KAAMDEVA IN KASHMIRI ART AND POETRY

                                                                         

A BROKEN SCULPTURE OF KAAMDEVA FROM KASHMIR IN METROPOLITAN MUSEUM OF ART, NEW YORK..

(  Done in green stone. As per the description, this broken image relates to the 8th or 9th century AD  Kashmir ...Photo Avtar Mota )

 

KAAMADEVA   IN KASHMIRI ART AND POETRY 

Kaamadeva (Kaamdeev in Kashmiri) is the god of love, youth, desire and union. Among the other names of Kaamadeva, the most commonly used in Sanskrit literature are Madana (Madan-Vaar or Madan in Kashmiri) and Manmatha.

Kaamadeva 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, Kaamadeva images were sculpted in temples of Awantipora and Anderkot (capital of King Jayapida, grandson of King Lalitaditya). Some sculpted images (broken) of Kaamadeva from Kashmir can be seen in various museums in the US and Europe. A few were lying in the SPS Museum, Lal Mandi, Srinagar. Kaamadeva images were sculpted in the Awantswamin Temple of Kashmir. More than four  Kaamadeva  ( seated ) images with consorts have been identified in the Awantiswamin temple at Awantipora, Kashmir, by scholars. The description given for one Kaamadeva 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 Kaamadeva’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 would celebrate Madan Trayodashi, a festival dedicated to Kaamadeva. This could be the Indian equivalent of Eros of the Greeks and the Cupid of the Latins. On ‘Madan Trayodashi’, Kaamadeva was worshipped with flowers and incense. Nilamata Purana makes mention of this festival as under:-

“One should decorate oneself 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.

Kaamadeva 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, Kaamadeva is seen as an essential aspect of the cosmic order, helping to perpetuate life and ensure the continuation of the world. The concept of Kaamadeva 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 channelled correctly, can lead to spiritual growth and even enlightenment.

Kaamadeva 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, which coincided with the advent of spring. Images of Kaamadeva 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:

‘Kaamadeva 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 Kaamadeva and Madana have been used by almost every Kashmiri poet. Even Sufi poets have used the words Kaamadeva and Madana. Many Modern Kashmiri poets have also used Kaamadeva symbolically. I quote stalwart modern poet Dina Nath Nadim :

‘Siyaahi guv vachhas zeus noor  voatleuv

Huaaer khot Kaamdeev vulamaniey pahaadas ’

 

(The beams dug a well in the bosom of darkness,

 For daylight to spread all around.

Behold! There emerges Kaamadeva (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 woodpecker 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 Kaamadeva 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 Kaamadeva 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- Kaamadeva,

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)

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