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Gilded silver and niello, late 5th-early 6th Century C.E.
The crown worn by this Sasanian king is the same as the headdress that appears in the coins of Peroz (r. 459-484) and Kavad I (r. 448-497 and 499-531). Typical royal attributes include the crown and fillet, the ball of hair drawn up above the head and covered with a silk cloth, and the beaded chest halter with fluttering ribbons.
From the collection of the Metropolitan Museum of Art, New York.
La fête de Ganesh à Paris
En tête de la procession, défilent des joueurs de flûte, de nageshvaram et de tambour, des danseurs et des danseuses portant sur leurs épaules le grand arceau de plumes de paon (kavadi) et sur leurs têtes des pots de terre cuite dans lesquels brûlent du camphre.
La fête de Ganesh à Paris
En tête de la procession, défilent des joueurs de flûte, de nageshvaram et de tambour, des danseurs et des danseuses portant sur leurs épaules le grand arceau de plumes de paon (kavadi) et sur leurs têtes des pots de terre cuite dans lesquels brûlent du camphre.
Silver drachm from the first reign of Kavad I of the Sasanian Empire in Persia (488-497 AD). In 497, he was overthrown in favor of his brother Zamasp, but regained the throne in 499 and continued to reign until his death in 531.
La fête de Ganesh à Paris
En tête de la procession, défilent des joueurs de flûte, de nageshvaram et de tambour, des danseurs et des danseuses portant sur leurs épaules le grand arceau de plumes de paon (kavadi) et sur leurs têtes des pots de terre cuite dans lesquels brûlent du camphre.
The Kānvar Yatrā or Kavad Yatra (Devanagari: काँवर यात्रा or कांवड़ यात्रा) is annual pilgrimage of devotees of Shiva, known as Kānvarias, to Hindu pilgrimage places of Haridwar, Gaumukh and Gangotri in Uttarakhand to fetch holy waters of Ganges River, Ganga Jal, which is later offered at their local Shiva temples. The Yatra takes place during the sacred month of Shravan (Saawan) (July -August), according to the Hindu calendar.
The Yatra used to be a small affair undertaken by a few saints and older devotees until the 1990s, when it started gaining popularity.[1] Today lakhs of devotees from surrounding states of Delhi, Uttar Pradesh, Haryana, Rajasthan, Punjab and some from as far as Bihar, Jharkhand, Chhattisgarh and Madhya Pradesh reach these places to participate in Kanwar Mela. In 2003, 55 lakh pilgrims reached Haridwar,[2] with traffic growing each year. Heavy security measures are undertaken by the government and the traffic on Delhi-Haridwar national highway (National Highway 58) is diverted for the period.[3][4]
SASANIAN KINGS. Āzarmīg-duxt (Āzarmīdokht). AD 631. AR Drachm (33mm, 4.14 g, 3h). WYHC (Weh-az-Amid-Kavad) mint. Dated RY 1 (AD 631). Bust of Husrav (Khosrau) II right, wearing mural crown with frontal crescent, two wings, and star set on crescent; ribbon on left shoulder, crescent and ribbon on right; monogram to left, stars flanking crown; star-in-crescents in margin / Fire altar with ribbons; flanked by two attendants; star and crescent flanking flames, date on left, “wyhc” on right; star-in-crescents in margin. Göbl -; Mochiri 505 (same dies); Paruck -; Saeedi -. EF. Extremely rare.
From the William B. Warden, Jr. Collection.
Because of the loss of his power and prestige due to the victories of the Byzantine emperor Heraclius, in AD 628, Husrav (Khosrau) II (and eighteen of his sons) was assassinated by his son and successor, Kavad (Kvadh) II. Over the next few months, Kavad attempted to initiate peace negotiations with the Byzantine emperor, but the Sasanian king’s death only a few months into the new reign precipitated a period of civil war. Kavad’s son and co-ruler, the seven-year-old Ardaxšīr (Ardashir) III, was killed by the Husrav’s former general, Shahrbaraz, but he too was soon removed. This vacancy on the throne was filled by two daughters of Husrav II, each of whom ruled for about a year, whether on their own, or as possible regents for Husrav (Khosrau) III. The first, Boran, attempted to restore stability to the Sasanian empire by making peace with the Byzantines, reducing taxation, and revitalizing the governmental infrastructure, including restoring a general sense of justice. All of these moves did little to restrore the power of the central government. Her sister and successor, Āzarmīg-duxt (Āzarmīdokht), reigned for only a few months. According to the ninth-century Persian historian, al-Tabari, the general Farrokh sought her hand in marriage (and, thus, a link to the throne), but she had him murdered. In retaliation, Farrokh’s son, thought to be Rostam Farrokhzad, had her blinded and subsequently killed after she was captured at Ctesiphon.
