ABHIPRAI: Museum

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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 14^th 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 12^th 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 17^th 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.

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.

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 12^th 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.

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.

November 02, 2014

AKBAR'S PALACE, AJMER

THE ASI MUSEUM

The grand entrance to Akbar's Palace

Also known as the Magazine or the Daulat Khana or the Government Museum, the small and simple palatial complex in the heart of Ajmer was constructed by Mughal Emperor Akbar the Great in AD 1570. It is a well documented fact that the Akbar used to visit the dargah of Khwaja Mohinuddin Chisti each year, covering the last leg of the pilgrimage on foot. This palace served as his residence when he was in the holy town. His successors Jehangir too is reported to have stayed here; in fact, Jehangir used to make an appearance from the balcony each morning while he was in the city and address the concerns of his subjects. With the slow disintegration of the Mughal Empire following the death of Aurangzeb, the city fell to the Marathas who in turn sold it to the British in the early nineteenth century. The British used the palace to store their arsenal ground and hence it is also known as the Magazine. Finally, the complex was converted into a museum in October 1908 after the intervention of Lord Curzon and Sir John Marshall, the then chief of ASI.

A closer look at the gateway reveals distinct Hindu and Muslim influences

Located hardly a kilometer away from the Ajmer Railway station, Akbar's palace is a relatively small monument. Considering the fact that at least three Mughal Emperors - Akbar the Great and Jehangir lived here, the whole structure seems rather austere, dramatically different to the opulence that we associate the dynasty and its rulers with. Besides, I wonder how much of protection could the place provide especially during times of crisis as there are no big fortifications that once can see, say in the forts of Delhi and Agra. Luckily for the two rulers, the town remained calm during their reigns. Perhaps, the building was deliberately kept simple as a tribute to the Gharib Nawaz - the Sufi saint who lies buried here.

There are two gates to the complex, the outer one is grand and is one of the earliest structure where you can see a fine amalgamation of local Rajput and Islamic architecture in this region. The semi-octagonal shape and the curved doorways are features of Muslim architecture whereas the the balconies and the intricate latticework in the middle show a distinct Hindu influence. The palace is surrounded by walls on all four sides with watch towers constructed at the four corners. There are rooms along the wall where the exhibits are displayed; they are connected to each other by by small doors. At the center is a square structure with four rooms. I was amazed to see that it lacked a dome. I guess it was used by the members of the Royal family. It is supported by four pillars on each side that are tall and devoid of any major carvings. The entire place has been maintained well by the ASI.

The Mansion at the center

All people familiar with Indian history have heard the name of Sir Thomas Roe - the Englishman who secured the firman or the Imperial Order from Emperor Jehangir to set up a factory of the English East India Company at Surat. The first meeting between the Mughal ruler and the English diplomat is said to have taken place here. I wonder if Jehangir would have ever imagined, even in his wildest dream that just two centuries later, the Britishers would become the dominant military power in the Sub-continent, supplanting the Mughals and the Marathas. Besides, two out of the four sons of Emperor Shah Jahan - Prince Dara Shukoh and Prince Shah Shuja who participated in the fratricidal following the death of their father were born here. Dara, hailed by many as the 'Second Akbar' was defeated by the combined forces of Aurangzeb and Murad Baksh near the holy city in March 1659. He was captured a few months later and put to death. Meanwhile, Shuja was defeated by Auragnzeb's commander Mir Jumla in the east and he is believed to have been killed by tribals on way to Arakan.

The sculptures on display

Amongst the articles exhibited here, the best are the sculptures. Dating to as early as the Gupta period, one can find a large number of Gods worshiped in both Hinduism and Jainism elegantly carved on stones like basalt, granite and marble. The images displayed here have been collected from nearby places including Ajmer, Pushkar, Sikar, Osiyan and Sirohi. One part of the museum is entirely devoted to the Indus Valley Civilization where one can see replicas of the artifacts like the Priest-King, pottery and seals that have been unearthed in Harappa and Mohen-jo-daro. Another gallery showcases the arms and ammunition like swords and guns used in the battles by the Rajput as well as the Mughal army. One section contains a few inscriptions belonging to pre-Islamic era whereas paintings are displayed in another gallery. There is a collection of photographs at the center which displays photos of monuments in the vicinity besides depicting the life in this region. Overall, it is a must visit for all of us who are interested in history, especially that portion of the past relating to Mughals and the Rajputs.

From Left to Right - Pappa, Mummy, Bhabi & Da

USEFUL LINKS

(1) Ajmer (The Official Website) - Government Museum, Ajmer: Link

(2) ASI, Jaipur Circle - Magazine Building: Link

MORE POSTS RELATED TO AJMER

(1) Terracotta Wall Frames (Link)

(2) Khwaja Moinuddin Chisti's Dargah (Link)

(3) Adhai Din ka Jhopra or Jama Altamash (Link)

(4) Anasagar Lake (Link)

Pages

June 14, 2015

THE GOA STATE MUSEUM - PART 4

THE CULT OF MAHISASURA MARDINI

THE GOA STATE MUSEUM - PART 3

THE GAJALAXMI PANEL

THE GOA STATE MUSEUM - PART 2

THE SATI STONES

THE GOA STATE MUSEUM - PART 1

THE HERO STONES

THE GOA STATE MUSEUM - AN INTRO

AN INTRODUCTION

November 02, 2014

AKBAR'S PALACE, AJMER

THE ASI MUSEUM