[RITUAL ADORATION OF THE GODDESSES]

22 x 25” in [56.0 x 63.2 cm]

India, unsigned, 1998, polychrome gouache on board

verso: Dhana pal / Kal (?)

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Half-body representation in mutual adoration of several manifestations of Shakti, the Mother Goddess. On a larger s­cale and in the back, Parvati performs anulepana (ritual spreading of a pure substance on the image that is being adored; in this case the substance is red colored powder, called sindoor) on the forehead of the smaller-scale goddess Kali, who in turn performs the same action on an image or idol (murti) of goddess Tara. The three figures wear nathni, or nose rings, and bindi, the red-colored dot between her eyes. These ornaments indicate their status as married women, all of them to Shiva (since Tara was beget from Kali, who in turn arose from Parvati, Shiva’s wife). They are dressed in highly decorated saris, with their corresponding undergarments (cholis or gagra cholis). In the simple, red and orange background, two red hibiscus flowers stand out. These are traditionally associated with goddess Tara, as well as with the goddess Kali. To the bottom left of the image, Bengali text reads: ‘Three divine mothers worship each other’. Signed by the artist in the image.

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‘Calendar Art’ Paintings of India are the original artworks from which commercial printers created mass-produced popular images. The artworks can be grouped into major themes; religion, alluring women, patriotic national heroes and political leaders, movie stars, divine cherubic babies.

Functioning as pin-ups, calendar illustrations, and altar gods, the printed images can be found throughout 19th, 20th and 21st century India homes, schools, shrines, public halls and workplaces. Displayed within a wide range of contexts this art knows no class boundaries: in living rooms of the prosperous, on urban slum lean-to’s, in village thatched dwellings, framed in middle class kitchens.

The prints of specifically religious nature depict gods, goddesses, epic scenes, saints and sacred sites. Displayed in every kind of shop imaginable (tailor shops, tea stalls, grocery stores), transport (car and taxi dashboards, train conductors perch), upon persons (shirt pockets, wallets, purse), these iconic images are believed to act as talismans offering a means to worship, and, potentially access the divine.

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similar calendar art paintings and/or prints have been exhibited and/or archived at the following venues:

=> Gods in the Bazaar

=> Museum of Anthropology, University of British Columbia (Vancouver)

=> The British Museum