June 14, 2015

THE GOA STATE MUSEUM - PART 4

THE CULT OF MAHISASURA MARDINI

Goa was an important center of the Shakti cult in the medieval times and the Goddess was worshiped in the form of the Bhagavati or Mahishasura-Mardini. The cult still has a large number of followers who believe that the Goddess is the Supreme Power unlike popular Hindu belief that it is the Trimurti consisting of Brahma the Creator, Vishnu the Protector and Shiva the Destroyer which controls the cosmos. In this form, the Devi is seen slaying the fierce demon - Mahishasura or the Buffalo Demon with her trishul.

The most beautiful of the three Mahishasura Mardini sculptures displayed in the Gooa State Museum is the one from Surla-Tar in Bicholim belonging to the 14 th century. The four armed Goddess carved out of Compact Soap Stone is standing with the demon in the form of a buffalo below Her left feet. A well embellished 'prabhavali' has a 'kirti mukha' (Victory Face) at the centre is carved behind her. The Devi is grabbing the demon with Her left hand whereas Her right arm is broken; She holds a trishul in Her upper right hand and a 'Shank' (Conch) in the upper left hand. A lion - the vahana of the Goddess is seen attacking the demon from behind. A look at this image and you realize that certainly the contemporary Goan sculptors were masters of their trade.

Mahishasura Mardini - 14th century AD
The 14th century Talc Chlorite Schist sculpture of the Goddess found at Torxem in Pernem taluka is in fact a 'true' Mahishasura Mardini image for the fact that here, She is seen goring the buffalo with the trishul in Her right hand. Like the revious image, she is seen holding the demon's tongue with Her left hand; she holds a sword in Her upper right hand and a shield in the upper left hand like a medieval warrior. A well-decorated 'prabhavali' in the back ground lacks a 'kirti mukha'. Now that is strange and so is the absence of the lion!

Mahishasura Mardini - 14th century AD
The much older Talcose Chlorite Schist stone sculpture of the Devi was found at Assoledem in Quepem taluka of Goa and belongs to the 12th century AD. The four armed Goddess holds a broken sword in Her upper left hand and a shield in the upper right hand. She is seen crushing the demon Mahishasura with Her right hand and simultaneously thrusting her trishul into him. Unlike the previous two idols, the demon is shown here in a human form, sitting upon a buffalo. He is holding a sword and a shield in his hand. The idol has a beautiful 'prabhavali' and a 'kirti mukha' on the top. A lion and a 'chauri' (fly whisk) bearer are seen on the bottom left and right of the image respectively.

Mahishasura Mardini - 12th century AD


More from the series: GOA STATE MUSEUM

(1) An Introduction (Link)

(2) The Hero Stones (Link)

(3) The Sati Stones (Link)

(4) The Gajalaxmi Stones (Link)

(5) The Cult of Mahishasura Mardini (Link)



Reference: Catalogue of the Remarkable Sculptures in the Goa State Museum

THE GOA STATE MUSEUM - PART 3

THE GAJALAXMI PANEL

The third of my many posts on the Goa State Museum is the Gajalaxmi panel that are displayed on the ground floor. As the name suggests, the stone slabs were commissioned in the honor of Laxmi - the Hindu Goddess of Wealth.

Gajalaxmi - 14th-15th century AD
The first of the two slabs, the one displayed in the above picture belongs to the 14 th - 15 the century and was found at Gulle in Sattari taluka in the north-east part of the state. This rectangular structure has an image of the Goddess in the centre, flanked by attendants and a pair of elephants with mahouts. The image of Laxmi is separated from rest of the slab by two small pillars. The lowest panel has people praying to the goddess with two mythical, yali like creatures in the middle, facing each other. In the two sections that make up the middle panel, one can see people playing instruments in the honor of the Goddess whereas the topmost panel has horses at the extreme ends.

