Meditating
over the
shared secret of maya
By Arun
Gaur
ALMOST opposite the tourist
bungalow, across the road, the remnants of the Dashavatara
temple with its relief-panels can be seen. It is early in
the morning and it drizzles lightly on the red sandstones
carved out in the latter half of the 6th century. The
July sky is overcast and there is no chance of the sun
showing its face this day.
When we circumambulate the
cella keeping it on our right, the three panels
the Gajendra-moksha, the Nara-Narayana and
the Anantashai gradually unfold. Stories
forming their basis are quite familiar and have been
interpreted in various ways but their symbolic
interpretation (when viewed in relation to each other)
may very well stir the hornets nest.
The first panel deals with
the story of the Gajendra-moksha, how the elephant
was trapped by the naga-nagin pair and how it was
rescued later by the divine intervention of Vishnu.
Generally, the myths have a crocodile instead of the
serpents. The relief illustrates the Bhagavadgitas
proclamation that Gods incarnation takes place to
alleviate the sufferings of mankind and to destroy evil
that stalls the process of evolution. The chakra
of Vishnu has struck the chest of the naga who
asks to be forgiven.
The serpent, allegedly,
tried to impede evolution and, therefore, had to be
restrained by Vishnu even though it was an aspect of
himself. The snake would be spared, though struck it
seems. This is what the process of natural justice
demands.
In another serpent-myth
Krishna did not kill Kaliya, but only chastised it,
restricting its field of activity to the expanse of
ocean. Kaliya had implored to be spared as it had acted
according to the law of nature formulated by Krishna
himself.
Why should the snake, in
either of the cases, be annihilated? In the present panel
too, the naga seems to be employing a similar
plea. The elephant offers the lotus to Vishnu thus
quickly stimulating him to take a prompt action. This
offering is a spontaneous but subtle gesture as it
reinforces the urges of the elephant with the blessings
of Lakshmi.
In this relief, Lakshmi is
not present, but her indirect presence is marked here by
a bunch of lotus-flowers being offered to Vishnu. She is
the lotus-born (padmasambhava), lotuseyed (padmakshi),
adorned with lotus-garlands (padmamalini) and
carries many more associated attributes. The lotus thus
suggests how dear this elephant-in-distress is to the
goddess for she is also the Gaja-Lakshmi.
Though the Nara-Narayana
is the next relief, yet the Gajen-dar-moksha
seems to have a greater affinity with the Anantashai.
Let us take up that first. In the Anantashai
relief the gandharvas have been displaced by the gods of
the Hindu pantheon.
Though there doesnt
seem to be any apparent exigency, yet they seem to be in
a huff and that too unnecessarily! Or perhaps they have
received sudden summons or a secret communication that
the moment of cataclysm mahapralya
is woefully close, when everything, including themselves,
would be drawn back into the dreaming body of Vishnu
afloat over the waters of maya. The wings of
peacock with Kartikeya are wide open. The front foot of
Airavat carrying Indra is lifted to its temple as it
madly lunges forward in the sky.
The sky-coursing Airavat
reminds one of the flying elephants of the earlier myths
where in they were provided with wings, till clipped off
later due to the curse of an ascetic. Brahmas
lotus, of course, fails to show any momentum.
Shankara is driving the
Nandi savagely, its front legs folded in the air and the
hind ones horizontal, albeit, Parvati sits at his back in
a very delicately balanced posture quite impervious of
any kind of impending doom, so comfortably, so blissfully
ignorant she sits. Marut evinces his speed with his
flying legs. Almost everything seems to have been
stretched to its limit.
The rush of the lesser
gandharvas of the Gajendra-moksha has been
replaced by the tumult of the greater gods. Here the
problem is not the simpler one of keeping the insignia of
the decorum of the supreme deity intact in its assigned
place but it is one with a greater import the
dissolution of creation.
In contrast to this huff,
Vishnu is relaxed, his state is less expressed by his
stolid expression than by his reclining posture and by
the stance of his arms. Brahma has usurped the lotus of
Lakshmi and she is at the foot of her Swami massaging (samvahyamana)
his feet. How would the modern feminist, at the dawn of
the 21st century, react to such a spectacle? Will they
take a recourse to some esoteric elucidation to assuage
their hurt sense of self-respect?
