Kali

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Kali's blackness symbolizes her all-embracing, comprehensive nature, because black is the color in which all other colors merge; black absorbs and dissolves them. 'Just as all colors disappear in black, so all names and forms disappear in her' (Mahanirvana Tantra). Or black is said to represent the total absence of color, again signifying the nature of Kali as ultimate reality. This in Sanskrit is named as nirguna (beyond all quality and form). Either way, Kali's black color symbolizes her transcendence of all form.

A devotee poet says:

"Is Kali, my Divine Mother, of a black complexion?
She appears black because She is viewed from a distance;
but when intimately known She is no longer so.
The sky appears blue at a distance, but look at it close by
and you will find that it has no colour.
The water of the ocean looks blue at a distance,
but when you go near and take it in your hand,
you find that it is colourless."

... Ramakrishna Paramhansa (1836-86)

Kali's nudity has a similar meaning. In many instances she is described as garbed in space or sky clad. In her absolute, primordial nakedness she is free from all covering of illusion. She is Nature (Prakriti in Sanskrit), stripped of 'clothes'. It symbolizes that she is completely beyond name and form, completely beyond the illusory effects of maya (false consciousness). Her nudity is said to represent totally illumined consciousness, unaffected by maya. Kali is the bright fire of truth, which cannot be hidden by the clothes of ignorance. Such truth simply burns them away.

She is full-breasted; her motherhood is a ceaseless creation. Her disheveled hair forms a curtain of illusion, the fabric of space - time which organizes matter out of the chaotic sea of quantum-foam. Her garland of fifty human heads, each representing one of the fifty letters of the Sanskrit alphabet, symbolizes the repository of knowledge and wisdom. She wears a girdle of severed human hands- hands that are the principal instruments of work and so signify the action of karma. Thus the binding effects of this karma have been overcome, severed, as it were, by devotion to Kali. She has blessed the devotee by cutting him free from the cycle of karma. Her white teeth are symbolic of purity (Sans. Sattva), and her lolling tongue which is red dramatically depicts the fact that she consumes all things and denotes the act of tasting or enjoying what society regards as forbidden, i.e. her indiscriminate enjoyment of all the world's "flavors".

Kali's four arms represent the complete circle of creation and destruction, which is contained within her. She represents the inherent creative and destructive rhythms of the cosmos. Her right hands, making the mudras of "fear not" and conferring boons, represent the creative aspect of Kali, while the left hands, holding a bloodied sword and a severed head represent her destructive aspect. The bloodied sword and severed head symbolize the destruction of ignorance and the dawning of knowledge. The sword is the sword of knowledge, that cuts the knots of ignorance and destroys false consciousness (the severed head). Kali opens the gates of freedom with this sword, having cut the eight bonds that bind human beings. Finally her three eyes represent the sun, moon, and fire, with which she is able to observe the three modes of time: past, present and future. This attribute is also the origin of the name Kali, which is the feminine form of 'Kala', the Sanskrit term for Time.

The image of a recumbent Shiva lying under the feet of Kali represents Shiva as the passive potential of creation and Kali as his Shakti. The generic term Shakti denotes the Universal feminine creative principle and the energizing force behind all male divinity including Shiva. Shakti is known by the general name Devi, from the root 'div', meaning to shine. She is the Shining One, who is given different names in different places and in different appearances, as the symbol of the life-giving powers of the Universe. It is she that powers him. This Shakti is expressed as the i in Shiva's name. Without this i, Shiva becomes Shva, which in Sanskrit means a corpse. Thus suggesting that without his Shakti, Shiva is powerless or inert.

Broadly speaking folk art may be defined as the art created among groups that exist within the framework of existing society, but for geographical and cultural reasons, are largely separated from the sophisticated developments of their time. As a result, they produce distinctive styles and objects for local needs and tastes. The output of such art represents a unique complex of primitive impulses and traditional survivals. It is an art motivated by not only utilitarian and ritualistic features but also by individual and recreational impulses.

Hindu women who live in villages near the market town of Madhubani in northern India maintain old traditions and teach them to their daughters. Painting is one of the traditional skills that is passed down from generation to generation in the families of some of the women. They paint figures from nature and myth on household and village walls to mark the seasonal festivals of the religious year, for special events of the life-cycle, and when marriages are being arranged they prepare intricately designed wedding proposals. The artist many a times are simple housewives, who have never been to any school to learn the art of painting. Hence the spontaneity in their art.