Gajalaxmi - 17th century AD
The other basalt stone slab, belonging to the 17th century found at Dharbandoda in Sanguem consists of the Goddess sitting atop a pedestal, holding lotus buds in her hand. She is flanked by attendants fanning her, two ornate elephants and two warriors in full military gear who are bowing before Her. The middle panel depicts cavalrymen whereas the panel at the bottom shows people dancing and singing hymns in the praise of the goddess. On a closer inspection, one can see two strangely dressed men, perhaps in Persian attire in the lower section.


More from the series: GOA STATE MUSEUM

(1) An Introduction (Link)

(2) The Hero Stones (Link)

(3) The Sati Stones (Link)

(4) The Gajalaxmi Stones (Link)

(5) The Cult of Mahishasura Mardini (Link)



Reference: Catalogue of the Remarkable Sculptures in the Goa State Museum

THE GOA STATE MUSEUM - PART 2

THE SATI STONES

Sati as a practice was prevalent in most parts of medieval India and Goa certainly was not an exception. This brutal act of the wife killing herself by plunging into the funeral pyre of her late husband was widely popular and the women who adhered to this custom were celebrated as deities with their blessings being sought by the womenfolk in times of need. Much like the hero stones, Sati Stones commemorate the supreme 'sacrifice' of the brave ladies who chose to end their own lives after the death of their husbands, thereby upholding their chastity and loyalty towards their companion, at least that is what the general view of the society was.

The Sati cum Hero Stone - 14th century AD (left) and Sati Stone - 13th century (right)

Of the four Sati Stones in the Goa State Museum, the most impressive is the one that was found in Majorda in Salcette taluka which belongs to the 14 th century. This weathered exhibit made of Talc Chlorite Schist is in fact, a Sati cum hero stone and such combinations are not very common. Belonging to the Vijaynagara - Adil Shahi period, it depicts a man in 'Anjalimudra' (gesture of adoration) in the middle with one woman, probably his wife in 'Abhayamudra' (gesture of reassurance) on his left and an attendant to his right. In the next section, the hero is seen committing self-sacrifice as the musicians perform whereas the topmost panel depicts a couple worshiping a Shiv Linga. A 'Shikara' crowns the stone slab and on either side of it, one can see carvings of the Sun and the crescent Moon.

Then there is another one made of Meta Basalt stone which has a rather peculiar shape. It consists of a pillar out of which emerges the right hand of a woman, decorated with bangles. Between the hand and the pillar is a couple whereas a motif of lotus is carved on to the pillar which is the symbol of purity. This exhibit belongs to the thirteenth century and was found at Rivona in Sanguem taluka.

A more elaborately carved Sati stone, similar to the one mentioned above which belongs to the sixteenth century is also displayed. Unlike the above mentioned exhibit, this depicts a couple below the hand. Then there is another sculpture which captures a lady with long flowing air, all set to jump into the fire and commit Sati.



More from the series: GOA STATE MUSEUM

(1) An Introduction (Link)

(2) The Hero Stones (Link)

(3) The Sati Stones (Link)

(4) The Gajalaxmi Stones (Link)

(5) The Cult of Mahishasura Mardini (Link)



Reference: Catalogue of the Remarkable Sculptures in the Goa State Museum

THE GOA STATE MUSEUM - PART 1

THE HERO STONES

The first of the many posts I intend to write on the exhibits in the Goa State Museum, as the name suggests, is on the Hero Stones which are common in this part of the country. These are carved stone slabs that commemorate the death of those brave men who laid down their lives on the battlefield fighting to either protect or uphold the honor of their kingdom or its people from adversaries. Alternatively known as Virgal, they are generally divided into three panels, though in rare instances as many as five panels are seen. Of these, the lowest shows the hero decked up in full military armour, vanquishing the opponents before falling on the ground himself. In the middle panel, he is shown being lifted towards the heavens, accompanied by nymphs and other mythical figures celebrating his ascent whereas the topmost panel shows him seated in the Swarga Lok (Heaven) worshiping the Gods, a fitting tribute to a person who had perished for the 'larger cause'. Besides, accompanying inscriptions, either in Devnagari or Kannada give the name of the hero, sometimes the year of his death and the battle in which he met his ultimate end.

