The circular path of monotony
The circular path of monotony
Slowly spins around my reality
Sufficing my worldly needs
I have no reasons to weep
Yet in distress with desires so deep
The inexplicable entanglements,
Shrouded in secrecy inside
Creates a commotion, yet in silence it subsides
Nobody knows, nobody cares
To reveal I cannot dare
And with whom can I truly share?
The narcissist scrutinizes her reflection
Who so beseem this immaculate conception?
The luscious lips like a ripe tempting fruit
Hangs graciously from a limp branch
A besotted lover will soon savour its sweet taste
She need not fear it to rot and waste
Ingenuous sentiments were gushing
She was a young lady in beauty waiting
In a sudden unexpected vicissitude
A sight severed her sagging solitude
Amongst the multifarious masks that mingle in a crowd
Her selective eyes caught sight of a face
Whose stamp was hard to erase
This faint face followed her fantasies
Heightening her hidden ecstasies
Ingenuous sentiments were gushing
She was a young lady in beauty craving
When dreams are enough in store
Opportunity strikes an eager souls way
And serendipity is so kind for a play
Unread faces are enchanting, but those read more
She craves for more than the cover
But to read further and further
Is a tumultuous task,
For one who is not prepared to comprehend so many words
Or even read between the lines and under
Ingenuous sentiments are ever gushing
She was a young lady in beauty wondering
Enveloped in innumerable imaginations
She began to climb love’s hill
Knowing little of the hardships there are still
The faint face became clear
Her luscious lips savored more and more
The sweetness sucked too soon
The aftertaste lived and faded
Why is there no continuity in emotions that heighten?
Why is there no complacency in love that strengthens?
Ingenuous sentiments are still gushing
But she no more is a young lady in beauty waiting
(written at age 18 )
Let me dream about you and I
Well, for how long do I wait?
His nonchalance does not affect
A voice within says,
It is already too late
Those days have set,
But what an onerous task it is to forget
So let me dream about you and I
This dream which I so cherish,
And am unwilling to believe has perished
I am not at ease with reality
Enjoy living in this fantasy
Like a hopeful farmer waiting for the rain
I too am thirsty, let me remain…
For what is the substance of our unpredictable existence?
Without this divine sentiment.
Life devoid of this love is like a dry desert
With no blooming flowers of beauty and bliss
That rain provides and preserves
In spring, my heart blossomed with hopes – higher and higher
Many summers I spent,
Basking in the warm rays of heated desire
Countless monsoons drained my tears
Winters passed wearily, yearning for a better year
The years cycled with no new season
The flowers bloomed, fell and dried
Bloomed, fell and dried
Now it is too late
Yet why do I still anticipate?
Alas! Time
In silence is smoothly slipping by
Lazily lingering through this lonely life
How I wish I could sail along this ever-flowing sea
To reach the shore I so desire
But I am just a desperate voyager
In search for a lost land
I don’t have the slightest chance to feel the soothing sand
So here I am
Where I have been for so long
Sailing in the sea of ceaseless thoughts
Caught in the currents of continuous confusion
Always falling back on the world of fantasy
But craving to confront the callous reality
The famous lines of Firdaus, the Persian poet “if there is heaven on earth, it is here, it is here, it is here” has been an inspired verse for many beautiful places around the world. Nepal is not just blessed with divine artistic Goddesses but also natural ones. One of the most powerful natural Goddesses that reside in our country is Lake Phuksondo in Dolpo.
Few years back, I got the opportunity to visit this area. I was offered a ride by a friend working with the World Wildlife Fund (WWF) on a rural electrification project in the area.
As I close my eyes and go back to that time, a feeling of serene satisfaction envelops me. I feel truly blessed to have seen this unravished and untainted natural wonder – Shey Phuksondo. It seems like all the celestial beings - the sun, the moon, the mountains, and the sky protect this heavenly abode on Earth. No natural calamity or man-made disaster has disturbed its existence. It has been untouched, unperturbed and undeniably revered by all nature and humankind. This unique natural wonder where there is no aquatic life except algae is worshipped by the local community and no human activity like bathing, swimming, or boating is allowed
It was a long and arduous two and half hour helicopter ride from Kathmandu on a cloudy monsoon day. It was the pilot’s first flight to Dolpo and as we traversed above and below the clouds, I simply shut my eyes hoping to reach there in one piece. But the danger, the fear and the anticipation was all worth it. As the helicopter circled the lake to land, my jaw dropped in absolute awe. I couldn’t believe the sight - a glistening gem that glitters with a glow, surpassing even the grandeur of the rising sun. I’m not exaggerating! The colors change from turquoise, to emerald, to sapphire to aquamarine as the position of the sun shifts across the sky. It seems like as if the lake is flirting with the sun and showing her admirer, her breathtaking beauty in every angle.
The magnitude of the scene is inexplicable. Us spectators are simply stunned by what lies before our eyes. You feel like you have been transported back to mythological times where Gods came down from the heavens and resided on Earth. Such is the purity of the area, that it doesn’t feel like the current corrupt century.