CNGTRITON14, 542
La fête de Ganesh à Paris
En tête de la procession, défilent des joueurs de flûte, de nageshvaram et de tambour, des danseurs et des danseuses portant sur leurs épaules le grand arceau de plumes de paon (kavadi) et sur leurs têtes des pots de terre cuite dans lesquels brûlent du camphre.
Un éléphant en résine de 70 kg de taille réelle ouvre le défilé.
A Montreal collector flogged these in an auction recently, and I couldn't resist. They turned out to be of a King I'm interested in, and of a form that I've never encountered.
La fête de Ganesh à Paris
En tête de la procession, défilent des joueurs de flûte, de nageshvaram et de tambour, des danseurs et des danseuses portant sur leurs épaules le grand arceau de plumes de paon (kavadi) et sur leurs têtes des pots de terre cuite dans lesquels brûlent du camphre.
Hindus celebrate Karthigai Deepam on the full moon day of the month of Karthigai (November - December) which falls on the ascension of the Kritigai star. This is the day when a light on the top of Tiruvannamalai is unveiled.
Once, Mother Parvati engaged herself in deep penance, meditating upon Lord Shiva. Lord Shiva appeared before Mother Parvati as Jyothi Swarupa during the month of Karthigai, on a full moon day and on Krithigai. She was taken back by the Lord to His side, and made His Ardhangini once more, that is. She occupied half of the body of the Lord.
The light on the hill tells us that the Self or Lord Shiva is self-effulgent. Constant recitation of "Arrohara" is heard when devotees see the light which is known as Thiruvannamalai Deepam. This means that he who sees the light that is burning eternally through constant meditation attains immortality. Light here denotes knowledge of the Supreme and is this that leads one to immortality. One should eventually bum one's desires in the fire of knowledge and attain full illumination. People light rows of earthen lamps in front of their houses on the evening of Kartigai Deepam and worship the Lord.
In Singapore, kavadi bearer celebrate its festival.
Festival: Karthigai Deepam on 21/11/2010
Location: Sri Thendayuthapani Temple - Singapore
Watch video at Youtube on Karthigai Deepam 2010 - Kavadi
La fête de Ganesh à Paris
En tête de la procession, défilent des joueurs de flûte, de nageshvaram et de tambour, des danseurs et des danseuses portant sur leurs épaules le grand arceau de plumes de paon (kavadi) et sur leurs têtes des pots de terre cuite dans lesquels brûlent du camphre.
