Boundaries & Transformations - Male and Female

Boundaries & Transformations

MALE AND FEMALE

The concept of opposition and unification of the male and female can be understood in the context of the eleventh century Indian image of Vishnu and Lakshmi (Fig. 2). Vishnu, the male deity, stands intertwined with Lakshmi. Vishnu contains within him both male and female, two polar opposites, that must be present to make him complete. The male and female parts of Shiva actually become one in his form as Ardhanarisvara ("he who is half woman"), depicted in the South Indian bronze (Fig. 3). As if divided in the middle, Shiva's male half is on the right, his female half (Parvati) is on the left. This division can mostly be seen in the female half with the full breast and swaying hip, attire and hairstyle. Here their unity is complete and beyond conventional categories.

Finally, from North India, the beautiful torso showing a woman looking into a mirror (Fig. 4) also reveals the male and female elements by implication. In the symbolism of the mirror, she sees the male who is watching her. The imagery of the mirror reflecting the male is meant to indicate that the woman is also a mirror who reflects her lord or husband.

Brahma with Consort (Brahmani)

Fig. 1. Brahma with Consort (Brahmani)
Western India, 10th Century
Pink Sandstone, 31 1/2 x 181/2 x 10 inches

(Fig. 1) This is an unusual figure of Brahma, with his wife Brahmani seated on his thigh. Brahma is the creator who has four faces (the fourth face looking to the rear is not visible), each of which stands for a sacred book of the Vedas. Brahma is seated in the pose of relaxation. His lowered right hand is in the gesture of wish fulfilling (varada mudra) while with the other he fondly embraces his wife and tenderly embraces her breast. Below his leg is a water pot (kamandalu) which is his emblem. Brahmani holds a lotus which surges upward above her. On either side are garland bearers (vidyadharas). Below is a kneeling couple in a gesture of devotion (anjali mudra) making offerings of conch and food which are placed on tripods. The figures are in very high relief with rounded volumes. Seated majestically, they present a vision of eternal unity.

(Fig. 2) This is one of the most delightful representations of Vishnu and Lakshmi who stand together, embracing each other in an attitude of intimacy. Vishnu, the preserver, holds the mace (gada) in his upper right hand; his lower right hand is in the gesture of reassurance (abhaya), while in his upper left hand he holds the conch (sankha); the lower left arm goes around his consort's back and emerges from beneath her left arm to touch and lightly support her breast. Lakshmi, the goddess of wealth, holds a lotus in her left hand while she leans on him in a loving manner. The figures display an overall liveliness and animation.

Vishnu and Lakshmi

Fig. 2. Lakshmi Narayana (Vishnu and Lakshmi)
Central India (Khajuraho), 11th Century
Beige Sandstone, 21 x 13 x 5 inches

Androgynous Shiva (Ardhanarishvara)

Fig. 3. Androgynous form of Shiva (Ardhanarshvara)
South India (Tamil Nadu), 17th/18th Century
Bronze with Copper, 17 1/2 x 7 x 5 1/2 inches

(Fig. 3) Shiva, as half male and half female, stands with the left female aspect demarcated from the right male side by its breast, swaying hips, long attire and ear ornaments, while the lean male side wears a costume in the form of a lion's skin. A serpent is entwined around his arm and a third eye is visible on his forehead. In his upper right hand he holds the battle axe (parasu) and in his left a lotus, each object appropriate to male and female respectively. The lower right hand is in a gesture of reassurance and the outstretched lower left, looking like the trunk of an elephant, is in the "elephant" hand pose. The image is a perfect vision of the physical union and transformation of the male and female physiognomy.

(Fig. 4) The figure of the lady holding a mirror is a common theme in Indian art. Her sensuous body, rounded breasts and firm flesh are characteristic features of the type, as is the slight natural twist of her torso while she adjusts her coiffure. Her smiling face and delicate ornaments add to her charm. Engrossed in looking in the mirror and absorbed with her own beauty, there is also the suggestion of preparation for an anticipated lover, giving the sculpture the suggestion of poetic love and emotional romanticism commonly exhibited by female figures in Indian art.

Lady with Mirror

Fig. 4. Lady with Mirror
Central or Western India, 9th/10th Century
Pink Sandstone, 15 1/2 x 7 x 3 1/2 inches

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