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yoginis

Travels

A Day in Varanasi – A Meeting With Mr. K. Venkat Raman (Ghanapathi)

November 9, 2022
Sowmya and Ramana ji with my book.

Sowmya and Ramana ji with my book. Always good to see smiling faces holding my book.

When Sowmya told me about her uncle’s nephew whose family had been in Varanasi for five generations, she didn’t mention that he was also a Ghanapati.  ‘Ghanapati’ is the highest (and rarest) title awarded to scholars of Vedic studies.  “He can tell us more about the yoginis and help us find more of their peethams in Varanasi,” was all she said.  Turns out that Ramana ji is a Vedic pandit and organises specific rites and rituals for people coming from Allahabad, Gaya and the southern states.

The next day we made our way through the maze of alleyways in search of Mr. K. Venkat Raman (Ghanapathi)’s house.  His house is somewhere inside the web of passageways near the ghats in Varanasi.  As we entered the narrow lanes, the noise from the traffic on the main roads receded. We walked unhindered as the hour was early and the lanes were uncrowded. Here and there some cows were ambling along with a few priests and the devout –  choosing the calm of the alleys to the bustle of the more well-known temples.

Ramanaji’s house was built 100 years ago by his grandfather.  I noted the small door characteristic of houses built a century ago. The house is traditional, with a central courtyard surrounded by rooms.  The courtyard is open to the sky, and allows for an abundance of natural light.

Ramana ji himself exudes a certain warmth. Passion for his work and service gives him happiness. “I connect to the spiritual energy of Varanasi. It’s the spiritual capital of India and India is the land of knowledge and wisdom,” he told me. It is undoubtedly this love for Varanasi and India that made the Government of UP appoint him as a Trustee of the famous Kashi Vishwanath Temple.

Archana, Ramana ji’s gregarious wife walked in as we were having coffee. “My family is my backbone and I count on their support,” he told me. “Archana, Aishwariya and Arvind (my children) keep me grounded and my grandparents and parents have always been there for me.” Ramana ji enjoys his large family – he has 10 sisters and 4 brothers. His late father, Mr. V. Krishnamurthy Ghanapathi, was awarded the President’s Award for the work he rendered.

Ramana ji has spent his entire life in Varanasi and knows the temples intimately. I took the opportunity to ask him about the yoginis. Unsurprisingly, Ramana ji recited the names of the 64 yoginis and said he would share a few references with us.

By now the day was getting on and soon it would be too hot outside. Understanding this Ramana ji sent for his special boatman and we followed him out to the ghats where a boat awaited…

A picture in the well-lit courtyard of Ramana ji's 100 year old house. Daily puja and rituals of various kinds happen here.

A picture in the well-lit courtyard of Ramana ji’s 100 year old house. Daily puja and rituals of various kinds happen here.

 

[This blog is the second part of a series of blogs about my time in Varanasi.  Click here for the first one.]

Travels

The Yoginis in the Kangra Art Museum

July 25, 2022

The Kangra Arts Museum has a 360 view of the beautiful Himachali hills.  I’ve done a separate blog about all the fun I had in Dharamshala.

 

With a trip to study the magnificent Yogini temples in Orissa imminent, I started re-reading Vidya Dehejia’s ‘Yogini Cults and Temples: A Tantric Tradition.”  It’s a wonderful book (one of the best I’ve read on the subject) detailing her extensive research on the topic.  Dehejia starts the book with delving into who the yoginis were and the various definitions about them found in texts, literature and folklore.  As I read through this bit I was reminded of some paintings and artefacts I had seen last year on a visit to the Kangra Art Museum.  I had put these images up as Instagram stories, but I got feedback from many people that they’d like to read a bit more about them.  So below images from my visit, and a little description about each.

 

Amongst the numerous brass artefacts was this one marked ‘Yogini’. I’m not sure why it would be labeled such, but perhaps it has to do with the sharp (almost bird-like) facial features? Several of the yogini statues in the 64 Yogini Temples are noted for having animal heads instead of human heads.