Gudhi Padwa (Marathi: गुढी पाडवा IAST: Guḍhī Pāḍavā) and Konkani: संवसार पाडवो,Sanvsār Pādvo) is a spring-time festival that marks the traditional new year for Marathi and Konkani Hindus.[3] It is celebrated in and near Maharashtra and Goa on the first day of the Chaitra month to mark the beginning of the New year according to the lunisolar Hindu calendar. The word पाडवा (pāḍavā) or पाडवो (pāḍavo) or पड्ड्वा/पाड्ड्वो (pāḍḍvā/pāḍḍvo) comes from the Sanskrit word प्रतिपदा (pratipadā), which refers to the first day of a lunar fortnight. The festival is observed with colorful floor decorations called rangoli, a special Gudhi flag (garlanded with flowers, mango and neem leaves, topped with upturned silver or copper vessel), street processions, dancing and festive foods.[3][4]
In India, first day of the bright phase of the moon is called Gudhi Padwa in Marathi, pāḍya (Konkani: पाडयो;Kannada: ಪಾಡ್ಯ; Telugu: పాడ్యమి, paadyami; ). Konkani Hindus variously refer to the day as सौसार पाडवो or सौसार पाडयो (saṁsāra pāḍavo / saṁsāra pāḍye), संसार (saṁsāra) being a corruption of the word संवत्सर (saṁvatsara). Telugu Hindus celebrate the same occasion as Ugadi, while Konkani and Kannada Hindus in Karnataka refer to it as युगादि, ಯುಗಾದಿ (yugādi). The same new year festival is known by other names in different regions of the Indian subcontinent. However, this is not the universal new year for all Hindus. For some, such as those in and near Gujarat, the new year festivities coincide with the five day Diwali festival.[5] For many others, the new year falls on Vaisakhi between April 13 to 15, according to the solar cycle part of the Hindu lunisolar calendar, and this is by far the most popular not only among Hindus of the Indian subcontinent but also among Buddhists and Hindus in many parts of southeast Asia.[5]
Gudhi Padva signifies the arrival of spring and to the reaping of Rabi crops.[7]
The festival is linked to the mythical day on which Hindu god Brahma created time and universe. To some, it commemorates the coronation of Rama in Ayodhya after his victory over evil Ravana, or alternatively the start of Shalivahan calendar after he defeated the Huns invasion in the 1st century.[8]
According to Anne Feldhaus, in rural Maharashtra the festival is linked to Shiva's dance and coming together of the community as they carry the Gudhi Kavads together to a Shiva temple.[9]
A notable sight during Gudhi Padwa are the numerous Gudhi (or Gudhi) arrangements at every household. It is a bright colorful silk scarf-like cloth tied at the top of a long bamboo. On top of it, one or more boughs of neem leaves and mango leaves are attached along with a garland of flowers. This arrangement is capped with a silver, bronze or copper pot (handi or kalash) signifying victory or achievement.[10][11] The whole arrangement is hoisted outside each household, typically to the right, or through a window or terrace. It is visible to everybody. Villages or neighborhoods also come together and host a community Gudhi Kavad, which they carry together to the local Shiva temple. Some temples are located on the top of hills, and groups work together to help reach the kavad to the top.[11]
Some of the significances attributed to raising a Gudhi are as follows:
The Gudhi Padwa festival marks the new year, but also celebrates victory of Maratha warriors in processions.
It symbolizes the victory of King Shalivahana and was hoisted by his people when he returned to Paithan.[7]
Gudhi symbolizes the Brahmadhvaj (translation: Brahma’s flag) mentioned in the Brahma Purana, because Lord Brahma created the universe on this day. It may also represent Indradhvaj (translation: the flag of Indra).[7]
Historically, the Gudhi symbolizes Lord Rama’s victory and happiness on returning to Ayodhya after slaying Ravana. Since a symbol of victory is always held high, so is the gudhi (flag). It is believed that this festival is celebrated to commemorate the coronation of Rama post his return to Ayodhya after completing 14 years of exile.[7] So, people celebrated victory of lord Rama every year by raising Gudhi. Gudhi is symbol of victory of lord Rama
Gudhi is believed to ward off evil, invite prosperity and good luck into the house.[7]
La fête de Ganesh à Paris
En tête de la procession, défilent des joueurs de flûte, de nageshvaram et de tambour, des danseurs et des danseuses portant sur leurs épaules le grand arceau de plumes de paon (kavadi) et sur leurs têtes des pots de terre cuite dans lesquels brûlent du camphre.
La fête de Ganesh à Paris
En tête de la procession, défilent des joueurs de flûte, de nageshvaram et de tambour, des danseurs et des danseuses portant sur leurs épaules le grand arceau de plumes de paon (kavadi) et sur leurs têtes des pots de terre cuite dans lesquels brûlent du camphre.
Well, after months of fussing and learning, I've finally put the pictures of the Mansions of the Moon on the kavad. And I've learned a bunch of things from doing so.
1) some pictures are fairly easy to draw, while others are hard;
2) some pictures are fairly easy to imagine and others are hard;
3) the easy pictures, like the head of the lion, are associated with forces of good will and great fortune;
4) the hard pictures, like the snake, are associated with inauspicious forces;
5) the images are almost chosen with the positive and negative forces in mind — it's easier to do good with these images than it is to do evil.
