Vishnu as Narsimha has in this innovation just two arms, which hold in them a lotus and a mace, two of Vishnu's attributes. The disc consisting of a flower motif and lying towards a corner is his yet another attribute. It has been painted as yellow, the usual colour of Vishnu's garments. The presence of mace and lotus has been doubly emphasised. The deity is a 'padamasana' posture, in which his 'dhoti' takes the shape of a lotus. The lotus held in the hand is white but this one created by his sitting posture is red. Another mace, a larger one, is lying before him on ground. Towards right on the bottom there is a domed structure so significant in Narsimha episode. In consideration of Vishnu's role as the sustainer of life on earth the artist, whether as a 'tantrika' prescription or otherwise, has chosen green for the background of his innovation.
The 'tantra' did not have any of its own pantheon or deity list. Similarly the objects, aimed at achieving by 'tantra-sadhana', were unlimited ranging from worldly achievements and sensual delight to spiritual elevation, redemption from the cycle of birth and death and transcendental bliss. Hence, the 'tantrika-sadhaka', after he had perceived the object of his accomplishment, chose his deity who under pre-established myths, legends and devotional modalities best answered to his objective and he then transformed such deity to his 'tantrika' form. He could not take this liberty with Rama, Krishna or Parasurama etc. as their elaborately rendered personalities allowed hardly any scope for such transformation.
Thus, this 'tantrika' transformation of Lord Vishnu aims at the achievement of wider objectives. It invokes the deity for the weal and prosperity of mankind and the absolute bliss on earth, which the green background symbolises. The 'chakra', or the wheel, the supreme symbol of his might and the instrument of death, has been presented here as a flower, the symbol of fruition, love and existence and painted in yellow, the colour of spiritual bliss. The red lotus symbolises love and the white one peace and penance. So do the maces. The architectural structure, by its white, does not depict the twi-light, when Narsimha killed Hiranyakashyapu but the devotional accomplishment of the 'sadhaka'. The 'tantrika-sadhaka' wished to combine in his deity the might of human and animal worlds and all conflicting factors, which he could combine only in Narsimha, though not to eliminate but only to sustain and create.
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.
Of Related Interest:
Narasimha Killing Hiranyakasyapu (Miniature Painting On Paper)
Narasimha Avataar (Mysore Painting)
Narasimha (Silver Pendant)
Dash Avataar - The Ten Incarnations of Lord Vishnu (Orissa's Paata Painting)
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