Divine Love of Shiva and Parvati

This beautiful painting, depicting Shiva with Parvati in his gentle embrace, is reminiscent of medieval Pahari art style of Kangra, although in deviation from usual background of Pahari miniatures covering most part of the canvas with hilly terrain, trees and flowering shrubs, the artist has preferred here a simpler background consisting of pinkish mauve tint, obviously to draw the viewing eye strictly to his theme, that is, the Divine lovers engaged in the sport of love. The artist has displayed exceptional ingenuity in emotionally charging the faces and figures of Lord Shiva and Parvati, which seems to be the main thrust of artist's theme. The medieval artists of Kangra style attained stylistic accomplishment in their total rendering, the painted figures, the act they are engaged in and the background with its all vividness, but the artist here has created his impact only by emotionality of his figures, a far greater artistic challenge, which only master artists accomplished.

The oval shaped rock-shelter, which houses Lord Shiva and Parvati, has been laid like a lotus leaf atop a hill consisting of hood-like rising boulders. A 'malini' tree lying across, besides the usual grass-beads rising from the roots of rocks, interweaves in between and bind the loose rocks into a united whole. Lying horizontally the 'malini' tree seems to support on its flower-bed the rock sheltering the Divine lovers on it. The two fur-trees on right and left align the terrain horizontally, whereas a couple of flowering trees, atop the hill, Shiva's trident with flag attached to it and Ganga flowing from Lord Shiva's hair interrupt and balance with vertical thrust the vacant space above and around the figures of Lord Shiva and Parvati. The coy modest peacock turns its beak away bashfully. In its demeanour there reflects the romantic temperament of the occasion and the pinkish mauve void depicts the serenity which defines the creative sport of the Primordial couple.

Lord Shiva, with amour in his eyes, is seen tenderly drawing Parvati to his bosom. Parvati, with absolute submission, sinks into Lord Shiva's person. She clasps him around with her both arms. Her palms dyed in heena lie on Shiva's bosom like a couple of lotuses and balance the vast expanse of his breast. The figures of both, Shiva and Parvati have a marble look and transparency. In great excitement of being with her lord, Parvati's breasts burst open and in her eyes emerge 'kama'. Artist's exceptional skill is seen in his use of colours. In rendering Shiva's figure, from his hair to loin cloth made of tiger skin, he has used only brown, although in its multiple shades and tones and in drawing the figure of Parvati his thrust is primarily on various tones and shades of red. This colour thrust is not without a meaning. Shiva's brown symbolizes his 'yogi' character and Parvati's red love, life-vigour and creation, which conjointly is the gist of Shaiva thought, wherein love is the sport of the 'Parama-purusha', creation its result and the 'yoga' the means of both.

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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