6) maintaining a single artistic style as a learning artist all the way through the images is incredibly difficult: kudos to Nigel Jackson for his work and his success at this.
7) figuring out how to depict people cross-legged, or on horseback, or seated on chairs, or fighting ... Hard!
I reaffirm that all these images are a program to teach drawing or illumination skills, and secondarily to teach a kind of Palace of Memory technique for holding all this information in memory. I think my skills as an artist have improved from all this copying and drawing, but... I now have two challenges.
First, I've run out of magical lists to illustrate. Sure, there are plenty of seals and sigils I could add to the kavad. But frankly I don't know of any more lists of images to be added to the box. And like it or not, theres still quite a bit of real estate inside. I could add the Goetics, but it feels like a bit much to add to a box covered in angels.
Second — and perhaps this seems like the bigger challenge — I'm left with two major areas to work in. These are the central shrine, which is effectively the Throne (or at least the Footstool) of God, since this kavad is in essence a shrine. What do you put at the heart of a shrine to an unseen and unseeable God? The other piece of real estate is big — the insides of the outer walls — but if I divide it up for the seventy-two goes, there's not enough room. If I divide it up for the tribes of Israel, or the prophets, or icons of great magicians... Then who? What? How many? Hmmm.
Things to consider moving forward.
I have it in mind to build a Kavad. I saw one based on sacred geometry at Wesleyan University recently, built by Suzanne Wind Gaskell, and I was amazed. I really want one myself.
But what story should it tell? Is it about American history? World history? What I've learned about geometry? Hermetics? I don't know. I feel the powerful idea of it simmering inside of me, and today I built this paper model of one possible configuration. The first stage in bringing any idea of fruition to draw a sketch. But sketches are only part of the story. Sooner or later, if you plan to build a three-dimensional object — especially one with folding panels and secret compartments — you'll have to build a model. And the sooner you sit down with your knife and your ruler and compass, and build what you want, the sooner you can get an estimate on materials and tools and design advice from your carpenter friends.
A devotee of Lord Shiva, holding his 'Kānvar', participating in an yearly pilgrimage tour known as Kanwar Yatra.
Kanwar Yatra is named after the 'Kānvar' (काँवर), a single pole (usually made of bamboo) with two roughly equal loads fastened or dangling from opposite ends. The kānvar is carried by balancing the middle of the pole on one or both shoulders.
Kānvar-carrying pilgrims, called Kānvariās, carry covered water-pots in kānvars slung across their shoulders. This practice of carrying Kavad as a part of religious pilgrimage, especially by devotees of Lord Shiva, is widely followed throughout India.
Most travel the distance on foot, a few also travel on bicycles, motor cycles, scooters, mini trucks or jeeps. Numerous Hindu organizations and other voluntary organizations setup camps along the National Highways during the Yatra, where food, shelter, medical-aid and stand to hang the Kanvads, holding the Ganges water is provided.
The three Decans of Virgo proved to be a little challenging. The Virgin, the Quill, and the Swallow were clever images:
1) A woman with a basket of flowers and fruit in the court of a temple;
2) A man kneeling with a long pen and a scroll, wearing a turban;
3) A woman with a vase of flowers and a spoon, going to the temple.
But, as you can see, the Virgin's fruit basket has appeared twice - once in her own image, and once, when I got mixed up, in the image of the quill. I fixed this in a later version of the image by putting her hand coming up through a window in the wall behind the quill-man. But it's not ideal.
I'm also finding that there are significant — significant! — differences between the descriptions of the Decans given by ibn Ezra, the Picatrix, and Henry Cornelius Agrippa. They're even different from the Skinner list, which I have somewhere. And my descriptions above are also "wrong", too, in that they don't match the standard Decans descriptions of any one of the authors' lists that I mention above.
Things get even more confused because it turns out that the list of ruling planets that I have for the Decans are also wrong. So one can't even go by that arrangement in doing the layout of this symbolism.
