![]() ![]() Eventually, Hanuman manages to escape and with a giant leap leaves Lanka, safely returning to Kishkindhaa. He gets captured and is brought in the presence of Ravana, who condemns him and orders his subjects to set Hanuman’s tail on fire. After attempting to liberate Sita, Hanuman brings chaos to Lanka, destroying buildings and killing some of Ravana’s guards. The Sundara Kanda (5), considered by many the heart of Valmiki’s text, provides detailed accounts of Hanuman’s adventures, including his meeting with Sita and Ravana in Lanka. This large composition depicts a crucial moment of the fifth chapter ( kanda) of Valmiki’s Ramayana, the trial of Hanuman at the court of Ravana. Jaipur, Rajasthan, North-Western India, circa 1920 – 1940, signed by Sri Makwan Lalji. AN ILLUSTRATION TO A RAMAYANA SERIES: HANUMAN BEFORE THE EVIL KING OF LANKA RAVANA. The composition is rich in details and emotions, but it is also wisely laid out, giving the viewer enough time to dwell on each scene and rejoice in Rama’s return. Once returned, they are greeted, welcomed and treated by the locals as the rightful rulers of Ayodhya: Rama’s feet are being washed by a courtly attendant a royal palanquin in the background is awaiting them a well-dressed courtier offers Rama and Lakshmana their lotus crowns while they sit underneath a tree. Around their heads, flaming golden haloes symbolise their divine nature and emphasise their roles as heroes. Here, the trio (Rama, Sita and Lakshmana) is about to cross the river to finally get home, after 14 years in exile. Unlike Western art, Indian art will feature several scenes in one composition telling a visual story. The composition is organised in chronological order from left to right, as if it was a comic strip and the story was unfolding under the viewer’s gaze. Jodhpur, Rajasthan, North-Western India, circa 1820 – 1840. AN ILLUSTRATION TO A RAMAYANA SERIES: RAMA, SITA AND LAKSHMANA RETURNING TO AYODHYA. Although there is no sign of the Serpent Shesha, the presence of the river Sarasvati to the left creates an immediate link with the legend of the Trimurti Patience Test, reminding the beholders not to be hasty in their judgment. At a first glance, the beholder may even think that Vishnu must have done something wrong to anger the sage and thus, sympathise with Bhrigu: the subtle double entendre of this painting is what makes it unusual. Similarly, the facial expression of Vishnu shows no anger, surprise or disappointment instead, he may look a bit surprised and defenceless. Some elements worth noticing here are the presence of the Vaishnava tilaka on the forehead of the sage, already hinting at his devotion for Vishnu and his final decision. Bhrigu, ashamed of his ego and in total awe of the God’s mercy and patience, elects Vishnu as the greatest deity of the Trimurti. Upon his awakening, Vishnu greets the sage and start massaging his feet, concerned he had hurt his feet in kicking the God’s chest. In an outburst of anger and frustration, Bhrigu kicks the God on the chest to wake him up. Bhrigu was appointed as the sage that would test the deities.Īfter briefly confronting Brahma and Shiva with dissatisfactory results, Bhrigu tries to engage Vishnu, but he is deeply asleep on the Serpent Shesha. This scene refers to a Hindu legend, known as the Patience Test of the Trimurti, in which many great sages gathered on the bank of the river Sarasvati to establish who out of the trinity of gods, Vishnu, Brahma, and Shiva, was the most important and to whom they should offer the Pradhanta (Master) of the Maha Yagya worship. The Maharishi Bhrigu, one of the great sages of the Hindu tradition, is shown attacking Lord Vishnu and kicking him with his foot. The choice of this painting’s subject is rather unconventional. Kangra, Pahari Hills, Northern India, first half 19th century. Lot 19 – THE TRIMURTI PATIENCE TEST: MAHARISHI BHRIGU KICKING LORD VISHNU AWAKE. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |