Page 75 - Eye of the beholder

These iconic images as royalties are distinguished by the crowns on their heads, though similar crowns are also worn by two attendant figures represented on either side of her.
An endearing aspect of Jamini Roy’s composition is the way the central figure of Parvati seated on the ground intrudes on the border, imparting a quality of intimacy as she partakes of the spectator’s space. The colours employed are complementary - orange and blue and analogus - blue and green. The body and face is rendered is in chrome yellow. The influence of Jain miniatures remain strong in his works particularly in the elongated oval eyes going beyond the face. Residue of Kalighat painting is evident in the black strong outlines with a parallel contouring by another colour as in the composition with green and red instead of the shade of grey as the traditional painters had practiced. The print on the saris of the three women is the simple motif of three dots creating a charm of its own. The background is painted in the earthy burnt umber colour. Parvati and her two attendants have three different designed bindi on their forehead. The latter carry two plates that is heaped with some powder and they gesture towards their head. In is simplicity the work exudes a sense of majesty and monumentality.
Puranic myths about the birth of Ganesha are found in the later Puranas, composed from about 600 C.E. onwards. The most well known story is one taken from Shiva Purana. On hearing that Shiva has been liberated from Gajasura’s stomach and is on his way to Kaisha, Parvati started preparing for a bath. As she did not want to be disturbed during her bath and since Nandi too was not at Kailas with her to guard her door, Parvati took the turmeric paste from her body and made a form of a boy and breathed life into him. The boy was instructed to guard the door and not to let anyone in till she finished her bathing rituals. When Shiva reached after a long time spent in Gajasura’s stomach, he was stopped at his door by a strange boy. He tried to reason with him saying that he was Parvati’s husband. The boy refused and remained obstinate, while Shiva was losing his patience, realizing that there was something extraordinary about him and decided to engage him in a fight. In his divine fury he severed the boy’s head with his trishul. When a grief-stricken Parvati threatens to destroy the universe, Brahma interceded and requested her to reconsider her plan. She agreed but on two conditions. First the boy should be brought back to life and secondly he would be forever worshipped before all other gods.
Shiva having taken control of the situation had the troops dispatched and bring back the head of the first creature lying dead with its head facing north. Shiva’s army returned with the head of a strong and powerful Gajasura, which Brahma placed on the boy’s body. Breathing new life into him, he was declared as Gajanana and gave him the status of being the foremost among gods and leader of all ganas or class of beings namely Ganapati.
SELECT REFRENCE:
Partha Mitter, “Triumph of Nationalism: India’s Artists and the Avant-Garde, 1922-1947”, Oxford University Press, New Delhi 2007
Tapati Guha Thakurta, “Visualizing the Nation; Nandalal Bose: A New National Art for the People” an article I the Journal of Arts and Ideas Number 27-28, Tulika Print Communication Services, New Delhi, March 1995
69