#Surasundari

[hinducosmos]

Exquisite Face Profile of a Surasundari - Allahabad Museum Monidipa Bose Dey wrote : Found from a place called as Jamsot near Prayagraj. Dated C. 11th century. Should be of the Gahadawal dynasty. (via Twitter: Monidipa Bose Dey)

[kailasanath]

Surasundari - the celestial beauty

Marble, Probably Mewar region, 11th Century CE

MET Museum

[mademoiselleclipon]

 Rajasthani Sandstone Torso of Surasundari

[svenson777]

Architectural relief depicting two celestial female figures (Surasundaris), 10th -11th century, Madhya Pradesh, India ~ "As a house without a wife, as a frolic without a woman, so without the surasundari, the monument will be inferior and bear no fruit." — Shilpa-Prakasha, 9th century architectural treatise

[harvard-art-museums-sculpture]

Standing Surasundari, 9th century-10th century, HAM: Sculpture

Harvard Art Museums/Arthur M. Sackler Museum, Gift of Dr. R. Joseph Monsen Size: H. 74.4 x W. 17.8 cm (29 5/16 x 7 in.) Medium: Light pinkish sandstone

https://www.harvardartmuseums.org/collections/object/202416

[monikaohson-blog]

"Surasundari" meaning "celestial beauty", in Indian art / sculpture, is a young maiden characterizing feminine beauty and graceful sensuality. From Gujari Mahal Archaeological Museum in Gwalior, Madhya Pradesh, India #gujarimahal #gwaliorfort #gwalior #mptourism #madhyapradesh #incredibleindia #sculpture #museum #archaeological #surasundari #museum #indianart #indialove #indiatravel #indiatravelgram #igramming_india #ig_india #iger #travelblogger #travelphotography #travel #travelgram #history #heritage

[kkdas]

“Details of intricately carved mouldings and sculptures on the outer wall of sanctum, Kandaria Mahadeva Temple, Khajuraho Note latticed screens and circular columns with Kumbham as base. SuraSundaris and Shardul(s) are exquisitely carved.” PC: Kevin Standage

https://t.co/7jNq1djZuS

भारतीय वास्तुकला (Wonderful Indian Architecture)

[iseo58]

Paramchaintanya Men — Two Surasundaries c 10th CE MadhyaPradesh

[joseandrestabarnia]

Título: Torso de una divinidad femenina

Siglo XI

Artistas: Artista desconocido

Acerca de

Muy probablemente el torso de una mujer celestial o 'surasundari', esta escultura encarna los ideales indios de belleza femenina: senos llenos y esféricos colocados cerca, cintura estrecha como una avispa, caderas amplias y joyas elaboradas que acentúan la suave tacto de la carne. Este tipo de representación de lo femenino se incluyó en el programa iconográfico del templo hindú para mejorar su poder.

The Asian Collections, AGNSW, 2003, pág.22.

Detalles:

Otro título: Torso femenino

Lugar donde se realizó el trabajo: Madhya Pradesh → India

Período: Dinastía Chandella circa 831-1308 → India

Fecha: Siglo XI

Materiales usados: arenisca

Dimensiones: 53,0 cm

Fecha de firma: No firmado. Sin fecha

Crédito: Margaret Hannah Olley Art Trust 1990, Art Gallery NSW

[shithole-world]

When we embark on a circumambulation of a temple (pradakshina), our eyes come across many figures besides those of the gods and the goddesses. Among the ones we frequently meet are the chubby ganas, busy blowing into conch shells, or bearing heavy loads of the temple, or sometimes even playing musical instruments. The others we cannot miss are the mithuna couples, beautiful apsaras (celestial dancers), and surasundaris; while the gandharvas and vidyadharas make their less frequent appearances. Quite often we also notice the motifs of a hamsa or a swan going around the temple walls, marching along like soldiers or sometimes even teasing the ganas. Then there are the frequent lions or simhas in various poses that glare back at us, frozen in their movements. As we look at these images repeated in almost all temples, the figures turn into an integral part of the temple architecture and gets embedded into our inner consciousness, and so we accept them unquestioningly. Being a part of the temple, these figures or images also acquire a divinity of their own in the mind of a bhakt, as he or she completes the pradakshina with thoughts focused on the divine presence inside the garbagriha.