Does it reflect the
conquest of the matriarchal culture by the patriarchal
and the consequent relegation of the fairer sex to the
foot of the man? There is an attendant on Lakshmis
back identified by some scholars as Gada-devi.
Another standing figure that supports the garland of
snakes, though has been variously interpreted as that of
Shiva or Dhanushapurusha, seems to me to be that
of Garuda displaced by the snake as the antagonism
between the snake and Vishnu seems to have terminated in
this panel. There seems to be a marked resemblance
between this figure and the Garuda of the first panel,
particularly with respect to the hair-style and the snake
that coils around the neck.
Thus the animosity between
the Garuda and the snake had sharpened and the motif of
the tussle between the two is carried into this panel
from that of the Gajendra-moksha. Garuda is the
only figure in the upper half of the relief that seems to
be not merely disturbed but is also in a challenging
mood. Perhaps he has not taken his replacement by the
snake, which has been elevated to the status of the sheshnaga,
too kindly.
The lower half of the
panel carries five Pandavas with Draupadi though there
are some interpreters who have seen in these figures, the
Ayudhapurushas and the demons Madhu and Kaitabha.
It seems that the hopelessly entangled stems and the
coils of snakes and the waves have been replaced by these
agitated figures.
The six figures and the
interlaced vegetation and waves are based, uncannily, on
the similar configurational pattern. The only distinction
is that the pattern has moved towards a resolution, the
wavy confusion has given way to the disentangled, and
separated rhythmic contours of the little bodies.
There is no subtlety or
suppleness in the facial expressions of the figures.
Gestures, postures, thoughtful placing of the hand and
its firm grip, the gentle play of the fingers, almost
imperceptible depressions caused by the fingers of
Lakshmi in the flesh of Vishnus legs, the bend of
the elbows and the knees, intricate hair-styles,
transparent garments sticking to the limbs and sensual
curves of the womans belly help in evoking the
feelings, intended or otherwise, in the beholder.
Irrespective of all these
reflections of the analyser, indifferent to the
tribulations of the celestial world, the divine
slumberer, afloat on the cosmic snake, is lost in his own
cosmic dream chalking out his plans for the universe to
be created anew.
The third panel is
generally recognised now as that of the Nara-Narayana.
It has even been suggested that Narayana rishi who sang
the Purusha-sukta of the Rigveda after
having become known as Purusha-Narayana finally
became popular as Nara-Narayana. The dryads of
trees and a slender-armed damsel hover over the seated
ascetics. The lass might be Urvushi or one of the troupe
of Kamadeva sent to spoil the meditation of the sage Nara-Narayana
conceived as one entity.
The Nara-Narayana
pair has been more than once identified with Krishna and
Arjuna. But this relief cannot be simply confined to the
obvious references to Nara and Narayana in
the mythological resources.
When seen in a wider
perspective, the relief carries many nuances of the quest
motif to unravel the secret of maya
involved in the myths of Vishnu-Narada and
Vishnu-Markandeya. Besides being a disenchanted Arjuna,
Nara is the Narada under the hermit grove; he is the
Markandeya too wandering in the wilderness.
The affinity is
corroborated by one of the myths in which Narada visited Nara-Narayana
who were observing austerities at the Badri ashram,
making offerings to the one who is beyond virtues and
from whom everything is born. Outside the time and space
marked by the rest of the two panels, here the pair seems
to be meditating over the secret of the transitory,
recurrent (but momentous) agitations. Themselves seated
outside this experience, they enjoy an objective and
privileged insight of the seers.
They have an introverted
vision, a dream of the maya; even the gods, seem
to be a part of that relentless cosmic flux. The outward
and the inward experiences seem to have become
amalgamated into one unity. While Narayana, the
divine yogi, resembles the divine dreamer on the endless
coils of the serpent, Nara embodies the spirit of Narada,
Markandeya and Arjuna.
The three of them have had
the harrowing experience of the maya of Vishnu
wittingly or unwittingly. Nara incorporates
in himself all the divine heroes in the quest of the holy
grail, the elixir, the secret of maya.
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