 

This statue is comparatively less ornately adorned as compared to the yogini. Also, note the mark on the head – which is different from the curvier and loopy mark on the yogini’s head. The headgear also differs between the two.

 

This painting was labelled ‘A Lady charming snakes. 18th century, Guler’. Dehejia mentions in her book that a Yogini is often depicted in a forest, with the ability to control other living creatures. I would say it’s safe to assume that this lady is a yogini. Also, note that her clothes seem to merge with the foliage, and she appears to be wearing nothing but jewellery on her torso. Her seated posture (with legs crossed) is also interesting because generally the female figures are shown with legs bent at the knees and towards one side – whereas here the posture is a bit more masculine.

 

In the Tantric tradition knows as the Kaula marga, the Yogini is the woman who participates with the initiate in the secret practices of the cult, including the rite involving maithuna or copulation. This is an image of Kali sitting on Shiva. We know it’s Shiva because of the damaru in his left hand, but note the lack of Shiva’s copious dreadlocks. Also the items in Kali’s numerous hands – all required for esoteric Tantric rituals.

 

Here Kali is in a different avatar – more decorated, it might be said even more feminine. In this scene the ritual is happening in the presence of other venerated beings. And this aspect of the Yogini is performing a ritual on two male figures – one of which is Shiva. As compared to the Shiva in the previous painting this one has his dreadlocks and Chandra in place. The other figure looks younger, almost a boy. A female figure sitting on two men – one Lord Shiva himself and the other a young boy – risque.

 

Referring back to Vidya Dehejia’s book – a yogini is often depicted in the forest. Here we see Parvati in her more conventional aspect as Shiva’s consort – however, they are surrounded by animals and she’s calmly giving milk to Shiva’s snake.  Note the color and style of the dupatta – this occurs frequently in a lot of the paintings I saw.  Shiva wears the thick round earrings characteristic of the Nath panth.

 

The first thing I noticed about this painting was that Shiva once again appears dreadlock-less, in fact, he’s completely unadorned. It’s one of the most austere depictions of Shiva. And then my attention went to what Parvati was doing! She is stringing together a necklace of human heads, and it appears that Shiva has a needle in his hand to help out. Kali is often depicted as wearing such a necklace around her neck – and that convinces me that this is a painting of a yogini.  By the way, there are 13 heads in the painting – can you spot them all?

 

The form of Uma Maheshwari depicts the eternal love between Shiva and Parvati, Purusha and Prakriti, Chaitanyam and Maya – this is the married form of Shiva and Parvati.

 

More Art in the Kangra Arts Gallery

Below are some photos I took at the Kangra Arts Gallery.  If you’re visiting Dharamshala I would highly recommend visiting this place.  It’s right in the center of the main market and you can actually see meet and speak to the artists.  In fact, I got a personal tour where I learned about the themes and techniques of the dying art of Kangra style painting.  It was wonderful to interact with the artists and know about the work that KAPS (Kangra Arts Promotion Society, patronisers of the Kangra Arts Gallery) is doing to educate and spread awareness about Kangra Art.  They also conduct workshops and seminars for those interested in knowing more about the art.

In contrast to the Yogini paintings at the Museum – the paints here depict Bhakti yoga.  Women are beautiful, delicate and finely adorned.  They are depicted as handing out a glass of water, busy with worship or needlework, or playing and instrument.  Note the eyes and faces shyly downcast.  The male figure is conspicuous by its absence.

All these paintings are done with natural dyes.  You can even get a piece commissioned specially for yourself!

Needlework or composing a song/poetry?

 

The dupatta here matches the one Parvati was wearing in one of the previous paintings. I guess fashion, like the wheel of life, is also cyclical!

 

Get something commissioned for yourself!

I expect to see a lot more of such imagery and art in the coming few months, and hope to be able to draw more conclusive parallels between what I see, hear and read.

 

I’d love to hear your thoughts on this blog, so please leave a comment!