The Ramappa temple

The Airy Spirits and Breath

Vidyadharas, Gandharvas, Apsaras, Ganas and Hamsas

According to the rules laid by Shilpa Shastra, certain murtis have their positions fixed on the temple walls, spread radially from the main deity stationed inside the garbagriha. Such murtis can be divided into two categories: the prasar-devtas, which are the various forms or aspects (rupa) of the main divinity residing inside the sanctum; and the astha dikapalas or gods of the eight cardinal directions whose places are fixed in predetermined niches/positions on the temple walls.

Between the fixed images there are spread various other celestial figures, such as the apsaras, gandharvas, etc., and among them the ones that amuse me the most are the little ganas. The ganas, as Kramrish would let us know, are the imagery representations of air, which is one among the five essential elements that make a human body (panchamahabhutas); and as we all know, it is the air that supports all our bodily movements. The temple stapahtis had given an image or a body to the air, so we have the lines of ganas, which in literal sense are mere quantities (gana when translated denotes a quantity). Shown as potbellied to make them appear full of air, the little fat airbags or ganas rush around lending a shoulder to a heavy structure, such as a pillar or the shikhara; or playing musical instruments; and sometime blowing into the conch-shell. Airy, full of life, yet in reality body less, the ganas represent a being in full concentration focused on becoming one with the Brahman.

The Apsaras, the Gandharvas, and the Vidyadharas represent airy spirits; their bodies made of airy substances that show the five attributes of air, such as running, jumping, stretching, bending, etc. Thus, we see Apsaras performing the heavenly dances in the city of Amaravati, while Gandharvas playing the music there. The Vidyadharas that are depicted as flying alone or with Apsaras, soar lightly across, carrying the sword of knowledge, which they use to cut through clouds of ignorance.

The geese or swans that we often see marching on temple walls (they are rarely shown in flight) represent the breathing rhythm; or Ham-Sa; where HA is the sound of breath going out, and SA is the sound of air entering the body (practiced during Pranayama, which is an essential part of sadhana). The breath, the essential seed of life, finds an imagery manifestation in the form of Ham-Sa. Thus, the Hamsa bird represents the union points towards which fly all celestial airy spirits, such as the ganas, gandharvas, and the dancers (apsaras).

The airbags or ganas move in groups, full of joy and energy, often playing the role of a bharvahaka (Kailashnathar temple, Kanchipuram)

A gana, full of air, blows into a conch shell, producing a sound that is inherent in the air around us (Brihadeswara temple, Tanjore)

Apsaras and Gandharvas (Neelkanth temple. Alwar)

Apsaras (Sri Erakeswara temple, Pillalamari)

Apsaras and Gandharvas; sometimes the former are referred to as the latter‘s consorts. Apsaras are also sometimes termed to as Surasundaris.  As dancers they are also known as Natakas.

    Surasundaris are a representation of the Sakti, or the passive primordial Energy. They form a part of the ‘avaran devtas,’ and belong to the air-world or atmosphere. These female figures are a manifestation of the great beauty of the Devi, who has become conscious of her beauty and feels animated by her sudden passion. Hence, she is charming and alluring, expressing divine vitality.

Various other forms of Sakti also include the Apsaras (often referred to as Suranganas), Yaksis/Salabhanjikas, and Natakas. Representing vitality and movement, the Apsaras denote atmospheric movements, while Yakshis denote foliage movements, and Natakas are bodily movements shown in the form of dancers.

  Mithuna: 

“Embracing Shiva as the Madhava creeper clasps the young Amra tree with his bosom like cluster of blossoms” – Yogavashishta, Nirvanaprakarana

Mithuna couple in an embrace, on the walls of the Neelkanth temple in Alwar

Erotica or mithuna couples that we see carved on temple walls reflect a deeper underlying philosophy than just representing sensuous earthly pleasures. Deep in the throes of passion the mithuna couples represent the transition from a physical to the spiritual plane of consciousness, analogous to the walk from the mandapa to finally meet the divinity present within the temple embryo or garbhagriha. In the Vedas, we find the mention of four purusharaths or human life goals, and one among them is Kama or satisfying physical pleasure (the other three being Dharma, Artha, and Moksha). Mithuna sculptures on the temple walls pander to this ancient Hindu philosophy, which believes that yoga (spiritual exercise) and bhoga (physical pleasure) are the two paths that lead to moksha (final liberation). As Kramrisch explains, when a man is embraced by the woman he loves he becomes unaware of everything else, inside or outside; similarly the spiritual being of  a person when embraced by prajnatmana. In both instances he forgets everything else that is external or internal to his being. He is satiated, has nothing more to ask for, and becomes free from all pain. Thus, mithuna becomes a reflection of the other purusharath: Moksha, where there is an union of two inseparable substances, the Purusha (essence or mind) and Prakriti (Sakti or energy). Sakti lies within God himself, and when the mind (manas) enters into an union with the Vak (the uttered word, which is a manifestation of power or Sakti) it is Mithuna; hence we find Shiva needs Sakti for the final release or moksha, the ultimate objective of life.