After I was done photographing, I sat down on a rock and just watched the lake for a long time. Besides wondering how this pristine beauty can exist in such perfection, a soothing stream of serene sensation flowed from my head to my toe. It was so therapeutic. Without any spoken word, the lake simply pacified me. Just like the clarity of the water, my muddled mind began to clear by itself and washed away all my worries. The lake simply gave gentle and soothing vibes and I began to reflect on how blessed I am. I felt like Goddess Phuksondo was telling me “you have witnessed my beauty, my strength and my power, now why worry about anything? Make positive ripples and be clear and conscientious like me. You will then see your true colors radiating.” My internal conversations with the lake continued with deeper realizations. Having witnessed such a heavenly natural beauty, one feels some sense of completeness; as if a life mission has been accomplished.
Our religion conjures fancy man-made Gods and Goddesses based on complex philosophies that takes a lifetime to understand. In our quest to understand ourselves and the world around us better, we crave for clarity from spiritual gurus, religious texts, heritage, history and self-help books. The more we learn, the more questions come up and perplexity continues. After all, the foundation of the human race thrives on creating confusion and chaos. From the dawn of civilization, when has peace ever reigned for long?
Natural Goddesses like Shey Phuksondo with its silent, strong and clear message stir your soul and also puts matters very simply. Without having to study and question anything, your mind is just at peace. A quote by Albert Einstein explains it all “Look deep into nature and you will understand everything better.”
Kiran Manandhar, the flamboyant abstract expressionists' favourite statement is “I cannot paint anything else but women.” This may also be true for most traditional Nepali artists who usually paint Goddesses. Our art is mostly women based. In fact, the biggest inspiration for artists all over the world are women. Women in all forms, shapes, sizes, colour, age and depicting every possible situation and emotion.
Looking back at the development of art in Nepal, for hundreds of years, women have always been painted in divine forms in paubhas with utmost devotion from the artists as their art requires them to reflect religious sentiments and faith. Then came the impressionists’ during the Rana era who painted in European styles but mostly focused on landscapes and portraits of the ruling class. Women were not the main subject. The abstract modernists in the 60s like Bangdel painted women but were not the focus of his attention. It was only in the 70s that an audacious Kiran Manandhar came into the scene and portrayed women continuously similar to the traditionalists painting Goddesses.
What inspired him to be so dedicated to paint his fish eyed, sharp nosed beauties who have now become a trademark of Nepali contemporary art? Unlike the traditional portrayal of Tara, Vasundhara, Kurukulla and other deities, this abstract fish eyed beauty is not a Hindu or Buddhist deity. Who is she? Where did her inspiration come from?
It so happens that while on a field trip in 1975 to the Khajuraho temples as a student of Visual Arts in Banaras Hindu University, Kiran was spellbound by the high relief carved sculptures on the temple walls. This 10th century temple has been an inspiration for many artists in the subcontinent to learn about women’s figures. The sensual postures, curvaceous bodies and exquisite carvings and expressions have simply enraptured many artists. Kiran was no exception, he was totally awed by the architecture, the ambience and the smoothly carved female figurines. He was so mesmerised that he immediately began to magically sketch the Khajuraho figures, which remain his first drawings of women.
In 1976, Kiran attended the Mardi Gras festival in Chennai. While loitering in the beach, observing the fishes in the ocean, the eyes and mouth of the fish struck him. It was very sensuous and womanly - well rounded, shapely and expressive. At some point during the thrilling and ingenious vibes of the Mardi Gras festival, the similarities between fishes and young women struck Kiran. Physically, both have elegant lithe bodies, eyes that glimmer with hope, and hungry luscious lips. Figuratively, both are heading towards destinations deep and unknown across the seas. Analysing the similarities, he turned the eyes of his feminine figures as a shape of a fish and along with it came the signature pouty lips.
Kiran Manandhar’s women are usually depicted in vibrant playful backgrounds but in meaningful situations. If he portrays a group of women, then they can be seen in serious conversations or in deep contemplation. It seems like the group of women are always talking about something purposeful and have a mission to fulfil. This you can simply feel and see it in the eyes itself. Though a simple oval shape, the eyes are the window to the soul of the art and the interpretation of his paintings is instantly derived from the eyes.
Traditional artists have focused on women’s posture, hand gestures, ornaments and the emotions evoked through the eyes has either been wrathful or compassionate as per the significance of the deity. But what about emotions of happiness, pain, sorrow, determination, longing, and other feelings? Such intensity and range of a woman’s feelings can be continuously seen in Kiran’s paintings. The passion and power of a lover, the compassion of a mother, the desire of a wife, the solidarity of friends is sensed and perceived in abstract but deeper meanings. As Kiran, himself says “I think abstract forms emanate from the act of getting deeper into the form and discovering what may not be easily possible for everyone to do.”