So that's the bad news.
if you decide to draw these for yourself, I strongly recommend laying out each page in your sketchbook with one image, and a page for notes about that image on the other side. Because it's all too easy to get lost in what you're doing, shifting back and forth between one picture and the other....
The obverse of a silver drachm, 28 mm, struck by the Sassanid Persians, who ruled Iraq and Iran (and much more at various times, including Syria, Egypt and besieging Constantinople) from the 3rd to the 7th centuries AD.
Based on Mark's comment, below, my lack of familiarity with the subject and the receipt I have confirming that I purchased a coin of Kavad in 1972 from Harmer Rooke, I am now accepting his judgement.
I have it in mind to build a Kavad. I saw one based on sacred geometry at Wesleyan University recently, built by Suzanne Wind Gaskell, and I was amazed. I really want one myself.
But what story should it tell? Is it about American history? World history? What I've learned about geometry? Hermetics? I don't know. I feel the powerful idea of it simmering inside of me, and today I built this paper model of one possible configuration. The first stage in bringing any idea of fruition to draw a sketch. But sketches are only part of the story. Sooner or later, if you plan to build a three-dimensional object — especially one with folding panels and secret compartments — you'll have to build a model. And the sooner you sit down with your knife and your ruler and compass, and build what you want, the sooner you can get an estimate on materials and tools and design advice from your carpenter friends.
"A man dark and comely." I imagined him as a big black man with bulging muscles, showing off. The line art was great.... the color work, not so much. The image was pretty insistently in need of some dark color. Maybe a muscle man posing on a beach? I'll have to see what the planetary and elemental correspondences are.
I'm experimenting with the kavad/altarpiece theme in foamboard these days. Today in the Design Lab I built this little kavad for Ganesha, to intrigue a colleague of mine that teaches World History in the possibility of doing a 3-D project with her sixth graders on Indian Religions. I'm using a key principle of design thinking, which is that a part is worth a thousand pictures. A completed, roughed-out shrine depicting an Indian deity is a lot easier to see than to explain in words. My colleague asked me for a rubric or a lesson plan, and I handed her the box.
Maybe I was a little too forward.
The vertical panels are approximately 6" wide by 12" high; the height edges nee to be trimmed back 1/4" or so to fit together into a box effectively. The lid and base are 6"x6", and the inside diagonal panel is 6"x7"; that could be longer, or made into a pair of doors, or have a small offering tray beneath the open edge. The pin-hinges and assembly pins are simply straight T-pins. For a more solid design, use Elmer's glue.
Further designs could be painted on the sides, or text blocks could be added to explain the images.
A king Hunting ram , Iran Sasanian Period 5 Century A.D.
The king as hunter had become a standard royal image on silver plates during the reign of Shapur II (A.D. 310–379). The theme, symbolizing the prowess of Sasanian rulers, was used to decorate these royal plates, which were often sent as gifts to neighboring courts. The king has various royal attributes: a crown and fillet, covered globe, nimbus with beaded border, and beaded chest halter with fluttering ribbons. The identity of the Sasanian king on this plate is uncertain. His crown identifies him as either Peroz (r. 459–484) or Kavad I (r. 488–497, 499–531).
I built this box last night as a way of developing my understanding of a traditional Japanese tool box. It's just balsa wood: not really serious woodworking at all. But the more often I build these projects, the easier it is to think in three dimensions. And the easier it is to build these boxes again in full size, full-weight materials.
All of this is training for the Kavad, of course.
I'm experimenting with the kavad/altarpiece theme in foamboard these days. Today in the Design Lab I built this little kavad for Ganesha, to intrigue a colleague of mine that teaches World History in the possibility of doing a 3-D project with her sixth graders on Indian Religions. I'm using a key principle of design thinking, which is that a part is worth a thousand pictures. A completed, roughed-out shrine depicting an Indian deity is a lot easier to see than to explain in words. My colleague asked me for a rubric or a lesson plan, and I handed her the box.
Maybe I was a little too forward.
The vertical panels are approximately 6" wide by 12" high; the height edges nee to be trimmed back 1/4" or so to fit together into a box effectively. The lid and base are 6"x6", and the inside diagonal panel is 6"x7"; that could be longer, or made into a pair of doors, or have a small offering tray beneath the open edge. The pin-hinges and assembly pins are simply straight T-pins. For a more solid design, use Elmer's glue.
