. Installed on a victory pillar, at the Jagadekamalleśvara temple, the larger-than-life figure of gandabherunda was shown in a human form with two heads of an eagle with sharp beaks, looking in opposite directions. The original image was dated to the first half of 11th century CE. It was installed by Chavundarayarasa, a general of the Chalukya emperor Trailokyamalla, to commemorate a battle victory. However, after the image fell and broke and a replica was made by a traditional Sthapathi from Mysuru in 1937.
From 11th century onwards, the gandabherunda became extremely popular in South India as a symbol of royal strength and power. Many kings from different dynasties like the Chalukyas, the Kadambas, the Kakatiyas of Andhra, the Hoysalas of Karnataka and their successors, the Vijayanagara kings, adopted gandabherunda, both as a royal emblem as well as a title.
In the Hoysala royal temple of Belur built in the 12th century CE, gandabherunda is depicted at the top of a “chain of destruction”, wherein a deer is being swallowed by a python, the python is being lifted by an elephant who is being attacked by a lion who is being devoured by Sharabha. The last scene depicted is of gandabherunda attacking Sharabha. Indologist, Dr. K.L. Kamat, has referred to this sculpture as an ancient concept of the ‘food chain’ as seen in nature.
The gandabherunda motif also appears on the roof of the Rameshwara temple at Keladi in Shimoga District built by the Keladi Nayaks in the 16th century CE. This sculpture is unique in the sense that gandabherunda is depicted as a terrifying figure clutching two elephants in its talons and lions in its two beaks.

Gandabherunda in Vijayanagar Art:
The Rayas of the Vijayanagara kingdom adopted the gandabherunda motif as their royal insignia along with the Varaha. King Achyuta Deva Raya minted gold coins that depicted the gandabherunda holding four elephants in its talons.
The four elephants were supposed to represent the four Islamic sultanates of the region – Bidar, Bijapur, Ahmadnagar and Golconda and the Hindu Vijayanagara kingdom
was meant to be the mighty gandabherunda. Sadly, finally, it was the elephants that got together to destroy the mighty bird!
After the fall of the Vijayanagar Empire, the Nayakas of Madurai and Keladi as well as the Wodeyars of Mysuru continued to use the gandabherunda motif. The Mysuru royal family changed the motif slightly, to turn it into a royal crest.

Gandabherunda in Art and Crafts:
The gandabherunda motif was adapted by other forms of Indian arts and crafts due to its religious symbolism and association with Shri Vishnu. The Pattachitra painters of Odisha used it widely on Pattachitras as well as on ganjifa playing cards.
The motif was also used by the weavers of Kanchipuram as a powerful auspicious motif meant to act as a protective charm for the wearer of the garment. They called it the ‘Iruthalai Pakshi.’
The gandabherunda was also adopted by the Ikat weavers of Odisha. Traditional temple jewellery of both Karnataka and Tamil Nadu also uses the gandabherunda motif extensively as it is considered to be both auspicious and powerful.

Gandabherunda in Contemporary Culture:
After independence, the Karnataka Government adopted the gandabherunda as the state symbol. It can be found on bus terminals and tickets issued by Karnataka State Road Transport Corporation buses as well.
The gandabherunda was so revered by the Mysuru royal family that they instituted an Order of Gandabherunda, which was conferred upon meritorious people from the erstwhile Mysuru state between 1892 to 1950. The award consisted of a chain with a gandabherunda pendant.
Gaṇḍabheruṇḍa is also seen as a motif in the leather Puppetry of Karnataka. In recent years, it has been used as the logo of the Bengaluru Film Festival as well. From temple sculptures to pop culture, the gandabherunda is a motif that has influenced Indian Art profoundly for more than two millennia!
 

