Ardhanarishvara : Half male-half female Form of Shiva (Illustration to the Shiva Purana)

This painting contained in a double border, a mono-coloured inner one comprising floral drawing, and an outer one, with greater breadth, conceived with flowers and stylised leaf-like formal decorative motifs, represents Lord Shiva as Ardhanarishvara – half male and half female, his initial form that combined male and female aspects. The right half is Shiva’s own form, and the left, that of Shakti, his inherent feminine part subsequently manifesting on Brahma’s prayer first as Sati and then as Parvati, his consorts. As the Chapter 3 in Tratiya Shata Rudra Samhita in the Shiva Maha Purana has it, Brahma had long creation back begun; however it did not expand beyond a few male gods. He realised that unless he resorted to ‘maithuni srashti’ – procreation by self-generating sexual union, the act of creation would not sustain.

For ‘maithuni srashti’ Brahma required the feminine aspect to be separated from the male and then the two to unite sexually. Brahma himself, Vishnu and other gods were mere males. Shiva alone was Brahma, manifest and unmanifest, representing not merely the male and female but also all animate and inanimate aspects. For Shiva’s favour Brahma entered into a long penance in the course of which Shiva appeared before him as half male and half female – Ardha-narishvara. On Brahma’s prayer Shiva separated Shakti, his feminine aspect, from his being. Brahma then prayed Shakti for a part of her to be born as the daughter of his son Daksha. The prayer being granted, a part of Shakti was born as Sati, the daughter of Daksha. She wedded Shiva whose part she was. After Sati immolated herself, she was re-born as Parvati, Himvan’s daughter, and was again married to Shiva. The episode in the Shiva Purana indicates towards the monotheistic theory of the Rig-Veda which contends that all things proceed from one source and to the same they return.

The folio does not illustrate the Brahma related event in any of its details except portraying in complete isolation Shiva in his Ardhanarishvara form, and in its portrait quality the painting is superb. Shiva’s figure has been composed of two distinct halves, each revealing its own set of iconography, anatomy, body-postures, wears and attributes. While Parvati’s half with its curves reveals rhythm, Shiva’s posture is largely straight. Of the two basic hands, that of Shiva has been gesticulated to reveal both, ‘abhaya’ as also the ‘vyakhyana-mudra’ – interpretive posture, his characteristic feature as Dakshina-murti, while that of Parvati, ‘varada’ – redemption, freedom from all bonds, something that defines Parvati’s being who had completely giving herself up and had merged into Shiva.

Of the other two hands, Shiva’s holds its usual trident, while Parvati’s, a lotus, one symbolising might and the determination to eliminate evil, and the other, beauty and accomplishment. Matted hair comprises Shiva’s part of the headgear, and the beautifully moulded crown, Parvati’s. In contrast to Shiva’s blue, Parvati’s part of the face, or rather the entire half, is fair yellow, besides that it has a painted forehead, a nose with ring, hands covered with bangles, foot, adorned with an ornament, and a different set of wears and the style of wearing them. In contrast to Shiva’s spotted golden tiger skin Parvati’s printed red sari creates a visual magic. On the pedestal’s left is couched Parvati’s lion, and on its right, Shiva’s bull Nandi.

This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.

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