tantra and modern tantric art 2015

T A N T R A A N D M O D E R N T A N T R I C A R T

K A P I L J A R I W A L A

Tantra defnes a cult, a philosophy, an artistic representation and a way of life in Hindu India. Theliteral translation from the Sanskrit alludes to Tantra as being a set of scriptures or texts,demonstrating essential principles that will lead to spiritual and physical fulflment; Tantra is aframework for a devotional life. These doctrines lay down laws and guidelines to help believersnegotiate their moral relationship to the world around them and ultimately their place in thecosmos. So in artistic terms, Tantric art is the visual embodiment of conceptual metaphysicalnotions. This exhibition juxtaposes the antique and the modern, the frst shows historic works that dealwith various aspects of Tantra; meditation and contemplation; natural primal forces; devotion andthe universe. The paintings are mostly leaves from manuscripts, which were probably made andused by temple priests. These preachers or holy men consulted these texts in order to advise theirpaying “clients”. The pundit, as he was known, would then prescribe a specifc mantra, or ask thebeliever to direct their pujas (prayers) to an appropriate deity or natural element. Within thiscontext, these paintings were not intended as “art”, but a visual manifestation of complex issues orsimply a visual prescription to remedy a spiritual problem – indeed they can be regarded asilluminations, in the true sense of the word.

In conjunction with Tantric art of the past we are exhibiting four contemporary artists who areeither working directly in the tradition of Tantra, or have been profoundly influenced by its visualand spiritual language; Charlotte Cain – her intense delicate paintings bridge contemporaryminimalism with Tantric sensibilities. Stephen Cox – a sculptor whose work addresses the iconicpower of Tantra. Michael Peter Cain's sculptural work makes physical metaphysical notions ofTantra. Pepita Seth whose photography has chronicled Hindu rituals in Kerala records aspects ofTantric cult that are still practised and observed in modern day India.

PICHHAVAI WITH A DEPICTION OF

SARAT PURNAMA

c. 1840Nathdwara, RajasthanPigment and gold on cloth190 x 149 cm

JAIN COSMIC PARSVANATHA

c. 1750Gujarat or Rajasthan, IndiaOpaque watercolour on cotton114 x 82.5 cm

A MEDITATION MIRROR (VALKANNADI)

18TH centuryNepalBronze14 cm height

ProvenanceAnthony d'Offay Collection, London

A SWASTIKA YANTRA

Late 18TH or early 19TH centuryRajasthanGouache on paper11 x 25 cm

THE GODDESS LAKSHMI

c. 1810Bashoili, Punjab Hills, IndiaOpaque watercolour on paper16.3 x 10.4 cm

KALI BODY MASK

c. 1750Kerala, IndiaBronze33 cm height

NARASIMHA

c. 1850Andra Pradesh, IndiaOpaque watercolour on paper37.9 x 29.4 cm

VISHNU YANTRA

c. 1840Rajasthan, IndiaOpaque watercolour on paper47 x 31 cm

A JAIN MANDALA

19TH centuryGujarat or Rajasthan, IndiaOpaque watercolour on cotton62 x 61.5 cm

A JAIN JAMBUDVIPA

19TH centuryGujarat or Rajasthan, IndiaOpaque watercolour on cotton69 x 63 cm

HANUMAN YANTRA

c. 1870Rajasthan or Gujarat, IndiaInk and pigment on paper 16 x 13.5 cm

A JAIN CHAKRA DIAGRAM

18TH centuryRajasthanPigment on paper26.5 x 41 cm

ProvenanceJean Claude Ciancimino, London

A GROUP OF TEN YANTRAS

Early 20TH centuryJaipur, RajasthanGouache on Paper18.5 x 13.5 cm (Approx each)