Indrajit

Senior Member
Joined
Feb 27, 2018
Messages
4,009
Likes
15,228
Country flag


A Unique Motif In Indian Art- Part III: Kirtimukha
Shefali Vaidya September 4, 2021



All art in ancient India was spiritual in natural and catered to the religious needs of the people. Every motif used, every sculpture carved had a deep spiritual meaning, as all art was seen as a divine creation. This close relationship between art and religion manifested itself into all aspects of artistic creation. Ananda Coomaraswamy has described the nature of Hindu art in the following words,
there is no hard line drawn between the secular and the religious things in life; religion is not so much a formula, as a way of looking at things, and so all the work of life…may be done as it were unto the Lord’.
This is the reason why you see the same motifs recurring across art forms, from literature to temple sculptures to folk culture. Nowhere is this fusion of art and spirituality more evident than in the figure of the Kirtimukha or ‘face of glory that you find in temple architecture all over India and Asia.
The Kirtimukha first appeared in the Indian art scene as a sacred Shaivite symbol and transformed itself into a decorative element that is
seen in all temples everywhere from the threshold of the garbhgriha to the top of the lofty Gopurams.
Origin Of Kirtimukha
The Kirtimukha or ‘Face of Glory, is a motif that is depicted as a fierce-looking lion face with bulbous eyes, matted hair and a gaping mouth displaying huge fangs. There is a Puranic story behind it. The Kirtimukha is a grotesque creature that is said to have been born out of Bhagwan Shiva’s wrath as per a story from the Skandapurāna .
As per legend, Jalandhara, the powerful king of Asuras sent his emissary, Rahu, to Lord Shiva with a message that Lord Shiva should drop his plan to marry Goddess Parvati, as she was destined to be Jalandhara’s queen. Foolishly, Rahu conveyed the message to Lord Shiva, and called him a mendicant unworthy of Devi Parvati. Infuriated by this insult, Bhagwan Shiva created a terrible creature from the spot between his eyebrows, the Ajna-Chakra. The creature had a terrible countenance, and a face like a grotesque lion. It roared and started pursuing Rahu. Joseph Campbell has described the creature thus in his book, ‘Myths To Live By’
The body of the monster was lean and emaciated, symbolising its insatiable hunger, yet its strength was resilient and irresistible. The apparition’s throat roared like thunder; eyes burnt like fire; the mane, dishevelled, spread far and wide into space.’

When Rahu saw the terrible creature chase him, he realised his folly and fell at the feet of Lord Shiva, seeking his forgiveness. The compassionate Shiva forgave Rahu. Rahu was saved, but the creature that was born out of Lord Shiva’s wrath was hungry. Unable to control its insatiable hunger, the creature began to devour itself, starting from its feet and arms. Finally, only the face remained.
Impressed by the creature’s ability to endure pain and to sacrifice itself, Lord Shiva addressed the creature as Kirtimukha, and blessed him with the boon that the ‘Face Of Glory’ would be present on the threshold and lintels of all Shiva temples to devour the sins of the devotees who visit the temples. Hence the Kirtimukha began to be carved on the lintel of doorways to Shiva temples and on the threshold of the door leading to the Garbhgriha.

According to Stella Kramrisch, the presence of the Kirtimukha on the threshold of the garbhgriha signifies the transcendental passage of the profane into the profound. It is the threshold where the devotee is supposed to shed his ego, desires and sins for the Kirtimukha to devour them, and enter the garbhgriha as a pure soul focused only on the experience of the Darshana.

Kirtimukha in Literature
There are many references to the Kirtimukha in Sanskrit literature. According to V.S. Agrawala, the Kirtimukha was believed to be the motif that makes the temple structure stable, and its destruction in any manner would cause the collapse of the whole edifice. In the PadmaPurana, Prabhu Shri Ram is advised to break the Kirtimukha that crowns Ravana’s palace in Lanka with his bow in order to bring down the whole edifice.
Kirtimukha in Temple Sculpture

Initially meant to adorn the threshold and lintel of temples dedicated to Lord Shiva, the Kirtimukha soon became a popular decorative motif in temples dedicated to all deities. The kīrtimukha is depicted as a fierce lion like face with stylised horns, a gaping mouth with protruding fangs, frowning eyebrows, bulbous eyes, matted hair flowing in all directions and fan-shaped ears.


