This large size masterpiece with a deep shocking orange
background and a highly stylised arch suggestive of a shrine, a
magnificent example of Mysore's votive art, represents the eight
armed Narsimha killing Hiranyakashyapu, the legendary demon-ruler
who was the fountain-head of one of the clans of demons. The
painting is endowed with lavish ornamentation of figures, bold
details, broad patterns and stylised floral motifs and
arabesques. An elaborate anatomy, characteristic of Mysore and
Tanjore art schools - fleshy body-parts, short straitured
figures, stylised features, the wide open eyes, pointed and
penetrating nails, typical robot type turtlefingers and
horizontal face, characterises the figures of Narsimha and
Hiranyakashyapu.
Killing Hiranykashyapu by incarnating as Narsihma is one of
Vishnu's major exploits. In Indian tradition of festivity this
episode is related with Holi, India's one of four most important
festivals and hence the legend has a nation-wide popularity. In
South Indian art - sculptures, bronzes and paintings, Vishnu's
incarnation as Narsimha is one of the most chosen themes and in
'Avatara' cult next perhaps only to Ramavatara and
Krishanavatara. Jaya and Vijaya, the two subordinate gods, were
exiled from Vaikuntha for one of their moral errors. They were
born on earth as Hiranyakasyapu and Hiranyaksha, the two
demon-sons of Diti by sage Kashyapa. By their penance and
extolment they pleased Brahma who gave to them the boon of
invincibility. Grown arrogant and atrocious by Brahma's boon
Hiranyaksha stole away even from Brahma his Vedas and the earth
from its place and carried them to his underworld domain. With no
alternative left Brahma prayed Vishnu who incarnated as Varah,
the Great Boar, killed Hiranyaksha and brought back the Vedas and
the earth.
Deeply aggrieved by the incident Hiranyakashyapu decided to
avenge his death by killing Lord Vishnu. He ordered that Vishnu's
worship and rituals would be treated as an offence. His demons
were deployed to inflict death and alike atrocities on Brahmins
and others who even uttered his name. Meanwhile by his hundred
year rigorous penance he sought from Brahma the boon of
invincibility against any of gods, men, demons and animate and
inanimate beings and also that he would be killed neither inside
nor outside a house, neither during day nor during night and
neither on earth, nor in water or sky, nor by any armament. When
Hiranyakashyapu went for penance, his wife was pregnant. During
her pregnancy sage Narada, a regular visitor to her, used to
elaborate the glory of Vishnu. The child in her womb, later after
his birth named Prahlada, also heard it and turned to a devotee
of Lord Vishnu. The teacher appointed to teach also led his mind
to Vishnu's devotion. Hence, when Hiranyakashyapu came back, he
found his own son performing Vishnu's rituals.
When efforts to dissuade Prahlada failed and neither fear nor
love prevailed, attempts were made to put him to death but he
escaped it every time and his faith in Lord Vishnu deepened. One
evening Hiranyakasyapu encountered his son just outside his
bed-chamber. Pointing out his chamber-door he asked Prahlada with
sarcasm if his Vishnu, whom he called omnipresent, existed in
that door-frame too. Before Prahlada could say anything, the
door- column burst and there emerged from it the Narasimha, the
half-man-half-lion form of Lord Vishnu. He charged at
Hiranyakasyapu, lifted him in his lap, cleft his abdomen with his
nails and killed him.
This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain
specializes on the aesthetics of ancient Indian literature. Dr
Daljeet is the chief curator of the Visual Arts Gallery at the
National Museum of India, New Delhi. They have both collaborated
on numerous books on Indian art and culture.
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