A DOUBLE SIDED FOLIO

KEDAR RAGINI

c. 1650Marwar, Rajasthan, IndiaOpaque watercolour on paper30.2 x 22.2 cm

GAURI RAGINI

c. 1650Marwar, Rajasthan, IndiaOpaque watercolour on paper30.2 x 22.2 cm

ASTALINGATOBHADRA YANTRA (HARI HARA BOARD)

c. 1840RajasthanWatercolour14.8 x 14.5 cm

A JAIN PURUSHAKARA YANTRA

c. 1840Possibly Gujarat or Rajasthan, IndiaPigment on cloth119 x 168 cm

A TANTRIC SCROLL

c. 1880Rajasthan, IndiaPigment on cloth335 x 30.5 cm

YONI

19TH centuryIndiaCoca de Mer, Seychelles ( Lodoicea maldivica)28 cm height

ProvenancePhilip Goldman, London Loed and Mia van Bussel, Amsterdam

SNAKE MAZE

19TH centuryRajasthanOpaque watercolour on paper25 x 13 cm

AGNI DARSHAN (FIRE WORSHIP)

c. 1850NepalGouache on paper13 x 13.5 cm

SERPENT YANTRA

Early 20TH centuryInk and watercolour on paper23.5 x 22.5cm

EIGHT FIELDS


AJNA CHAKRA (THE OPENING OF THE THIRD EYE)

19TH centuryRajasthanOpaque watercolour on paper10.7 x 25.5 cm

A JAIN HOROSCOPE


A JADU MANUSCRIPT (MAGIC IMAGE)

19TH centuryRajasthanOpaque watercolour on paper11 x 24.8 cm

A HANUMAN MASK

19TH centuryNepalRepoussé brass alloy and cloth34 cm height

AN ORANGE AND RED SILK LAWON

1850 - 1900Palembang, Sumatra, IndonesiaHandwoven silk, resist dyed with tritik process180 x 80 cm

A PURPLE SILK LAWON

1850 - 1900Palembang, Sumatra, IndonesiaHandwoven silk, resist dyed with tritik process180 x 67.5 cm

MICHAEL PETER CAIN

XIPE (SEEING) #1

1995-2014Cuncum on patina on bronze19 x 19 x 45.7 cmEdition of 6 Four available

MICHAEL PETER CAIN

SEED OF THE WORLD FORMING PROCESS #25

1989- 2014Encaustic patina on bronze 31.7 x 25.4 x 14 cmEdition of 5

MICHAEL PETER CAIN

SOMABRERO 2007- 2014Flock and patina on cast Indian brass and epoxy 10 x 15 x 10 cmEdition of 10

MICHAEL PETER CAIN

BINDU #1

1997 - 2014Rubbed bright metal fnish on Indian brass19 x 10 x 10 cmEdition of 10

MICHAEL PETER CAIN

BINDU #2

1997 - 2014Encaustic Patina on Indian bronze19 x 10 x 10 cmEdition of 10 Nine available

MICHAEL PETER CAIN

BINDU #3

1997 - 2014Encaustic Patina on Indian bronze19 x 10 x 10 cmEdition of 10

MICHAEL PETER CAIN

BINDU #4

1997 - 2014Encaustic Patina on Indian bronze19 x 10 x 10 cmEdition of 10

MICHAEL PETER CAIN

THE HUMAN CONDITION

1997-2014Bright metal fnish on Indian brass,20 x 11.5 x 4 cmEdition of 15 Thirteen available

MICHAEL PETER CAIN

OM EGO OPENING

1997 - 2014Repoussé copper with cuncum patina64 x 39 x 22.5 cm

MICHAEL PETER CAIN

BALL GAME

2006 - 2015Repoussé brass with rayon flock36 x 36 x 30 cm

MICHAEL PETER CAIN

SPIRAL DOUBLET

1997 - 2014Repoussé copper100 x 54 x 7 cm

A SHIVA YANTRA

c.1850Rajasthan, IndiaOpaque watercolour on paper51 x 10 cm

MICHAEL PETER CAIN

HOOK EYE

2004 - 2014Indian copper enamel Krishna eyes onfound steel and Cyanoacrylite cement 3 x 15.7 x 9 cmEdition of 10

