The Hindu Scriptures refer to celestial entities called Devas “the shining ones,” which translates into English as “gods” or “heavenly beings.” Devas are an integral part of Hindu culture and are depicted in Indian art, architecture and through icons.
Mythological stories about them are found in scriptures, particularly in Indian epic poetry and the Puranas. They are, however, often distinguished from Ishvara, a supreme personal god, with many Hindus worshiping Ishvara in a particular form as their chosen ideal. The choice is a matter of individual preference, and of regional and family traditions.[break]
Hindu epics and the Puranas relate several episodes of the descent of God to Earth in corporeal forms to restore dharma to society and to guide humans to moksha (emancipation). Such an incarnation is called an avatar. The most prominent avatars are of Vishnu and include Rama, the protagonist in Ramayana, and Krishna, the central figure in the epic Mahabharata.
Hindu practices generally involve seeking awareness of God and sometimes also seeking blessings from Devas. Therefore, Hinduism has developed numerous practices meant to help one think of divinity in the midst of everyday life. Hindus can engage in pūjā –worship or veneration – either at home or at a temple.
At home, Hindus often create a shrine with icons dedicated to their chosen forms of God. Temples are usually dedicated to a primary deity along with associated subordinate deities, though some commemorate multiple deities. Visiting temples is not obligatory, and many visit temples only during religious festivals. Hindus perform their worship through icons.
The icon serves as a tangible link between the worshiper and God. The image is often considered a manifestation of God, since God is immanent. The Padma Purana states that the mūrti is not to be thought of as mere stone or wood but as a manifest form of the Divinity. However, a few Hindu sects, such as the Ārya Samāj, do not believe in worshiping God through icons.
Hinduism has a developed system of symbolism and iconography to represent the sacred in art, architecture, literature, and worship. These symbols gain their meanings from the scriptures, mythologies, or cultural traditions. The icons of the Hindu gods and goddesses are deeply embedded in our daily lives, and we find their visual representations almost everywhere – in graffiti, in public toilets, in meat shops, and on menu cards. Sometimes, these religious icons make their places even on the banners of political parties.
Hinduism is given to social, religion and mythological mixtures produced by the interpenetrations of the most divergent rites, beliefs and superstitions. In many parts of the city, there are sacred spots at the base of trees, or small stones set in niches, or simple statues with flowers, or a small flame burning in front of them, which share the public space. The street is carefully, if informally, organized by the people who use it.
People worship the religious icons as a ritual and it is a routine practice. What is interesting to observers is that the connection between the icons goes beyond the shrines and temples and the civil society. Here lies my research documentation addressing the issue of Hindu icons as depicted in my sample photographs connecting to public spaces.
Kolkata’s cityscape is changing but the “shared space” does exist side by side, and men and women, who share the street, have a sense of ownership over it.
In Kolkata, this means that the stone slab under a lamppost doubles as the seat for the same coconut-wallah year after year; the nail on the wall holds the same barber’s mirror day after day; the roll of tarpaulin tied to the railing is spread out to become a whole family’s bedroom, night after night.
I’ve grown up seeing and experiencing these visual ambiences. I didn’t have any idea about the roots of these depictions. But it was a strange feeling, to see the picture of Goddess Kali on a blue wall; sometimes, it was kind of scary. The colors, the eyes and the figures of these icons had a deep and different kind of impact on my mind. Then, it wasn’t just the pictures or the icons. My childhood was filled with a lot of epical and mythological tales – of seeing my grandmother’s and mother’s rendering of devotion through several pujas and rituals at home. I didn’t know its relevance but had a very good feeling about all these doings. Growing up, I gradually realized the importance and the faith behind these rituals. In a way, it can be said that the experience or the visual journey through which I spent my childhood and grew up to this day, are what inspire me to work on this subject. We see the depictions of Hindu gods and goddesses, and every nook and corner of Calcutta – be it on the walls or the public toilets or the market places.
“I want to change and contribute to our society by painting these pictures.” This is what Happy Haldar says and believes in. He has drawn the figure of Shiva, Kali, Durga, and Hanuman on his room walls. Probing him with questions, I came to know that since the locality consists not just of Bengalis but also Biharis and Marwaris, he has given place to deities such as Hanuman and Shiva as well.
In the same locality, on another wall, we find the depiction of “Sita Haran” from the epic of Ramayana where Ravana captures and flies away with Sita. Right in front of this wall painting is a 24-hour running water tap set up by the city’s corporation. It is a centre for a lot of local daily activities. People bathe and women wash their clothes. At any instance, the wall looks like the backdrop of a stage set for an ongoing drama. And therefore, for me, this is a kind of installation art.
In another corner of the same wall is the painting of Netaji and the miniature of the Indian national flag. So, in my interpretation, this wall represents our politics, iconography, religiousness, and nationalism – all in one.
It is not difficult to chance upon a picture of a deity on the doors or walls of a house while roaming the streets of Calcutta. Sometimes, they are embedded on tiles; and more often, the color of the wall is red. The reason behind painting the walls red is the influence of the red color on the temples.
Almost at all the shops in any market in Calcutta, we find idols and paintings of Lord Ganesha and Goddess Lakshmi. Mostly, they sit on a small wooden throne, in front of which the businessmen carry on with their business—selling fish, vegetables and other daily commodities. We are used to these visuals in our daily life.
In the same proximity, we also find advertisements of Coke and Pepsi and maybe a picture of Lord Rama beside them! A strange contrast, but it is also a revelation of the fact that the holy paintings are just not icons or religious depictions, but a part of the market economy and an important communication material.
The religious icons today transcend the devotional aspects and delve into the commercial and political aspects as well. Behind public transports and even on most unfriendly walls today, we find the images of Hindu gods and goddesses. These images create a different dimension of public space related to our faiths, cultures and traditions.
Click here for Photogallery ´Public Spaces: Going beyond iconographical imageries´