Further designs could be painted on the sides, or text blocks could be added to explain the images.
Shri Nathjidada's Kavad at Toda Village Nr. Shri Nathjidada Ni Jagya Ashram Danidhar. Taluka Kalavad, Dist. Jamnagar, Gujarat-India. Photo shut about 1982.
Coexistence of modernity and traditionality. One of the small group of Kavad Yatri, devotees of Shiva who attend religious annual pilgrimage during the sacred month of Shravan, passing by Thermal Power Plant in rural part of Haryana. Photograph © Ankit Agrawal ankitagrawal.in
I built this box last night as a way of developing my understanding of a traditional Japanese tool box. It's just balsa wood: not really serious woodworking at all. But the more often I build these projects, the easier it is to think in three dimensions. And the easier it is to build these boxes again in full size, full-weight materials.
All of this is training for the Kavad, of course.
I like this couple. Paired figures don't appear often in the decans, or even a sense of what's going on in the image. Here's this couple — "a big fair man, a woman with him, who has a big black jar of oil." — and there's no description of WHERE they're standing, or what they're doing, or how they're interacting with one another.
But I like how the possibilities grow from having two figures in play.
I'm traveling today, and away from the kavad — but I find that I can at least do some of the reference work in a sketchbook. Today I decided to work on how I'll present the decantes.
The Decans symbols are
A) very old
B) somewhat confused
C) appear to have no set names
D) started Hindu
E) passed through Islam
F) got mangled in medieval Latin
G) have different interpretations based on what the image is, which lost of names one uses, and which image.
H) can be used as a list of memory images
J) all of the above
Here's some of the key data I've collected — the planet of each decan, and its original Hindu name (maybe) translated into English.
The sample image shows pillars down the sides of the image which could be painted in the relevant colors, column bases that could reference other positions on the kavad (activating its database-like functions), and triangles to either side of the arch that reference the data of the year.
The image itself is a composite of bits of the Hindu, Islamic and Medieval Christian images for the 3rd Face of Cancer, or about July 11-21. It shows a lonely man riding on the back of a turtle as his ship, the sail adorned with the rings of his wives. He carries a snake.
Scattering bright yellow and saffron , these young Kavadi dancers make a vibrant sight. Twisting and spinning with the beats of various percussion instruments, I allow myself to sway to the trance.
This is the man with the ape. There's no description of what the man is wearing, or where the two of them are standing. I'm not particularly happy with my ape here, or the man. I'm thinking that I'll have to look at the Sign and ruling planets, and use those to generate backgrounds — ocean or beach for Water; a forest for Earth; a City for air (because of the intellectual associations with Air), and... mountains for Fire? That last association is tricky. More thought needed.
Carol Barton's "boxes" from her book "the Pocket Paper Engineer". Am I getting ideas for the kavad? Of course. Are all of them practical? Of course not.
This is about two hours of work. I learned a great deal in the process about design and structure of pop-ups, and how challenging its going to be to teach some of this in a class this summer. Knives and rulers and protractors and pencils oh my!
One of my aphorisms for design is my friend Mark's saying, "tools dictate solutions." If all we give students is lined paper, graph paper, three ring binders and pencils and pens... All of their solutions start to look like that. Even the addition of a knife or a pair of scissors is something.
I look forward to tackling triangles soon.
I have it in mind to build a Kavad. I saw one based on sacred geometry at Wesleyan University recently, built by Suzanne Wind Gaskell, and I was amazed. I really want one myself.
But what story should it tell? Is it about American history? World history? What I've learned about geometry? Hermetics? I don't know. I feel the powerful idea of it simmering inside of me, and today I built this paper model of one possible configuration. The first stage in bringing any idea of fruition to draw a sketch. But sketches are only part of the story. Sooner or later, if you plan to build a three-dimensional object — especially one with folding panels and secret compartments — you'll have to build a model. And the sooner you sit down with your knife and your ruler and compass, and build what you want, the sooner you can get an estimate on materials and tools and design advice from your carpenter friends.