The wanton part-destruction of the great Chamunda temple in Devi Kothi is so depressing. It is the Sistine Chapel of Pahari art, and the greatest surviving ensemble of Pahari paintings still in situ. India has such spectacular artistic heritage- and does so little to protect it.
The spectacular murals of Devi Kothi- left unprotected and now lost forever
The Demon Army attempts to challenge the Goddess
... But no demon can defeat the Goddess
Devi Kothi also had a spectacular cycle of Krishna murals
I twice made the four-hour trek into the Pir Panjal from Chamba- it was one of most memorable journeys I have made. Why was this supreme masterpiece of Hindu painting not protected?
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I'm become very interested in yakshas, yakshis and nagas- classes of sacred beings which seem to be relatively peripheral to modern Indian religion and spirituality, but which dominated much of the art of early India, whether Hindu, Buddhist or Jain.
Monumental stone sculptures of Yakshas —freestanding and carved in the round- begin to appear from the third century BCE, as witnessed spectacular yaksha from Parkham near Mathura made “in the guild of Manibhadra by Gomitaka, a pupil of Kunika."
The Parkham Yakshi (left) is said by the ASI to be the oldest free-standing statue in Indian art, c275 BCE, but the Mathura Museum contains several others that are only slightly younger, 200-100 BCE
Exquisitely poised and supple, Chola bronze deities are some of the greatest works of art ever created in India. They stand silent on their plinths yet with their hands they speak gently to their devotees through the noiseless lingua franca of the mudras of south Indian dance.
For their devotees, their hands are raised in blessing and reassurance, promising boons and protection, and above all, marriage, fertility and fecundity, in return for the veneration that is so clearly their divine right.
It is the Nataraja, Shiva as Lord of the Dance, that is arguably the greatest artistic creation of the Chola dynasty. It is the perfect symbol of the way their sculptors managed to imbue their creations with both a raw sensual power and a profound theological complexity.
"The murals of Ajanta are now recognised as some of the greatest art produced by humankind in any century, as well as the finest picture gallery to survive from any ancient civilisation. Even today, the colours glow with a brilliant intensity: topaz-dark,lizard green, lotus-blue"