MICHAEL PETER CAIN

WALL EYE

2014Mixed medium2.5 x 15.5 x 9 cm

CHARLOTTE CAIN

ONE STEP AT A TIME #7

2005Pigment on antique Indian paper 21 x 21.5 cm

CHARLOTTE CAIN

SHIVA YANTRA

2010Pigment on antique Indian paper 19 x 16 cm

CHARLOTTE CAIN

RED CIRCLE AND SQUARE

2006Pigment on antique Indian paper 20.2 x 20.2 cm

CHARLOTTE CAIN

FOUR PALE BLUE CIRCLES

2007Pigment on antique Indian paper 20 x 18

CHARLOTTE CAIN

SACHAMAM


CHARLOTTE CAIN

SACHAMAM # 9


CHARLOTTE CAIN

SACHAMAM # 2


ARTIST UNKNOWN

YONI AND SEED

Mid 20TH centuryJaipur, RajasthanPigment on paper13 x 14.5 cm

ARTIST UNKNOWN

SWASTIKA YANTRA

Mid 20TH centuryJaipur, RajasthanPigment on paper15 x 13.5 cm

ARTIST UNKNOWN

SHALAGRAMA

Mid 20TH centuryJaipur, RajasthanPigment on paper20.5 x 14.5 cm

ARTIST UNKNOWN

CONNECTED SEEDS

Mid 20TH centuryJaipur, RajasthanPigment on paper16 x 13 cm

ARTIST UNKNOWN

SEEDS

Mid 20TH centuryJaipur, RajasthanPigment on paper24 x 13 cm

ARTIST UNKNOWN

THE COSMOS

Mid 20TH centuryJaipur, RajasthanPigment on paper12.7 x 12 cm

STEPHEN COX

GOLDEN LADDER HEADS UP 2001

Carved Black Indian granite (Charnockite) with gold leaf10 Heads each 33 x 22.5 cm

STEPHEN COX

NEPALESE THRONG 2002

Carved Black Indian granite (Charnockite) 25 Heads each 22.5 x 15.5 cm

A BRONZE URULI: RITUAL COOKING VESSEL

19TH centuryKerala, IndiaBronze82 cm diameter

A BRONZE URULI: RITUAL COOKING VESSEL

19TH centuryKerala, IndiaBronze83 cm diameter

A STANDING YAKSHI

c. 2nd or 3rd century ADGandhara, Swat Valley Stucco50 x 18 x 15 cm

ProvenanceEx Isao Kurita Collection, JapanAcquired from Spinks, London 1986

SIDDHARTHA PREACHING

c. 2nd or 3rd century ADGandhara, Swat Valley Grey schist stone relief 36 x 33 x 6 cm

ProvenanceEx Isao Kurita Collection, JapanAcquired from Spinks, London 1986

CHARLOTTE CAIN

WAVES

2007Pigment on silk 27 x 17 cm

CHARLOTTE CAIN

BRAHAMA EGG AND THE COSMIC OCEAN

2010Pigment on antique Indian paper 203 x 20.2 cm

MICHAEL PETER CAIN

TAURUS

1997 - 2014Patina on cast Indian brass16.5 x 16.5 x 6.5 cm

MICHAEL PETER CAIN

EMERGENCE PARTICLE

2007 - 2012Rubbed bright metal fnish on Indian brass7.5 x 20.3 x 7.5 cm

KRISHNA THE BUTTER THIEF

c.1800Jaipur, Rajasthan, IndiaOpaque watercolour on paper20.5 x 14.7 cm

TWO COMPANIONS

c. 1850Jaipur, Rajasthan, IndiaOpaque watercolour on paper16.3 x 10.4 cm

PEPITA SETH

MANNAN BEING PREPARED AS KARIN KALI

1983C type Photograph59 x 39 cm

Those who accompanied the Bhagavathi would initially perform specifc

preparatory rituals in their own houses. These rituals began in the evening

and lasted through to the following morning. Only then would they be

made-up and costumed. Here a member of the Mannan, the stone-mason

caste, is prepared as Karin Kali, Black Kali, prior to leaving for the shrine

where the festival of the locality's presiding goddess is being conducted.

