Vishnu as Narasimha Killing Hiranyakashyapu

This large size masterpiece with a deep shocking orange background and a highly stylised arch suggestive of a shrine, a magnificent example of Mysore's votive art, represents the eight armed Narsimha killing Hiranyakashyapu, the legendary demon-ruler who was the fountain-head of one of the clans of demons. The painting is endowed with lavish ornamentation of figures, bold details, broad patterns and stylised floral motifs and arabesques. An elaborate anatomy, characteristic of Mysore and Tanjore art schools - fleshy body-parts, short straitured figures, stylised features, the wide open eyes, pointed and penetrating nails, typical robot type turtlefingers and horizontal face, characterises the figures of Narsimha and Hiranyakashyapu.

Killing Hiranykashyapu by incarnating as Narsihma is one of Vishnu's major exploits. In Indian tradition of festivity this episode is related with Holi, India's one of four most important festivals and hence the legend has a nation-wide popularity. In South Indian art - sculptures, bronzes and paintings, Vishnu's incarnation as Narsimha is one of the most chosen themes and in 'Avatara' cult next perhaps only to Ramavatara and Krishanavatara. Jaya and Vijaya, the two subordinate gods, were exiled from Vaikuntha for one of their moral errors. They were born on earth as Hiranyakasyapu and Hiranyaksha, the two demon-sons of Diti by sage Kashyapa. By their penance and extolment they pleased Brahma who gave to them the boon of invincibility. Grown arrogant and atrocious by Brahma's boon Hiranyaksha stole away even from Brahma his Vedas and the earth from its place and carried them to his underworld domain. With no alternative left Brahma prayed Vishnu who incarnated as Varah, the Great Boar, killed Hiranyaksha and brought back the Vedas and the earth.

Deeply aggrieved by the incident Hiranyakashyapu decided to avenge his death by killing Lord Vishnu. He ordered that Vishnu's worship and rituals would be treated as an offence. His demons were deployed to inflict death and alike atrocities on Brahmins and others who even uttered his name. Meanwhile by his hundred year rigorous penance he sought from Brahma the boon of invincibility against any of gods, men, demons and animate and inanimate beings and also that he would be killed neither inside nor outside a house, neither during day nor during night and neither on earth, nor in water or sky, nor by any armament. When Hiranyakashyapu went for penance, his wife was pregnant. During her pregnancy sage Narada, a regular visitor to her, used to elaborate the glory of Vishnu. The child in her womb, later after his birth named Prahlada, also heard it and turned to a devotee of Lord Vishnu. The teacher appointed to teach also led his mind to Vishnu's devotion. Hence, when Hiranyakashyapu came back, he found his own son performing Vishnu's rituals.

When efforts to dissuade Prahlada failed and neither fear nor love prevailed, attempts were made to put him to death but he escaped it every time and his faith in Lord Vishnu deepened. One evening Hiranyakasyapu encountered his son just outside his bed-chamber. Pointing out his chamber-door he asked Prahlada with sarcasm if his Vishnu, whom he called omnipresent, existed in that door-frame too. Before Prahlada could say anything, the door- column burst and there emerged from it the Narasimha, the half-man-half-lion form of Lord Vishnu. He charged at Hiranyakasyapu, lifted him in his lap, cleft his abdomen with his nails and killed him.

This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.

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