This form of ritual (used for mastering the third purusharath or kama through bhoga) is practiced in Tantric worship, and it is for this reason we find gods and ascetics also shown in mithuna postures in some temples. This form of  krida or lila, however has nothing to do with human copulation that aims at procreation. The love sport of ascetics, which must be practiced only by sanyasis (who have already crossed the first two levels of sadhana), with a woman who willingly gives herself just as a “creeper lovingly embraces a tree.” This form of lila or krida has no connections to dharma, artha, or kama, and strictly represents only the fourth purusharath, moksha. The Avadhuta (one of the highest among sanyasis in terms of metaphysical realisations, who is above all castes and social norms) doesn’t need this union with a woman. He is already one with the Supreme entity: the Brahman.

Thus, we repeatedly see erotic or mithuna couples across our temple walls and even on the garbagriha dwarasakhas, because it is a symbolic representation of the union of Purusha with Prakriti that ultimately leads to Moksha, the final purpose of all lives.

Mithuna couple (Tripurasundari temple in Naggar)

  References:

Tarun Chopra, 2016. Temples of India. Thompson Press, Delhi.

Stell Kramrisch, 2015. The Hindu temple. MBP Private Ltd, Delhi.

What do Ganas, Gandharvas, Mithuna Couples, and Dancing girls on temple walls tell us When we embark on a circumambulation of a temple (pradakshina), our eyes come across many figures besides those of the gods and the goddesses.

[hinducosmos]

Kokamthan Shiva Temple, Nagar district, Maharashtra

रोहन गाडेकर 🇮🇳 @rohan_gadekar08 wrote : About 8 km from Kopargaon taluka in Nagar district. In the distance is the ancient Shiva temple in Kokamthan village.

This temple Must be from the 13th century. The east facing structure of the temple is the space, sabhamandap and sanctum sanctorum. The top of the temple is made of bricks and is made up of small finely carved peaks. There are sculptures of Yaksha and Gandharva dancing and playing musical instruments on the verandah of the sanctum sanctorum. On the main peak are sculptures of Ling and Anantasai Vishnu.

The temple has a main entrance on the east side and an entrance on the west side as well. There is a Shiva pind in the temple, and a sculpture of the revered Vishnu is placed on a square behind it. Since there is an eagle on the forehead, this must be the original Vishnu temple.

The replicas of the temple's spire on the exterior of the temple's nave are beautiful. Also, the carvings here attract the attention of the people. There are also sculptures of Surasundari, Yaksha-Gandharva, Digpal, and many other deities while playing the instrument, but the sculpture cannot be identified due to the collapse of the temple. Situated on the banks of the quiet Godavari, this temple is the ornament of Kopargaon.

(via Instagram: रोहन गाडेकर 🇮🇳 @rohan_gadekar08)

[kailasanath]

Madanika - Surasundari

The celestial beauty, panel outside the Ambika Mata Temple, Jagat

Gurjara Pratihara Era, circa 960 CE

[chefmoonu]

The dynamic movement in the representation of Surasundaris or Celestial Beauties dominated the medieval art style in India, a pronounced departure from Gupta Classicism.  statue  "Mother fondling child" -"375 CE "  (Indian Museum, Kolkata) . . 📸#chefmoonu 🔎#travellermoonu 🔎#chefkolkata . . #yahoofood #indiafood #dhaka #foodl #traveling #world #travel #kolkata #india #kolkatatraveller #make #alltime #foodlove #hotel #kolkatatravel #oldest #kolkatafood #love #it #toppicture #TripAdvisor #me (at Chef Moonu) https://www.instagram.com/p/Bn1UOghh1bh/?utm_source=ig_tumblr_share&igshid=1keo0uys5ot54

[strappedshiva]

Yoni Puja

Dialog between Parvati the great Goddess and Lord Shiva.

The Ten Mahavidyas, these are listed in the third patala of Yoni Tantra as Kali, Tara, Shodashi, Chinnamasta, Bagalamukhi, Matangi, Bhuvanesvari, Mahalaksmi and associated with the different parts of the y\Yoni. This list of the Mahavidyas differs from that in Todala Tantra (Sothis Weirdglow 1984).

