The Temple Guardian - Mahashaktimaya The bull, is of significance in many ancient cultures. In Buddhism, The Bull represents "desire" during the life of the Buddha as a prince. Amongst the Jains The bull is the emblem of Adinath, the first Jain tirthankara. In Greek mythology it is a symbol of male sexuality, illustrated by Zeus, in the form of a white bull, unrelentingly pursuing Europa.

In this work the Dumru, represented within the Shiva symbol of the Lingam, is significant in the mythology and character of the God. It was the rhythm of the Dumru to which Shiva began his dance of creation of the world, in the nothingness, endless void of space. Interestingly the Dumru is also believed to symbolise and represent the Far Eastern Asian concept of the Ying and the Yang of creation wherein the shape of the Dumru symbolises the alliance between the two complimentary forces of co-creation in the universe...the Divine Feminine (Yin) where the downward representation symbolizes the Yoni)and the Divine Masculine (Yang). or the male portion of the Damaru which symbolizes the Lingam. Hence, the creation of the world begins when the lingam and yoni meets at the mid-point of the Damaru, and the destruction takes place when both separate from each other.

Acrylic on canvas 50" X 24"   
Acquired via Art For Concern

The Temple Guardian - Akshayaguna
The bull, is of significance in many ancient cultures. In Buddhism The Bull represents "desire" during the life of the Buddha as a prince. Amongst the Jains The bull is the emblem of Adinath, the first Jain Tirthankara. In Greek mythology it is a symbol of male sexuality, illustrated by Zeus, in the form of a white bull, unrelentingly pursuing Europa.

Within Hinduism, the bull is best known as Nandi, the sacred steed of Shiva and is depicted as a powerful white bull. The white colour is a symbol of purity and devotion. Nandi is regarded as the gatekeeper and protector of Shiva as well as Shiva’s consort the Hindu Goddess Parvati and It is believed that one must first gain the approval of Nandi before being allowed to worship Lord Shiva.

In this work the vivid crimson hues in the background and the thickness of the layering is inspired by the Pashupatinath Temple in Kathmandu where in the sanctum sanctorum  vermillion applied by devotees is never wiped away but simply allowed to collect layer upon layer. The work depicts the guardian of the abode in the foreground significantly superimposed on the golden lingam shape. Allegory to Buddhist links of Shiva, known as Lha Chen is portrayed by the lotus flowers and the Tibetan Buddhist script for the all prevailing 'OM".

Acrylic on canvas 50" X 24"  
Acquired