The painters do not seek to place objects or figures in a natural relation to each other. The figures may float in a tranquil aqurium or fragile angels aginst an aery background, creating an aura of fantastic strangeness.

It is the colors that create the mood, determine the pulse and tempo, divide the space and provide the background.

The artist starts with a rigorously selected subject-matter, without any attempt to transpose a literal scene or create a photographic semblance of an ordinary situation. Simplification leads to added intensity. The aim is towards a general radiance.

The paper itself is handmade and treated with cowdung and the colours used are extracted from vegetables. People of Madhubani have their own language and a sense of regional identity that goes back more than 2500 years. Among the most celebrated figures believed to have been born in the region are Mahavira (a great spiritual hero of the Jain religion), Siddhartha Gautama (better known to the world as the Buddha), and Sita (the legendary wife of Prince Rama and herself a central figure in the world's epic the Ramayana).

Of Related Interest:

Mother Goddess as Kali - The Feminine Force in Indian Art (Article)

Kali The Mother (Book)

Kali (Silver Pendant)

Kali in the Birth-Giving Posture (Miniature Painting on Paper)

Goddess Kali (Folk Painting from Orissa)

Kali the Terrible (Folk Painting from Bihar)

The Goddess Kali (Batik Painting On Cotton)

Shyama-Kali Yantra (Tantra Painting)

Jai Mata Di (Prayer Shawl)

Colors of Tradition: Exploring the Artistry Behind Madhubani Paintings

Madhubani painting is also known as Mithila art as it is practiced in the Mithila region of India and Nepal. It has specifically originated from the Madhubani district of the state of Bihar. Traditionally, the women of this region created these paintings and in recent years, it has become a widely practiced art and has now become renowned throughout the world. This art expresses the creativity and culture of the people of Mithila and is passed from one generation to another. In this way, the heritage of Madhubani art has been preserved for many decades. The subjects of these paintings are usually religion, love, and fertility. Sometimes, social events like festivals, weddings, and royal court are also depicted in the paintings. The most commonly painted designs and themes are the forms of Hindu Gods and Goddesses such as Ganesha, Shiva, Saraswati, Lakshmi, Krishna, and Ram. The characteristic features of Madhubani paintings are their vibrant colors and eye-catching geometrical patterns. The empty spaces are filled with traditional motifs such as floral and foliate patterns, animals, birds, geometrical structures, and other designs. The local artists create these paintings using a variety of items such as matchsticks, twigs, brushes, pens, or even their own fingers. The paints are usually made with natural dyes and pigments.
As simple as it may seem, the making process of the world-famous Madhubani paintings is certainly not easy and requires lots of hard labor.

Traditional Madhubani paintings are done either on cloth, handmade paper, or canvas. Select the medium of painting as per your choice. If you have chosen cloth, attach it to cardboard to make a solid base. The making of the painting begins with making a double-lined border. This is a very important step because the border is filled with various geographical shapes and patterns or other motifs. The average width of the border is 1.5 - 2 cm. Now that the border is created, you will be left with a blank middle space. This is the main workspace. Start drawing your choice of figure, designs, and shapes. These must be relevant to the Madhubani painting themes.

When the key design has been made, the empty spaces in between are filled with some designs.
Now is the time to color the painting using vivid shades and hues. Colors in Madhubani are sourced from nature; Indigo is used to produce blue, flower juice produces red, turmeric gives yellow, leaves produce green, cow dung mixed soot gives black, and rice powder gives white.

To paint these colors, the artist uses a bamboo stick and wraps cotton around it. This acts as a traditional brush.
The entire painting is now painted using this special brush with natural vibrant colors. · However, in modern times, the common brush is used and instead of natural colors, artists prefer to use acrylic paints.

Since the entire painting is made with natural materials and colors, it appears simple yet enriching. Originally, this art was created on mud walls or soil grounds but when it evolved over many years, the people of Madhubani started to make it on fabric and paper. Today, this art has become globalized and is receiving worldwide attention and appreciation.