TANTRA AND MODERN TANTRIC ART
KAPIL JARIWALA
Tantra defnes a cult, a philosophy, an artistic representation and a way of life in Hindu India. The literal 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 a framework for a devotional life. These doctrines lay down laws and guidelines to help believers negotiate their moral relationship to the world around them and ultimately their place in the cosmos. So in artistic terms, Tantric art is the visual embodiment of conceptual metaphysical notions. This exhibition juxtaposes the antique and the modern, the frst shows historic works that deal with various aspects of Tantra; meditation and contemplation; natural primal forces; devotion and the universe. The paintings are mostly leaves from manuscripts, which were probably made and used by temple priests. These preachers or holy men consulted these texts in order to advise their paying “clients”. The pundit, as he was known, would then prescribe a specifc mantra, or ask the believer to direct their pujas (prayers) to an appropriate deity or natural element. Within this context, these paintings were not intended as “art”, but a visual manifestation of complex issues or simply a visual prescription to remedy a spiritual problem – indeed they can be regarded as illuminations, in the true sense of the word. In conjunction with Tantric art of the past we are exhibiting four contemporary artists who are either working directly in the tradition of Tantra, or have been profoundly influenced by its visual and spiritual language; Charlotte Cain – her intense delicate paintings bridge contemporary minimalism with Tantric sensibilities. Stephen Cox – a sculptor whose work addresses the iconic power of Tantra. Michael Peter Cain's sculptural work makes physical metaphysical notions of Tantra. Pepita Seth whose photography has chronicled Hindu rituals in Kerala records aspects of Tantric cult that are still practised and observed in modern day India.
PICHHAVAI WITH A DEPICTION OF SARAT PURNAMA c. 1840 Nathdwara, Rajasthan Pigment and gold on cloth 190 x 149 cm
JAIN COSMIC PARSVANATHA c. 1750 Gujarat or Rajasthan, India Opaque watercolour on cotton 114 x 82.5 cm
A MEDITATION MIRROR (VALKANNADI) 18TH century Nepal Bronze 14 cm height
Provenance Anthony d'Offay Collection, London
A SWASTIKA YANTRA Late 18TH or early 19TH century Rajasthan Gouache on paper 11 x 25 cm
THE GODDESS LAKSHMI c. 1810 Bashoili, Punjab Hills, India Opaque watercolour on paper 16.3 x 10.4 cm
KALI BODY MASK c. 1750 Kerala, India Bronze 33 cm height
NARASIMHA c. 1850 Andra Pradesh, India Opaque watercolour on paper 37.9 x 29.4 cm
VISHNU YANTRA c. 1840 Rajasthan, India Opaque watercolour on paper 47 x 31 cm
A JAIN MANDALA 19TH century Gujarat or Rajasthan, India Opaque watercolour on cotton 62 x 61.5 cm
A JAIN JAMBUDVIPA 19TH century Gujarat or Rajasthan, India Opaque watercolour on cotton 69 x 63 cm
HANUMAN YANTRA c. 1870 Rajasthan or Gujarat, India Ink and pigment on paper 16 x 13.5 cm
A JAIN CHAKRA DIAGRAM 18TH century Rajasthan Pigment on paper 26.5 x 41 cm
Provenance Jean Claude Ciancimino, London
A GROUP OF TEN YANTRAS Early 20TH century Jaipur, Rajasthan Gouache on Paper 18.5 x 13.5 cm (Approx each)