He will leave accompanied by his family and men playing chendas, the

drum most commonly used for Kerala's rituals and festivals .The long

sliver of a coconut leaf represents the deity's extended tongue.

Photograph taken in Kozhikode District, 1983.

PEPITA SETH

BOODHAM


£ 2, 750

The presence of the Bhagavathi, the goddess, is strong throughout Kerala

and numerous small temples and shrines are dedicated to one or other of

her many aspects, invariably Bhadrakali. When these shrines celebrate

their annual festival it, was until about 20 years ago, common for

empowered men to accompany her in the role of her attendants. Though

low in caste hierarchy, and generally belonging to the Mannan or stone-

mason community, this was their hereditary right.

Photograph taken at the Sree Rudhira Mahakalikavu shrine nearWadakkancheri, Thrissur District 1980

PEPITA SETH

VECHIPADU ANOINTS HIMSELF WITH GURUDI


Wherever there are temples and shrines dedicated to an aspect of the

Goddess she is generally represented at festivals and processions, and at

certain rituals, by an empowered man belonging to the high-caste Nair

community. In lower caste shrines he will be from the same caste as the

shrine's owners. In central Kerala he is usually known as a velichapadu,

'one who brings light' or sometimes as a komaram, a title more common in

northern Kerala. At festivals he is seen, holding the 'holy weapon a sickle-

shaped sword belonging ot the deity, and fngering his long hair, before

the elephant carrying the deity's image. A popular saying is that 'at a

festival everyone knows the velichapadu but he doesn't know everyone.'

On certain designated auspicious days he will become possessed by his

Goddess and so be able to bless and interact with her devotees, solving

their problems and attending to their woes and concerns. On other

occasions, such as at this shrine near Ettumannur, his presence is a marker

of the time when human, and later animal and chicken, sacrifces were

made to the deity. Since the offciating priests are Brahmins this was done

outside the sacred precincts, as is today's 'substitute' offering. Here the

velichapadu comes in procession with men carrying containers of a liquid

known as gurudi, a blood-red combination of water, calcifed lime and

turmeric. After pouring all but fve pots over the peedham, the sacred

seat of the deity, he dowses himself with the remainder. He then grabs his

sword and rushes to jump in the temple's tank.

Photographed near Ettumannur, Kottayam District, 1984.

PEPITA SETH

KOLAM BEING FERRIED ACROSS A RIVER


Lord Sastha is one of Kerala's most ancient gods and the presiding deity of

an important temple at Aarattupuzha. The deity's sanctity is such that his

idol is considered to possess the powers of the trimurthis, the three great

gods, Siva, Brahma and Vishnu (and is probably why the temple has no

sub-shrines). There is ample evidence that this great annual festival was

already well-established more than 1500 years ago. It is considered so

important that if someone who belongs to the locality does not attend he

is treated as having died. While there is a further belief that all the gods

and goddesses come to pay their respects to Lord Sastha it is certain that

101 come personally to visit, mounted on their respective temple's

elephants.

A month before the festival many surrounding shrines conduct their ownrituals. At one of them, and also dedicated to Lord Sastha, the temple'sprocessional image of the deity, a small bronze placed at the bottom ofthe shield-like kolam that will be placed on the elephant, has to be ferriedacross the wide river. Only after the boat has been ritually purifed can itbe handed over to two Brahmins priests, accompanied by a member ofthe ambalavasi (temple servant caste), holding an oil lamp before thedeity. Photograph taken near Aarattupuzha, Thrissur District 1982.

T A N T R A A N D M O D E R N T A N T R I C A R T

K A P I L J A R I W A L A G A L L E R Y

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tantra and modern tantric art 2015

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