Page 196 - Eye of the beholder

Lakshmana entered the battle. Despite his gigantic size and great appetite, he was described to be of good character and great warrior in those times, though he killed and ate many monkeys only to show his power. He was considered pious, intelligent and unchallenged warrior in battle, to the extent that Indra, the king of gods, was worried and jealous of his strength. Along with his brothers, Ravana and Vibhisana, Kumbhakarna performed a major yajna and penance to please Brahma. When the time came for asking the boon from Brahma, Kumbhakaran’s tongue was tied by Saraswati, who was acting on Indra's request; because of which, instead of asking Indraasana (seat of Indra), he asked for Nidraasana (bed for sleeping). It is also said he intended to ask for Nirdevatvam (annihilation of Devas) and instead asked for Nidravatvam (sleep). His request was granted. He slept for six months and when he awoke, he ate everything in the vicinity, including humans
During the war, Ravana went into battle and was humiliated by Rama and his army. He decided he needed the help of his brother Kumbhakarna, who was awakened with great difficulty. He woke up only after one thousand elephants walked over him. When he was informed of the circumstances of Ravana's war with Rama, he tried to convince Ravana that what he was doing was wrong. However, he chose to fight in the battle due to his loyalty to his brother. Kumbhakarna went into battle and devastated Rama's army. He knocked Sugriva unconscious, took him prisoner, but was ultimately killed by Rama. When Ravana heard of his brother's death, he fainted and proclaimed that he was truly doomed.
The main protagonist Kumbhakarna is shown larger than life as a ferocious demon, ready to engage in a battle with Rama and Lakshmana, whore are carried on the shoulders of Hanuman. Throughout the painting, the performative emerges as a dominant mode, in the scenes of combat, where confrontation seems to have been transmuted into war-dance rhythms. Gestures are harmoniously coordinated, and glide from one into the other, while the heightened expressions in the faces amplify the feeling of enactment. In the depiction of the demons, who are the ‘grotesques’ of the narrative, their portrayal with tongues lolling out of ferocious open mouths and with weird facial features establishes the sheer absurdity of their
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