In śilpaśāstra texts like the Mānāsara, the Kirtimukha is described as a protective motif that can be carved on all parts of the temple like the pillars, the Shuknasi and the layers of the jagati. Sometimes, the Kirtimukha is associated with the makara (crocodile) motif, especially in South-East Asia and Odisha.
The Kirtimukha is also known as Kalamukha, as it symbolises time that devours everything. According to O. C. Ganguly, in iconography, the Kirtimukha began to appear first in Siva’s jatamukuta or crown of matted hair as a protective motif. By sixth century CE, the motif became so popular for its perceived power to bestow protection and ward off evil-eye that it began to be

carved on the top of the aureole or prabhavali of sculptures of all deities.
In Kalinga architecture, the Kirtimukha motif is known as vajra-mastaka and is depicted on the gandi or spire of the temple. In Kalinga architecture as seen in the temples of Odisha, the Kirtimukha motif is depicted with pearl or Rudraksha strings dripping from its mouth, a symbolic representation of the wealth and devotion of the king who is building the temple.


In Dravida temple architecture, the Kirtimukha is found on the door-lintel of the main shrine, on the vimana, at the base of the pillars as well as on a separate layer of Kirtimukhas at the base of the outer walls of the temple. In Hoysala temples particularly, you see the Kirtimukha motif carved everywhere, from the base of the outer layer of the temple to the Shuknasi, or beak like projection at the base of the Shikhara of the temple.

In the Maru Gurjara architectural style found in Gujarat and Rajasthan, this motif is called Grasamukha while it is called as Rahu-Mukha in Bengal. The motif is known as Kalamukha or Bhoma in South-East Asia. It is also known as Simhamukha.

Kirtimukha in South-East Asia
The Kirtimukha travelled to South-East Asia from India, and is seen on temples built in Thailand, Indonesia, Cambodia as well as in Sri Lanka. In Cambodia, the Kirtimukha motif is commonly used as a decorative element adorning the lintels of the doorways.

In Indonesia, the Kirtimukha is called Kala or sometimes Banaspati. It is often depicted with the Makara motif sprouting from it and is known as Kalamakara Torana. In Borobodur, the gate to the main stairs is adorned with a giant makaratorana. In Bali, the motif is called Bhoma and is perceived as the guardian deity warding off evil.

Kirtimukha in Indian Art and Crafts
Because of its perceived powers as a guardian deity that wards off evil, the Kirtimukha is a very popular motif in jewellery as well as in paintings of a religious character like the pattachitra of Odisha and the Thangka scroll paintings of Tibet, Sikkim and Ladakh.


Kirtimukha in Contemporary Culture
In recent years, the Kirtimukha has proved to be a very popular motif in body tattoos as it is believed that the Kirtimukha tattoo will protect the person from any harm and keep him/her safe and healthy. Kirtimukha motif has also been used in Kosa sarees woven in Chattisgarh state.

Symbolic Meaning Of The Kirtimukha

Why is the Kirtimukha motif so popular in temple architecture? It is meant to be a visual representation of our thoughtless pursuit of pleasures, that some day will devour us.
The Kirtimukha is the ‘face of glory’. Glory is an attribute of the ego, as it is the ego that constantly craves glory. It serves as a reminder that our ego sustains itself by consuming our mental peace. Hence, when we enter a temple, we are supposed to shed our ego at the threshold and enter with humility.
 

Maharaj samudragupt

Kritant Parashu
Banned
Joined
Oct 9, 2020
Messages
7,650
Likes
21,949
Country flag


A Unique Motif In Indian Art- Part III: Kirtimukha
Shefali Vaidya September 4, 2021



