Page 75 - Eye of the beholder

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