A DOUBLE SIDED FOLIO KEDAR RAGINI c. 1650 Marwar, Rajasthan, India Opaque watercolour on paper 30.2 x 22.2 cm GAURI RAGINI c. 1650 Marwar, Rajasthan, India Opaque watercolour on paper 30.2 x 22.2 cm
ASTALINGATOBHADRA YANTRA (HARI HARA BOARD) c. 1840 Rajasthan Watercolour 14.8 x 14.5 cm
A JAIN PURUSHAKARA YANTRA c. 1840 Possibly Gujarat or Rajasthan, India Pigment on cloth 119 x 168 cm
A TANTRIC SCROLL c. 1880 Rajasthan, India Pigment on cloth 335 x 30.5 cm
YONI 19TH century India Coca de Mer, Seychelles ( Lodoicea maldivica) 28 cm height
Provenance Philip Goldman, London Loed and Mia van Bussel, Amsterdam
SNAKE MAZE 19TH century Rajasthan Opaque watercolour on paper 25 x 13 cm
AGNI DARSHAN (FIRE WORSHIP) c. 1850 Nepal Gouache on paper 13 x 13.5 cm
SERPENT YANTRA Early 20TH century Ink and watercolour on paper 23.5 x 22.5cm
EIGHT FIELDS 19TH century Rajasthan Opaque watercolour on paper 11 x 25 cm
AJNA CHAKRA (THE OPENING OF THE THIRD EYE) 19TH century Rajasthan Opaque watercolour on paper 10.7 x 25.5 cm
A JAIN HOROSCOPE 19TH century Rajasthan Opaque watercolour on paper 11 x 25 cm
A JADU MANUSCRIPT (MAGIC IMAGE) 19TH century Rajasthan Opaque watercolour on paper 11 x 24.8 cm
A HANUMAN MASK 19TH century Nepal RepoussĂŠ brass alloy and cloth 34 cm height
AN ORANGE AND RED SILK LAWON 1850 - 1900 Palembang, Sumatra, Indonesia Handwoven silk, resist dyed with tritik process 180 x 80 cm
A PURPLE SILK LAWON 1850 - 1900 Palembang, Sumatra, Indonesia Handwoven silk, resist dyed with tritik process 180 x 67.5 cm
MICHAEL PETER CAIN XIPE (SEEING) #1 1995-2014 Cuncum on patina on bronze 19 x 19 x 45.7 cm Edition of 6 Four available
MICHAEL PETER CAIN SEED OF THE WORLD FORMING PROCESS #25 1989- 2014 Encaustic patina on bronze 31.7 x 25.4 x 14 cm Edition of 5
MICHAEL PETER CAIN SOMABRERO 2007- 2014 Flock and patina on cast Indian brass and epoxy 10 x 15 x 10 cm Edition of 10
MICHAEL PETER CAIN BINDU #1 1997 - 2014 Rubbed bright metal fnish on Indian brass 19 x 10 x 10 cm Edition of 10
MICHAEL PETER CAIN BINDU #2 1997 - 2014 Encaustic Patina on Indian bronze 19 x 10 x 10 cm Edition of 10 Nine available
MICHAEL PETER CAIN BINDU #3 1997 - 2014 Encaustic Patina on Indian bronze 19 x 10 x 10 cm Edition of 10
MICHAEL PETER CAIN BINDU #4 1997 - 2014 Encaustic Patina on Indian bronze 19 x 10 x 10 cm Edition of 10
MICHAEL PETER CAIN THE HUMAN CONDITION 1997-2014 Bright metal fnish on Indian brass, 20 x 11.5 x 4 cm Edition of 15 Thirteen available
MICHAEL PETER CAIN OM EGO OPENING 1997 - 2014 Repoussé copper with cuncum patina 64 x 39 x 22.5 cm
MICHAEL PETER CAIN BALL GAME 2006 - 2015 Repoussé brass with rayon flock 36 x 36 x 30 cm
MICHAEL PETER CAIN SPIRAL DOUBLET 1997 - 2014 Repoussé copper 100 x 54 x 7 cm
A SHIVA YANTRA c.1850 Rajasthan, India Opaque watercolour on paper 51 x 10 cm
MICHAEL PETER CAIN HOOK EYE 2004 - 2014 Indian copper enamel Krishna eyes on found steel and Cyanoacrylite cement 3 x 15.7 x 9 cm Edition of 10
MICHAEL PETER CAIN WALL EYE 2014 Mixed medium 2.5 x 15.5 x 9 cm
CHARLOTTE CAIN ONE STEP AT A TIME #7 2005 Pigment on antique Indian paper 21 x 21.5 cm
CHARLOTTE CAIN SHIVA YANTRA 2010 Pigment on antique Indian paper 19 x 16 cm
CHARLOTTE CAIN RED CIRCLE AND SQUARE 2006 Pigment on antique Indian paper 20.2 x 20.2 cm
