Hearken, O Mādhava, what more can I say?
Nought can I find to compare with love:

Though the sun of the East should rise in the West,
Yet would not love be far from the worthy,

Or if I should write the stars of heaven on earth,
Or if I could pour from my hands the water of all the sea.

-- Vidyapati

I feel my body vanishing into the dust whereon my beloved walks.

I feel one with the water of the lake where he bathes.

Oh friend, my love crosses death's boundary when I meet him.

My heart melts in the light and merges in the mirror whereby he views his
face.

I move with the air to kiss him when he waves his fan, and wherever he
wanders I enclose him like the sky.

Govindadas says, “You are the gold-setting, fair maiden, he is the
emerald”

Among the hills, when you sit in the cool shade of the white poplars, sharing the peace and serenity of distant fields and meadows – then let your heart say in silence, “God rests in reason.”
And when the storm comes, and the mighty wind shakes the forest, and thunder and lightning proclaim the majesty of the sky, – then let your heart say in awe, “God moves in passion.”
And since you are a breath in God’s sphere, and a leaf in God’s forest, you too should rest in reason and move in passion
.

-- Kahlil Gibran, The Prophet

Open your eyes ...

Open your eyes ...

Mirror-pond of stars …

Suddenly a summer

shower

Dimples the water.

-- Sesshi

He who has been instructed thus far in the things of love, and who has learned to see the beautiful in due order and succession, when he comes toward the end will suddenly perceive a nature of wondrous beauty(and this, Socrates, is the final cause of all our former toils)—a nature which in the first place is everlasting, not growing and decaying, or waxing and waning; secondly, not fair in one point of view and foul in another, or at one time or in one relation or at one place fair, at another time or in another relation or at another place foul, as if fair to some and foul to others, or in the likeness of a face or hands or any other part of the bodily frame, or in any form of speech or knowledge, or existing in any other being, as for example, in an animal, or in heaven, or in earth, or in any other place; but beauty absolute, separate, simple, and everlasting, which without diminution and without increase, or any change, is imparted to the ever-growing and perishing beauties of all other things. He who from these ascending under the influence of true love, begins to perceive that beauty, is not far from the end. And the true order of going, or being led by another, to the things of love, is to begin from the beauties of earth and mount upwards for the sake of that other beauty, using these as steps only, and from one going on to two, and from two to all fair forms, and from fair forms to fair practices, and from fair practices to fair notions, until from fair notions he arrives at the notion of absolute beauty, and at last knows what the essence of beauty is.

“This, my dear Socrates”, said the stranger of Mantineia, “is that life above all others which man should live, in the contemplation of beauty absolute.... But what if man had eyes to see the true beauty—the divine beauty, I mean, pure and clear and unalloyed, not clogged with the pollutions of mortality and all the colours and vanities of human life—thither looking, and holding converse with the true beauty simple and divine? Remember how in that communion only, beholding beauty with the eye of the mind, he will be enabled to bring forth, not images of beauty, but realities (for he has hold not of an image but of a reality), and bringing forth and nourishing true virtue to become the friend of God and be immortal, if mortal man may.Would that be an ignoble life?”

-- Plato, Symposium

Saturday, February 24, 2024

Shiva’s dreadlocks

 

Below is a picture of the famous Sadāshiva Maheshamūrti at the Elephanta Caves, uploaded by “Sailko” on Wikimedia Commons.

This is basically a depiction of Shiva.

I have added some text to the image, pointing out the hairstyles of the three heads of Shiva,

ª     the Right one (viewer’s right) being Feminine (lotus) – and endowed with ringlets, and

ª     the Left one being Masculine (serpent) – endowed with curls.

 


In Indian art, Shiva invariably has what are known as “dreadlocks”.

The central head, representing balance, serenity, and dispassion – is endowed with these high-piled ropey dreadlocks.

Shiva doesn’t usually wear an intricately carved high (cylindrical) crown, but rather a sort of elaborate diadem around a pile of dreadlocks, or curly hair, or ringlety hair.

Different forms, or heads, of Shiva may be endowed with different hairstyles.

Below one can see the different styles on the different heads of Shiva carved on a Shiva Liga, from the Chaturmukha Mahadeva Temple at Nachna, Madhya Pradesh.

The images, released into Public Domain, have been taken from Wikimedia Commons.

Arrows & Text have been added by me.





“Dreadlocks” are generally understood to be African.

But I see no reason to associate them exclusively with Africa.

Indian Nāga Sādhus sport dreadlocks to this day.

Yes, naturally curly hair is not a typical Indian attribute, though there are many, many curly-haired Indians.

I’m curious to discover how prevalent this ropey, dreadlock-pile hairstyle is.

It’s very common in India, and is found in Hindu, Buddhist as well as Jain statues.

I do not think it is prevalent in Ancient Greece & Rome.

Many Ancient Greek & Roman statues have curly hair, but most of it is wavy hair, not the tight, round, spirally curls seen in Africa and in Ancient Indian sculpture.

I will come to Christian art sometime later, heavily influenced as it seems, by Indian art.

In most of European-Christian high art, angels are depicted with very lush, flowing, curly hair.

Even Jesus may be given very elaborate, lush, luscious hairdos.

To what extent these are original conceptions, to what extent they might have been inspired by other cultures, is still to be determined.

The motifs, undoubtedly, are NOT original.

The hair-pile of ropey/rope-like dreadlocks is very prevalent in India, and I do not recollect many European-Christian art figures endowed with it.

However, curly hair is by no means a rare phenomenon, and even Mesopotamian-Babylonian figures have curly hair.

Is it because curly hair was considered artistically more desirable & aesthetic?

Is it for the simple reason that there were people with curly hair everywhere?

Or that people across the world chose to curl their straight hair, because it looks beautiful?

Or these styles came from a common community, or a common source?

As of now, we should simply note the similarities and observe how different cultures portrayed the same hairdos, or variations of the same hairdos.


Beneath is a figure, most probably Buddhist, from one of the many Ellora Caves, photographed by me in 2011, with the same rope-like, dreadlock hairstyle as that of Shiva, piled up high in a very elaborate way.



Another example. 
This beautiful (Buddhist) Bodhisattva below, photographed by me in 2014, at the Delhi National Museum, has the exact same hairstyle.