KAAMDEVA IN KASHMIRI ART AND POETRY
Kaamadeva (Kaamdeev in Kashmiri) is
god of love, youth, desire and union. Among the other names of Kaamdeva, the
most commonly used in Sanskrit literature are Madana (Madan-Vaar or Madan in Kashmiri)
and Manmatha. I was told by an elderly Sanskrit knowing person that over a
passage of time, Manmatha was shortened to Matha or Mathyo in spoken Kashmiri language and finally to Mattyo . In Kashmiri
poetry, Mattyo also means loved one or the beloved.
Kaamdeva is always depicted with a greenish or reddish complexion, decked with flowers, ornaments and a bow. He is
often attended by a parrot believed to be his Vehicle. Vasanta (Spring season
or Soant in Kashmiri) is his trusted companion. He is always shown accompanied
by a band of musicians and dancers.
In Kashmir, Kaamdeva images were
sculpted in temples of Awantipora and Anderkot (capital of King Jayapida, grandson of King Lalitaditya). Some sculpted images (broken) of Kaamdeva from Kashmir
can be seen in various museums of the US and Europe. A few were lying in the SPS
Museum, Lal Mandi, Srinagar. Kaamdeva images were sculpted in the Awantswamin Temple
of Kashmir. More than four Kaamdeva
( seated ) images with consorts
have been identified in the Awantiswamin temple at Awantipora, Kashmir, by scholars. The
description given for one Kaamdeva stone image held in the Metropolitan Museum of
Art (New York) reads this:-
“Though rarely represented in Kashmiri
art, Kama, the god of love, is here identified by a wondrous mythical creature
(makara), who spews arrows from its jaws. The bow and arrow and a pair of
lovebirds are Kamadeva’s principal identifiers. This subject is a rare survivor
from early medieval Kashmir.”
On the 13th of the bright half of
Chaitra (March-April), every year, Kashmiris celebrated Madan Trayodashi, a festival dedicated to Kaamadeva. This could be
the Indian equivalent of Eros of the Greeks and the Cupid of the Latin. On
‘Madan Trayodashi’, Kaamadeva was worshipped with flowers and incense. Nilamata
Purana makes mention of this festival as under:-
“One should decorate one's own self
and worship the ladies of the house. O twice born, this (13th day) should be
necessarily celebrated; the rest may be or may not be celebrated.
Kamdev plays a crucial role in Hindu
philosophy and spirituality. He represents not just romantic love, but also the
force of desire that drives all creation. In this sense, Kamdev is seen as an
essential aspect of the cosmic order, helping to perpetuate life and ensure the
continuation of the world. The concept of Kamdev also highlights the Hindu
understanding of desire as a double-edged sword. While it can lead to
attachment and suffering if not properly controlled, desire is also recognised
as a fundamental force of nature that, when channeled correctly, can lead to
spiritual growth and even enlightenment.
Kaamdeva stimulates physical
attraction. Kaamadeva was a very popular deity in ancient and medieval Kashmir. A festival in honour of this deity was held annually in Kashmir in the month of
Chaitra that coincided with the advent of spring. Images of Kaamdeva were
specially made for the festival. Nilamata Purana, Rajatarangini and Persian
chronicle Tofatul Ahbab make explicit mention of this festival celebration in Kashmir. The present-day Soant festival of the Kashmiri Pandits is a reminder of this
ancient tradition. Nilamata Purana informs us:
‘Kaamdeva painted on cloth should be
worshipped with various types of garlands and diverse incenses on the 13th day
of Chaitra.’…..( Verse 679 of Nilamata
Purana)
The words Kaamdeva and Madana have been used
by almost every Kashmiri poet. Even Sufi poets have used the words Kaamdeva and
Madana. Many Modern Kashmiri poets have also used Kaamdeva symbolically. I
quote stalwart modern poet Dina Nath Nadim :
‘Siyaahi guv vachhass zeuss noor
voatleuv
Huaaer khoat Kaamdeev vulamaniey pahaadas ’
(The beams
dug a well in the bosom of darkness,
For daylight to spread all around.
Behold! There
emerges Kaamdeva (Sun) climbing the mountain.)
I quote some lines from Farooq Nazki's
poem.
"Oburr khoat volun nabh ta Gagraayi laajin,
Yuthuyee roodh Logun ,
Draemin kaanijev taar vuznaavie bombarav,
Satut aav laraan ,
Katij tchaai Bodd kuth ,
Vuchhun taalwas jild pott
vaeini awezaan ,
Heutun oul yerun,
Chhu az kaamdeevas atchunn dard gaamas………
Draamien tchakala peith paetch gureit aab joyi zan
Sabz makhmalas tas magar badh-Nnseebi ,
Sabz neiuv bahaarav,
Gureit aab myaanis dilas aainaa khaanas ,
Pushur-nam bahaaran………."
(Clouds suddenly emerge,
Engulfing the sky.
Behold! Here comes
thunder,
And the moment
rain danced down,
The humming bumble
bees made the grassy lawns sing in unison.
The wood pecker
too joined hurriedly,
The swallow
entered the sitting room,
Looking at the
dangling board of the room ceiling,
It started
building a nest over there.
And Kaamdeva is
knocking to enter this township of pain.
A muddy water
torrent swept away the green grass patch over here;
Unlucky was this
green velvet-like turf,
which got carried away.
To this mirror
that my heart is,
this spring had
nothing to offer except the muddy water.)
I quote sufi poet Wahaab Khaar ...
‘Shaam sondran bar
Karnas ta lo lo
Kaamdeevas log par mas ta lo lo
“Wahaab Khaar ” chhuyi
deydi tal intezaras
Chhuyee praaraan deedaras ta lo lo’
( Shaam Sunder (
beloved ) has left me undone ,
My Kaamdeva is now
engrossed with others
Love ! This Wahaab
Khaar is waiting for you at the gate,
He waits now just
to have your glimpse only.)
And the 19th century romantic poet Rasul
Mir has repeatedly used Madan and Kaamdev in his poems. I quote:
"Tse yi-vaan roshe chhukh nataah
hoshe dallayo madno
Baa rivaan sormaa chesman
Sormaa chhaalaeyo madno."
( And there you
stay away from me, my annoyed love
And here my senses
give me up.
These tears
trickle down my face
And wash all the kohl
.)
And Mehmood Ghami, another 18th
century poet writes :
" Sonaa chham paama diwaan,
kaamdeevo jana-waaro,
Tanaa wotum riwaan,
maer mandeh madan -vaaro"
(Unpleasant are
the remarks
that my
sister-wives pass at me,
O- Kaamdeva,
You, a flying
bird,
I have been weeping ever since
you left me,
My charismatic Madana.)
According to EB Havell, noted art historian:
‘In Kashmir, Kamdeva sculptures were
done to decorate temples and protect them from lightning, thunder and the evil eye.’
(Avtar
Mota)

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.
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