By successfully worshiping the Yoni One becomes Kalika’s son and renowned. Devi is at the base of the yoni and Naganandini is in the yoni. Kali and Tara are in the yoni chakra and Chinnamasta in the hair. Bagalamukhi and Matangi are on the rim of the yoni. Mahalaksmi, Shodashi and Bhuvanesvari are within the yoni. By worshipping the yoni one certainly worships Sakti.

The Mahavidya, mantra and preparation of the mantra do not bestow siddhi without worship of the yoni. One should bow thrice before the yoni with a flower, Mahesvari, else the puja of a man is useless even in 1000 lifetimes.

Every married man wanting success in life should learn to worship his wife’s yoni.

Guru is clearly Siva and his partner is the true form of the goddess.

One should only couple with the yoni that bleeds.

Dearest, if by good fortune one is partner to a Brahmin girl, one should worship her yoni tattva. Otherwise, worship other yonis. When we speak of Brahmin, here we speak about those who are Brahmin by birth based on Astrology, and not because one is born in a Brahmin home.

Candali, Lady of Hosts, the foremost one, is the center of the yoni. By worshipping in this way, one becomes my equal, most certainly. What use are meditations, reciting mantras, giving gifts or kula nectars? O Durga, without yoni worship, all are fruitless.

Seated on the peak of Mount Kailasha, the god of gods, the guru of all creation, was questioned by Durga-of-the-Smiling-Face, Naganandini. Lord, 64 tantras have been created. Tell me, Ocean of Compassion, about the chief of these. Mahadeva said: Listen, dearest Parvati, to this great secret. You have asked to hear this 10 million times.

Beauteous One, it is because of your feminine nature that you continually ask me. You should conceal this by every effort. Parvati, there is mantra pitha, yantra pitha and yoni pitha. Amongst these, the chief is certainly the yoni pitha, revealed to you from affection. Naganandini, listen closely! Hari, Hara and Brahma—- the gods of creation, maintenance and destruction—-all originate in the yoni.

A person should not worship the yoni if he does not have the Sakti mantra. This initiation and mantra is the deliverer from hell. I am Mityunjaya, beloved of your yoni. Surasundari, I always worship Durga in my heart lotus. This liberates the mind from distinctions such as Divya and vira. O Lady Goddess! worshipping in this manner, liberation is placed within a person’s reach.

A yoni worshipper should prepare the Sakti mantra. He gains wealth, poesy, wisdom and omniscience. He becomes the four-faced Brahma for one hundred million eons.

What is the use of talking! To speak of this avails naught. If a person worships with menstrual flowers, he also has power over fate. Doing much puja in this way, he may become liberated.

The fruit of doing puja to the great yoni, deliverer from the ocean of misery, is life and enhanced vitality. The yoni, which has bled is suitable for worship. Do not worship a yoni, which has never bled. Worshipping a yoni, which has never bled causes loss of siddhi on every occasion

In the absence of the yoni of a maiden or a beautiful woman, worship the yoni of a sister or of a female pupil. Worship the yoni daily otherwise pronounces the mantra. Do not perform useless puja without yoni puja.

Parvati said: Ocean of Compassion, by what method should the yoni, which is the essence of the cosmos, to be worshipped? If you or a sadhaka should worship a yoni, how does it bestow grace? Speak of this to me! I want to hear all of this because of my great curiosity.

Mahadeva said: A sadhaka wishing to worship a yoni, which is the form of the cosmos, should cause an erection and insert it into that thing which is Sakti Herself. The vagina is Mahamaya and the penis is Sadasiva. Worshipping them, one becomes liberated while still alive; there is no doubt off it. One should offer bali, flowers and so forth. If incapable of this, worship with wine, O Durga. One should do pranayama and my six limbed puja in the yoni region. After reciting the mantra 108 times at the base of the yoni, one should rub the linga and the yoni together.

I have thereby declared the manner of proceeding for all sadhakas. Devi, never reveal this Tantra! Do not give it to the disciple of another or to the undevoted. Mahadevi, the Yoni Tantra is revealed from love for you.

If a person should gaze at a yoni while ritually bathing, his life becomes fruitful. There is no doubt off this. One should look at one’s partner’s yoni, at another woman’s yoni, the yoni of a maiden—-in the absence of a maiden’s yoni one should gaze reverentially at the yoni of a pupil.

Liberation is achieved through enjoyment. Happiness is gained through enjoyment. Therefore, by every effort, a sadhaka should become an enjoyer. The wise man should always avoid blame, disgust or shame of the yoni. Unless the yoni is worshipped using the Kulachara method, even one hundred thousand sadhanas are useless.