All art in ancient India was spiritual in natural and catered to the religious needs of the people. Every motif used, every sculpture carved had a deep spiritual meaning, as all art was seen as a divine creation. This close relationship between art and religion manifested itself into all aspects of artistic creation. Ananda Coomaraswamy has described the nature of Hindu art in the following words,
there is no hard line drawn between the secular and the religious things in life; religion is not so much a formula, as a way of looking at things, and so all the work of life…may be done as it were unto the Lord’.
This is the reason why you see the same motifs recurring across art forms, from literature to temple sculptures to folk culture. Nowhere is this fusion of art and spirituality more evident than in the figure of the Kirtimukha or ‘face of glory that you find in temple architecture all over India and Asia.
The Kirtimukha first appeared in the Indian art scene as a sacred Shaivite symbol and transformed itself into a decorative element that is
seen in all temples everywhere from the threshold of the garbhgriha to the top of the lofty Gopurams.
Origin Of Kirtimukha
The Kirtimukha or ‘Face of Glory, is a motif that is depicted as a fierce-looking lion face with bulbous eyes, matted hair and a gaping mouth displaying huge fangs. There is a Puranic story behind it. The Kirtimukha is a grotesque creature that is said to have been born out of Bhagwan Shiva’s wrath as per a story from the Skandapurāna .
As per legend, Jalandhara, the powerful king of Asuras sent his emissary, Rahu, to Lord Shiva with a message that Lord Shiva should drop his plan to marry Goddess Parvati, as she was destined to be Jalandhara’s queen. Foolishly, Rahu conveyed the message to Lord Shiva, and called him a mendicant unworthy of Devi Parvati. Infuriated by this insult, Bhagwan Shiva created a terrible creature from the spot between his eyebrows, the Ajna-Chakra. The creature had a terrible countenance, and a face like a grotesque lion. It roared and started pursuing Rahu. Joseph Campbell has described the creature thus in his book, ‘Myths To Live By’
The body of the monster was lean and emaciated, symbolising its insatiable hunger, yet its strength was resilient and irresistible. The apparition’s throat roared like thunder; eyes burnt like fire; the mane, dishevelled, spread far and wide into space.’

When Rahu saw the terrible creature chase him, he realised his folly and fell at the feet of Lord Shiva, seeking his forgiveness. The compassionate Shiva forgave Rahu. Rahu was saved, but the creature that was born out of Lord Shiva’s wrath was hungry. Unable to control its insatiable hunger, the creature began to devour itself, starting from its feet and arms. Finally, only the face remained.
Impressed by the creature’s ability to endure pain and to sacrifice itself, Lord Shiva addressed the creature as Kirtimukha, and blessed him with the boon that the ‘Face Of Glory’ would be present on the threshold and lintels of all Shiva temples to devour the sins of the devotees who visit the temples. Hence the Kirtimukha began to be carved on the lintel of doorways to Shiva temples and on the threshold of the door leading to the Garbhgriha.

According to Stella Kramrisch, the presence of the Kirtimukha on the threshold of the garbhgriha signifies the transcendental passage of the profane into the profound. It is the threshold where the devotee is supposed to shed his ego, desires and sins for the Kirtimukha to devour them, and enter the garbhgriha as a pure soul focused only on the experience of the Darshana.

Kirtimukha in Literature
There are many references to the Kirtimukha in Sanskrit literature. According to V.S. Agrawala, the Kirtimukha was believed to be the motif that makes the temple structure stable, and its destruction in any manner would cause the collapse of the whole edifice. In the PadmaPurana, Prabhu Shri Ram is advised to break the Kirtimukha that crowns Ravana’s palace in Lanka with his bow in order to bring down the whole edifice.
Kirtimukha in Temple Sculpture

Initially meant to adorn the threshold and lintel of temples dedicated to Lord Shiva, the Kirtimukha soon became a popular decorative motif in temples dedicated to all deities. The kīrtimukha is depicted as a fierce lion like face with stylised horns, a gaping mouth with protruding fangs, frowning eyebrows, bulbous eyes, matted hair flowing in all directions and fan-shaped ears.