Goa being an important trading centre along the western coast was always the bone of contention amongst the various dynasties vying for power in northern and central Deccan. As such, battles were frequently fought for the control of the rich port and these would have resulted in casualties running into hundreds and thousands, each time the opposing armies met on the battle field. The valor displayed by some of these brave men was 'immortalized' in this unique form. Perhaps, this is the most probable explanation for the large number of hero stones to be found in this region.

Hero Stones or Virgal - 12th century AD

There are two Hero Stones in the State Museum, both of these dating back to the 12th century AD which corresponds to the time when Goa was ruled by the Kadambas from their base at Chandrapur (modern Candor). The one on the left made of Compact Chlorite Schist was found at Khandepar in Ponda taluka whereas the one on right was found at Malkarne in Sanguem taluka and is made of Talc Chlorite Schist stone.

The one one the left is particularly interesting. The lowest panel of this memorial shows the hero being slayed by a person with a sword. However, the interesting bit about this panel is that there is a person on the extreme left who is playing a musical instrument as the hero is being killed as if it was some kind of a ritual and not a regular battle scene. Could this be the depiction of an instance of human sacrifice, perhaps the stone was commissioned to recount the bravery of a villager who volunteered to be killed for the betterment of entire society as a whole; if yes, what was the reason for this gory ritual and whom are the contemporary people who inhabited Khandepar aiming to please by this act. The middle section show the celebrations in the honour of the hero whereas the topmost panel depicts him merging into a Shiv Linga and being worshipped by a priest and an attendant.


More from the series: GOA STATE MUSEUM

(1) An Introduction (Link)

(2) The Hero Stones (Link)

(3) The Sati Stones (Link)

(4) The Gajalaxmi Stones (Link)

(5) The Cult of Mahishasura Mardini (Link)



Reference: Catalogue of the Remarkable Sculptures in the Goa State Museum

THE GOA STATE MUSEUM - AN INTRO

AN INTRODUCTION

Though the Goa State Museum is dwarfed in size by the neighboring Goa State Central Library (now known as Kishan Das Shamal State Library), it is an excellent place to explore the state's rich heritage and witness some of the glimpses from its glorious past. For what it lacks in size, it more than makes up with some of the artifacts showcased here being priceless gems for people like me who are eternally in love with the beach state and its history. Situated in Patto - the industrial hub of Panjim, sadly, it is not amongst the top tourists attractions in the capital city and hosts relatively few visitors in spite of the fact that in comparison to other government museums in cities across the country, it is well maintained.

As per the brochure, the Goa State Museum was established in 1977 and was initially set up in St. Inez locality of Panjim before being shifted to its present location in June 1996. It is managed by the Directorate of Museum - Government of Goa. The entry to the museum is free, photography is allowed and there is also a guide available for those who are interested in the details. A book titled - 'The Remarkable Sculptures of the Goa State Museum' which available at the counter for Rs. 300/- gives a much detailed overview of the approximately 50 odd sculptures displayed here and is worth the money.

Name
               The Goa State Museum               
Location
      EDC Complex, Patto - Panjim      
Timings
                    Monday to Saturday - 9:30 am to 5:30 am                     
Entry Fee
Free
Camera
Allowed (Not Additional Camera Fee)
          Approximate Time          
1 - 3.5 hours