If one should lick the elixir at the edge of the yoni, evil in one’s body or dwelling place is certainly destroyed. What point is there to bathing in the Ganges or in other tirthas? Dearest, in this matter relating to a powerful sadhaka always worshipping the vagina, what use is there of many words?

Listen, O one-dear-to-me-as-life, of the destruction of the mental predisposition of pashas. Worship a nubile yoni in a highly ecstatic way.

Whosoever in this Kali Yuga recites mantra in a supremely devoted way specifically to the yoni, the core of the universe, is within reach of liberation. Amongst thousands of sadhakas and tens of millions of worshippers, fortunate are they who do Kali sadhana. Kali is the Mother of the Universe and of all Shastra, quite certainly. Remembering Kali frees one from the fetters of a pasu. After reciting Kali’s great mantra, one becomes Kali’s son, there is no doubt. This is true, true, true, true without question.

Just as for Kali, so also for the Vidyas and rules of Tripura, Shodashi, Bhuvanesvari, China-Tara, Mahalaksmi, Matangi, Sundari, Bhairavi, Dakshina and Tarini. Success cannot be achieved save with the method of Chinachara. Whatever mantra one is initiated into, this is the best method. Devoid of this sacred trust, one becomes unsuccessful and therefore is reborn again.

That which is written in this Yoni Tantra all sadhakas should accomplish according to their own wills. Mahesani, meditate as being absorbed in the yoni chakra, with yoni on the tongue, yoni in the mind, yoni in the ears and yoni in the eyes. Mighty Lady, all sadhana is vain unless with the yoni. Therefore, reject other pujas and do Yoni Puja. Mahesani, there is no siddhi without devotion to the Guru.

[travelnew]

Who is the bag of bones in this art panel?

↑ Do you see the bony rib cage and the protuberant abdomen of the mythological figure? On the art panel’s left or true right of the central idol is the subject of this article ↑

Well, in the centre of the art panel is Bhadra. On the right or true left of the central idol is Surasundari and BHRINGI is the lean thin emaciated figure with ghostly eyes and a full abdomen. This art panel is from ancient Ambarnath Shiva Temple.

WHO IS BHRINGI? 

Read the interesting story accompanying the image, to find out.

According to Hindu mythology, Bhringi was an ancient sage (rishi), and a great devotee of Shiva, the Hindu God. According to mythology, all the rishis paid homage to both Shiva and Parvati,consort of Shiva, but Bhringi would not worship Parvati and dedicated himself solely to Shiva.

The story goes that Bhringi one day, came to Mount Kailash, the abode of Shiva, and expressed his desire to go around Shiva. As he was going around, Shiva’s consort, Shakti, said, “You cannot just go around him. You have to go around me too. We are two halves of the same truth.”

Bhringi, however, was so focussed on Shiva that he had no desire to go around Shakti. Seeing this, Shakti sat on Shiva’s lap making it difficult for Bhringi to go around Shiva alone. Bhringi, determined to go around Shiva took the form of a Bhring (Black Bee) and tried to slip in between the two.

Amused by this, Shiva made Shakti one half of his body – the famous Ardhanarishvara form of Shiva. This was God whose one half is the Goddess. But Bhringi was adamant. He would go around Shiva alone. So he took the form of a rat, some say a bee, and tried to gnaw his way between the two.

This annoyed the Goddess so much that she said, “May Bhringi lose all parts of the body that come from the mother.” In Tantra, the Indian school of alchemy, it is believed that the tough and rigid parts of the body such as nerves and bones come from the father while the soft and fluid parts of the body such as flesh and blood come from the mother. Instantly, Bhringi lost all flesh and blood and he became a bag of bones. He collapsed on the floor, unable to get up.

Bhringi realized his folly. Shiva and Shakti make up the whole. They are not independent entities. One cannot exist without the other. Without either there is neither. He apologized.

So the world never forgets this lesson. Bhringi was denied flesh and blood forever. To enable him to stand upright he was given a third leg, so that his legs served as a tripod.

The above excerpt has been taken from Wikipedia.

[harvard-art-museums-sculpture]

Standing Surasundari, 9th century-10th century, HAM: Sculpture

Harvard Art Museums/Arthur M. Sackler Museum, Gift of Dr. R. Joseph Monsen Size: H. 74.4 x W. 17.8 cm (29 5/16 x 7 in.) Medium: Light pinkish sandstone

https://www.harvardartmuseums.org/collections/object/202416