Each of Kiran Manandhar’s painting has a story of a woman behind it whether the subject is national or personal. As he says “My art expresses my joy, my sorrow and my attitude towards social issues.” His feelings, his abstract medium, and his hallmark fish eyes has expressed the story of contemporary Nepali women for decades now. Herein lies the “herstory” of many of us in canvas.
Reference: Discussions with Sagar Manandhar
Tara is one of the most worshipped deities among Buddhists in Asia. Among the five Tara Goddesses - White, Yellow, Blue, Red, and Green, the Green Tara is most popular. From Nepal to India, China, Japan and other Buddhist countries, her powerful and compassionate figure adorn the walls of many homes.
My fascination with the Goddess started with a painting of Green Tara by Samudra Man Singh Shrestha displayed at the Museum of Nepali Art. A surreal green figure adorned with the most exquisitely crafted jewels draws the attention of all men and women. A coy look, a subtle seductive posture and magnetic yet soft eyes portray Tara as the most beautiful Goddess ever in the artists’ presentation. Vajrayana Buddhism Goddesses are truly an artists’ delight as most of them are imaginary figures, giving the artists - especially present day neo traditional ones - the freedom to create a heavenly figure of astounding beauty.
But what is the history of this goddess who is so revered by Mahayana and Vajrayana sects all over the Asian continent? While some scholars believe the interlocking of Vajrayana sect with Hinduism created several manifestations of deities to make converts worship Buddhist versions of Hindu Gods, others believe deities have their origin in Buddhism itself.
The difference between Hindu and Vajrayana Buddhist deities is that most Hindu gods and goddesses were mortals elevated to godly status with their exceptional life stories and good action. Buddhist deities, on the other hand, are mostly imaginary figures given a form to fulfill various religious needs and represent symbols similar to their Hindu counterpart.
Hinduism’s innumerable gods and goddesses portray every human characteristic and need, and are an icon of worship to solve every problem under the sun. In Vajrayana Buddhism too, there are a number of Bodhisattvas -ones who take the path to enlightenment but delay attaining it so as to help alleviate the suffering of other sentient beings - whose presence bear a parallel to the Hindu pantheon.
There are some mortal bodhisattvas such as Manjushree and Padmasambhav, but most of them are imaginary figures. One such revered figure is the Green Tara.
Some scholars believe Tara’s origin to be traced to Hindu tantric literature and the Puranas (Hindu religious scripts). According to scholar Hirnanda Shastri, the name Tara is found in Brahmanic literature as a synonym for Goddess Durga. She is described as Tara Amba (Mother Tara), the Patron of the Seas. Tara devotees consisted mainly of trading sailors, navigators and boatmen because the Puranas describe her as related to water bodies. She is named after the star “Dhruva Tara” as it is the main star that guides the sea journeys. It is thus explained by Hindu scholars that Goddess Tara got a place in Hindu theology before the 5th century, as a patron of the seas. It is also possible that Hindus who converted to Buddhism brought their Hindu deities along and had them assimilate into Buddhism in the course of time.
The Buddhist version of Tara’s origin story says that she came into existence in the 5th century and the Hindus accepted her into the group of Shakti (feminine energy) goddesses. Tara’s earliest images, found in the Buddhist caves of Western India, date back to the 6-7th centuries suggesting the influence of the Shakti cult in Mahayana and Vajrayana Buddhism. Her first appearance in the coastal caves of the northern Deccan region and western India reinforces this status as the protector goddess of the seas.
The Buddhist mythological version says she originated from the tear of Avalokiteshvara (male bodhisattva of compassion), which fell on to the ground and formed a lake. Out of its waters rose a lotus, which upon opening revealed the Goddess. Tara was thereafter known as the female equivalent of Avalokiteshvara,a compassionate deity who helps men “cross over to the other shore.” Her emergence as a Bodhisattva thus can be seen as an attempt of Mahayana Buddhism to become more gender inclusive.
In Tibet, Green Tara manifests in the form of Nepali Princess Bhrikuti. The Licchavi Princess Bhrikuti Devi (7thcentury AD), who married King Tsongtsen Gampo of Tibet, had a big role in exporting the essence of Vajrayana Buddhism from Nepal to its neighbors, and was thus elevated to the celestial status of Bodhisattva Tara. The Tibetan king is believed to have sought for the Nepali princess as he was enchanted with the development of Buddhism in Nepal and wanted to introduce similar civilized culture, arts and architecture to Tibet.
Whichever way you choose to look at the Green Tara -as a patron of the seas, the feminine bodhisattva of compassion, or in manifestation as Princess Bhrikuti Devi, the goddess captures you with her divine mystery. Unlike Hindu goddesses with heart wrenching life stories such as Sita or Sati Devi, the Green Tara is just an imaginary figure that portrays divinity in its most beautiful form.
References:
1. Goddess Tara, a short study – Jagdish Chandra Regmi
2. Iconography of Buddhist deities – Min Ratna Bajracharya
