Painting picture courtesy Christie's Auction House Sometimes, a painting begins to ask more questions than it answers. A late eighteenth-century painting, attributed to the Mandi school and catalogued as showing Raja Sansar Chand of Kangra with a courtier, has intrigued me for some time. At first glance, the identification appears straightforward enough. Two men sit opposite each other, smoking hookahs, while attendants stand behind them holding fly-whisks. One figure is dressed in red, the other in white. The scene is informal, almost intimate, and yet unmistakably courtly. But the more I looked at the painting, the less convinced I became that the red-clad figure was Sansar Chand. The reason came from looking at other portraits. Among the surviving paintings associated with the Mandi court are several portraits of Raja Surma Sen, who ruled Mandi from 1781 until his death in 1788. One such portrait shows him seated smoking a hookah, attended by a fly-whisk bearer. Another depicts ...
Svayambhu Sri Chakra at Sharika Devi in Srinagar (Temples of India) In my previous blog I had talked about the project of Dr Meenakshi Jain on iconoclasm in India, and how the Hindus of India responded to it by protecting the idol. This was a talk I had attended, and afterwards I had a chance to interact with Dr Jain, and had the chance to tell her more about an interesting story I had nearly forgotten. This is the story of the curious case of Sharika Devi. In the state of Jammu and Kashmir, particularly in Kashmir valley, Sharika Devi is a very important goddess in the Kashmir Tantra traditions, particularly of the Vaishnava Tantra, which is an even rarer school. This Devi, the Aadi Devi or Mother Goddess, is often identified by scholars with Tripurasundari or Lalitha Devi. The city of Srinagar, where Sharika Devi's temple, also known as Pradyumna Peetha , is located on Hari Parbat, has an interesting legend to it. Hari Parbat is a corruption of the name ShAri , the name ...