The one storied building has as many as thirteen different galleries of which the first and in my opinion, the most impressive is the Sculpture Gallery. Amongst the exhibits displayed here include Hero memorials, Sati Stones, Gajalaxmi panels as well as a few inscriptions discovered in the state. An equally beautiful second gallery showcases beautiful wooden carvings of various Christian saints, portraits of a few Portuguese Governor Generals and a flag commemorating the Portuguese naval victory over the Dutch. The theme for the third section is the 'History of Printing Press in Goa' which is also the first of its kind in the whole of Asia whereas the next gallery manifests the collection donated by S K Bannerji, the ex Lt. Governor of Goa and is named after him. The fifth section depicts the religious expressions of Goa; objects relating to daily life are exhibited in the sixth whereas paintings and sculptures of several Indian artists are shown in the next gallery. The eight section is the Numismatics gallery whereas the ninth is a photo walk through Goa's independence struggle. The tenth gallery houses objects from the Menezes Braganza Institute; the Furniture section showcases amongst others the chair of the Governor General and the 'Table of the Inquisition'. The last two sections developed with the help of the WWF showcase the natural heritage of Goa.

In the next few posts, I will be posting about the beautiful artifacts in the Goa State Museum that left me spellbound.


More from the series: GOA STATE MUSEUM

(1) An Introduction (Link)

(2) The Hero Stones (Link)

(3) The Sati Stones (Link)

(4) The Gajalaxmi Stones (Link)

(5) The Cult of Mahishasura Mardini (Link)


June 13, 2015

WILL CHANKYA'S NEETI WORK?

NITISH LED 'SECULAR' FRONT TO TAKE ON THE MODI BRIGADE

The JD-U supremo Nitish Kumar who is dubbed by several political analysts as the modern day 'Chanakya' of the Indian political spectrum, pulled off another major political coup earlier this week when his name was declared as the official chief ministerial nominee of the newly formed and 'loosely knit' Janata Parivaar (JP) for the upcoming Bihar polls. With the war of words between the leaders of the state's top two regional parties - the JD-U and the RJD escalating over the past two months, the announcement made by the Janata Parivaar's de-facto chief Mulayum Singh Yadav ended weeks of speculations of a possible break down in the anti-BJP plank even before the elections. In what seemed to be a well choreographed affair, the name of Nitish as the face of the alliance was proposed by none other than his friend turned foe turned friend - Lalu Yadav.

Check Mating Lalu: Like Kautaliya who crafted the downfall of the much powerful Nanda Empire by training his protégé Chandragupta Maurya in the fourth century BC, the incumbent CM too played his cards well in the race to be the 'face' of the grand alliance. Having deposed his self-appointed successor Jitam Ram Manjhi from the helm of affairs after the latter refused to be a mere puppet, Nitish knew very well that the move could hurt him electorally with a section of the influential Maha-Dalit community refusing to back him for having mistreated their leader. Moreover, the lessons of the September 2014 by-polls were not lost on him; for halting the Modi juggernaut it was essential to keep the mega coalition together. At the same time though, to salvage lost pride and to maintain political relevance, it was equally important for him to lead it. With Lalu in the equation and the bitter animosity between the two leaders since the mid 90s being a stuff of legends, this was not going to be easy. Though the RJD chief has been barred from contesting elections after being convicted in the Fodder Scam, he was, or rather he still is, not very keen to fight the polls under the leadership of his one time rival. The Yadav strong man is a master in the art of dirty politics and side lining him was going to be a herculean task within itself.

This is exactly where Nitish displayed his political acumen; fully aware that the Congress, in spite of its moribund state of affairs in Bihar would still play a decisive role in deciding the CM candidate of the coalition, the JD-U chief had a special audience with Rahul Gandhi on a visit to Delhi. It is believed that the Congress Vice President, unlike his mother does not have a good opinion of the RJD chief. On the other hand, he has been vocal about his admiration of Nitish. One can recollect several instances wherein the junior Gandhi had praised the Bihar CM for his secular credentials even while he was an integral part of the NDA. In fact, this move was a master stroke; soon after the meeting, reports from the Congress camp suggested that INC would align with the JD-U irrespective of whether Lalu was with it or not. With the Gandhis turning their back on Lalu, the path was more or less clear for Kumar to head the anti-BJP plank. Moreover, Nitish's image as the man who transformed Bihar from Lalu's 'Jungle Raj' to one of the fastest growing states in India only further strengthened his prospects for the top post. As such, as the leaders of the Janata Parivaar met to discuss the course of action for the polls, the odds were comprehensively stacked in the favor of Nitish, forcing the wily Lalu to eat the humble pie.