In śilpaśāstra texts like the Mānāsara, the Kirtimukha is described as a protective motif that can be carved on all parts of the temple like the pillars, the Shuknasi and the layers of the jagati. Sometimes, the Kirtimukha is associated with the makara (crocodile) motif, especially in South-East Asia and Odisha.
The Kirtimukha is also known as Kalamukha, as it symbolises time that devours everything. According to O. C. Ganguly, in iconography, the Kirtimukha began to appear first in Siva’s jatamukuta or crown of matted hair as a protective motif. By sixth century CE, the motif became so popular for its perceived power to bestow protection and ward off evil-eye that it began to be

carved on the top of the aureole or prabhavali of sculptures of all deities.
In Kalinga architecture, the Kirtimukha motif is known as vajra-mastaka and is depicted on the gandi or spire of the temple. In Kalinga architecture as seen in the temples of Odisha, the Kirtimukha motif is depicted with pearl or Rudraksha strings dripping from its mouth, a symbolic representation of the wealth and devotion of the king who is building the temple.


In Dravida temple architecture, the Kirtimukha is found on the door-lintel of the main shrine, on the vimana, at the base of the pillars as well as on a separate layer of Kirtimukhas at the base of the outer walls of the temple. In Hoysala temples particularly, you see the Kirtimukha motif carved everywhere, from the base of the outer layer of the temple to the Shuknasi, or beak like projection at the base of the Shikhara of the temple.

In the Maru Gurjara architectural style found in Gujarat and Rajasthan, this motif is called Grasamukha while it is called as Rahu-Mukha in Bengal. The motif is known as Kalamukha or Bhoma in South-East Asia. It is also known as Simhamukha.

Kirtimukha in South-East Asia
The Kirtimukha travelled to South-East Asia from India, and is seen on temples built in Thailand, Indonesia, Cambodia as well as in Sri Lanka. In Cambodia, the Kirtimukha motif is commonly used as a decorative element adorning the lintels of the doorways.

In Indonesia, the Kirtimukha is called Kala or sometimes Banaspati. It is often depicted with the Makara motif sprouting from it and is known as Kalamakara Torana. In Borobodur, the gate to the main stairs is adorned with a giant makaratorana. In Bali, the motif is called Bhoma and is perceived as the guardian deity warding off evil.

Kirtimukha in Indian Art and Crafts
Because of its perceived powers as a guardian deity that wards off evil, the Kirtimukha is a very popular motif in jewellery as well as in paintings of a religious character like the pattachitra of Odisha and the Thangka scroll paintings of Tibet, Sikkim and Ladakh.


Kirtimukha in Contemporary Culture
In recent years, the Kirtimukha has proved to be a very popular motif in body tattoos as it is believed that the Kirtimukha tattoo will protect the person from any harm and keep him/her safe and healthy. Kirtimukha motif has also been used in Kosa sarees woven in Chattisgarh state.

Symbolic Meaning Of The Kirtimukha

Why is the Kirtimukha motif so popular in temple architecture? It is meant to be a visual representation of our thoughtless pursuit of pleasures, that some day will devour us.
The Kirtimukha is the ‘face of glory’. Glory is an attribute of the ego, as it is the ego that constantly craves glory. It serves as a reminder that our ego sustains itself by consuming our mental peace. Hence, when we enter a temple, we are supposed to shed our ego at the threshold and enter with humility.
What are those two lion and elephant creature in Karnataka state emblem ?
 

Indrajit

Senior Member
Joined
Feb 27, 2018
Messages
4,009
Likes
15,228
Country flag
What are those two lion and elephant creature in Karnataka state emblem ?
The emblem has a red shield charged with a white two-headed bird, Gandabherunda bordered in blue. The crest depicts the Lion Capital of Ashoka (also used as the emblem of the Government of India), on a blue circular abacus with a blue frieze carrying sculptures in high relief of a galloping horse on the left, a Dharmachakra in centre, a bull on the right, and the outlines of Dharmachakras on the extreme left and right as part of Sarnath's Ashoka Pillar. The shield is flanked on either side by red-maned, yellow lion-elephant Sharabha supporters (mythical creatures believed to be upholders of righteousness stronger than lions and elephants) standing on a green, leafy compartment. Below the compartment lies written in stylized Devanāgarī, the national motto of India, "सत्यमेव जयते" (Satyameva Jayate, Sanskrit for "Truth alone triumphs").

 

Latest Replies

Global Defence

Articles

Top