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 ...
It has been years since I had written the original piece on the practice of Skanda worship being rather prevalent in and around North-west India. Since then, I also found a few updates that I felt were rather interesting and unique, and added to the depth of the piece. (special thanks to Aditya Sharma for somevital information shared here today). Vayu Purana and its Linkage to Balak Nath? Vigraha of Baba Balak Nath at Deotsidh The Vayu Purana gives us some hints about the origins and links of the worship of Baba Balak Nath. A shloka in the Vayu Purana (chapter 54) clearly goes as follows पप्रच्छ कार्तिकेयं वै मयूरवर्वाहनम् । महिशसुरनारीणां नयनाञ्जनतस्करम् महासेन महात्मानं मेघस्त्नित्निस्वनम् । उमामनःप्रहर्शेण बालकं छद्मरुपिणम् .... The section is essentially a discussion between the Sage Vashishtha and Kartikeya, where Vayu Deva calls Kartikeya one who has the form of a child which delights Uma, who incidentally is also known as Skanda Mata. Balak Nath is known as Bala ...