The Nitish v/s Modi saga continues: With Kumar leading the mega coalition, the second part of the Modi - Nitish rivalry is all set to be played in the state of Bihar this winter. After walking out of the NDA over the candidature of the then Gujarat CM as the NDA candidate for the post of the Prime Minister, the Bihar CM was left with a bloody nose as Modi mania swept Bihar in May 2014, relegating the JD-U to a ignominious tally of two parliamentary seats. In a bid to save his face, Kumar resigned and handed power to his hand picked successor Jitin Ram Manjhi to appease the Maha Dalit community which voted for the BJP in the General Elections. In the mean time, following the realignment of the political forces in Bihar, Nitish and his new found allies - the RJD and the Congress managed to edge past the BJP by winning 6 of the 10 seats that went for the by-polls, a consolation victory of sorts. Ironically though, months later, as Manjhi transformed from a 'docile' leader into a 'clever' politician refusing to be 'controlled' by his party boss, Nitish expelled him from the JD-U and was himself back as the Bihar CM for the third time. With back to back political blunders, many were wondering if Nitish's astute acumen has deserted him and if his reign as Bihar's most powerful leader were numbered. And the man behind Nitish's unraveling was none other than his bete noire - Narendra Modi.

The Bihar polls is the perfect platform for Bihar CM to settle scores with the PM. A victory for the Janata Parivaar would be a jolt to the Modi bandwagon which hit a major road block when the AAP decimated the saffron party in Delhi earlier this year. A win would help Nitish regain most of the political pride that he had lost in the last two years and would re-establish him as a force to reckon with besides being a major fillip to the merger of the factions of the JP. However, there is a much bigger prize to be won, something that most political analysts have over looked thus far; after the General Polls, there is no 'credible' face to represent the anti-Modi or the non-NDA parties in the political sphere. The most obvious and legitimate choice to fill in this vacancy - Sonia Gandhi is not keeping well whereas the negativity still surrounding Rahul means that most believe that he is not yet 'mature' enough for the job. Regional satraps like Jayalalithaa and Patnaik who managed to fend off the Modi wave in their respective home turfs have been on cordial terms with the new government. Mamata Bannerjee has of late mellowed her anti-Modi rhetoric. The mess around AAP in the recent months has hit Arvind Kejriwal's popularity; the party's influence has not moved beyond the NCR in spite of that fabulous victory in February. A victory for the JP under Nitish would automatically catapult him to being the new anti-Modi face in Indian politics.

The Ground Realities: Though the coalition may have been announced, it remains to be seen how the talks regarding the seat sharing arrangements between the many constituents of this grand alliance progress in the coming weeks. Though the issue of the CM candidate has been settled for now, the basis for seat allocation has become another pain point for the two parties. The RJD wants the 2014 General Elections to be the basis to arrive at the seat sharing formula whereas the JD-U wants it to be the 2010 state polls. A bigger worry for the leaders of the alliance is whether their cadre and workers at the ground level are able to forget all the past differences and work together as a team. Considering the 'hatred' that the JD-U and the RJD have shared in the past, that seems to be a near impossible task. And lastly, will the alliance be able to break the caste barrier? For example, will a Yadav who has a loyal voter of the RJD for decades now vote for a JD-U nominee contesting as a candidate of the JP from his seat? Considering that the Yadavs harbour a special dislike for Kumar for ending their political dominance in Bihar, will they be comfortable with him as the CM candidate? Moreover, it remains to be seen how much damage will the Manjhi mishap cost in terms of the Extremely Backward Caste (EBC) votes. Surely, the modern day 'Chanakya' will have to put in all the 'Neeti' and perhaps, even some 'Kutneeti' to score a memorable hat-trick!