CHARLOTTE CAIN FOUR PALE BLUE CIRCLES 2007 Pigment on antique Indian paper 20 x 18
CHARLOTTE CAIN SACHAMAM 2006 Pigment on antique Indian paper 59 x 18 cm
CHARLOTTE CAIN SACHAMAM # 9 2010 Pigment on antique Indian paper 59 x 18 cm
CHARLOTTE CAIN SACHAMAM # 2 2009 Pigment on antique Indian paper 59 x 18 cm
ARTIST UNKNOWN YONI AND SEED Mid 20TH century Jaipur, Rajasthan Pigment on paper 13 x 14.5 cm
ARTIST UNKNOWN SWASTIKA YANTRA Mid 20TH century Jaipur, Rajasthan Pigment on paper 15 x 13.5 cm
ARTIST UNKNOWN SHALAGRAMA Mid 20TH century Jaipur, Rajasthan Pigment on paper 20.5 x 14.5 cm
ARTIST UNKNOWN CONNECTED SEEDS Mid 20TH century Jaipur, Rajasthan Pigment on paper 16 x 13 cm
ARTIST UNKNOWN SEEDS Mid 20TH century Jaipur, Rajasthan Pigment on paper 24 x 13 cm
ARTIST UNKNOWN THE COSMOS Mid 20TH century Jaipur, Rajasthan Pigment on paper 12.7 x 12 cm
STEPHEN COX GOLDEN LADDER HEADS UP 2001 Carved Black Indian granite (Charnockite) with gold leaf 10 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 century Kerala, India Bronze 82 cm diameter
A BRONZE URULI: RITUAL COOKING VESSEL 19TH century Kerala, India Bronze 83 cm diameter
A STANDING YAKSHI c. 2nd or 3rd century AD Gandhara, Swat Valley Stucco 50 x 18 x 15 cm
Provenance Ex Isao Kurita Collection, Japan Acquired from Spinks, London 1986
SIDDHARTHA PREACHING c. 2nd or 3rd century AD Gandhara, Swat Valley Grey schist stone relief 36 x 33 x 6 cm
Provenance Ex Isao Kurita Collection, Japan Acquired from Spinks, London 1986
CHARLOTTE CAIN WAVES 2007 Pigment on silk 27 x 17 cm
CHARLOTTE CAIN BRAHAMA EGG AND THE COSMIC OCEAN 2010 Pigment on antique Indian paper 203 x 20.2 cm
MICHAEL PETER CAIN TAURUS 1997 - 2014 Patina on cast Indian brass 16.5 x 16.5 x 6.5 cm
MICHAEL PETER CAIN EMERGENCE PARTICLE 2007 - 2012 Rubbed bright metal fnish on Indian brass 7.5 x 20.3 x 7.5 cm
KRISHNA THE BUTTER THIEF c.1800 Jaipur, Rajasthan, India Opaque watercolour on paper 20.5 x 14.7 cm
TWO COMPANIONS c. 1850 Jaipur, Rajasthan, India Opaque watercolour on paper 16.3 x 10.4 cm
PEPITA SETH MANNAN BEING PREPARED AS KARIN KALI 1983 C type Photograph 59 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 1980 C type Photograph 59 x 39 cm ÂŁ 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 stonemason community, this was their hereditary right. Photograph taken at the Sree Rudhira Mahakalikavu shrine near Wadakkancheri, Thrissur District 1980
PEPITA SETH VECHIPADU ANOINTS HIMSELF WITH GURUDI 1984 C type Photograph 59 x 39 cm
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 sickleshaped 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 1982 C type Photograph 59 x 40 cm
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 own rituals. At one of them, and also dedicated to Lord Sastha, the temple's processional image of the deity, a small bronze placed at the bottom of the shield-like kolam that will be placed on the elephant, has to be ferried across the wide river. Only after the boat has been ritually purifed can it be handed over to two Brahmins priests, accompanied by a member of the ambalavasi (temple servant caste), holding an oil lamp before the deity. Photograph taken near Aarattupuzha, Thrissur District 1982.
TANTRA AND MODERN TANTRIC ART
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