Syncretism in art

ARDHANARISVARA IN ART AND LITERATURE: Neeta Yadav; D.K. Printworld (P) Ltd., "Sri Kunj", F-52, Bali Nagar, New Delhi- 110015. Rs. 1,800.

ARDHANARISVARA IS a beautiful representation of Siva, combined with the Sakti as one form, half-man half-woman.

This embodies a syncretism of two popular faiths centring on Siva and Sakti even as the image of Harihara is for Siva and Vishnu.

Usually the right side of the image is represented as male (Siva) with male attributes, while His left side is female (Uma) with Her attributes.The author discusses at length the conceptual and historical background of the doctrines of Siva and Sakti symbolising two opposite cosmic forces, named Prakriti and Purusha, father and mother as responsible for every creation.

Ardhanari represents "the union of father &151; god and mother- goddess'' &151; two ancient forms of worship. The Tamil name "Ammai-appa" brings out the significance of this concept.

The author states that this syncretic faith was deeply influenced by Tantricism form about the fifth or sixth century A.D. It arose as a result of the assimilation of the faiths and belief of "many aboriginal peoples into the Brahmanical society".

The supreme deity of Tantricism is Sakti, inseparable from Siva. Tantras say that "Siva without Sakti is lifeless (Sava) because wisdom cannot move without power". The concept is also related to a system of epistemology of Kashmir Saivism.

The Union of Siva and Sakti represent "self-luminosity of cognition, the former is Prakasa the dormant luminosity and the latter Vimarsa, the active pulsating aspect of it".

The special focus of this volume is the iconographic study of the Ardhanarisvara images, their origin and development, regional and stylistic varieties, dress, ornaments, posture, coiffure backed by a number of excellent photographs and drawings.

It is fascinating to see the impact of this cult in different parts of India and beyond &151; from Nepal to deep South, from North-Western India (Old Kushan empire) to Kamarupa in the East.

One of the earliest sculptural representations is one in red sand stone from Mathura, third century A.D.

A magnificent image of Ardhanari gracefully leaning on the Nandi and surrounded by a host of deities is found in the Elephenta Caves, which is considered as a masterpiece of Indian art.

The author has covered all aspects of this image, conceptual, historical, literary and aesthetic in this well got up volume.

K.V. RAMAN

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