Reflections of Tantra on Rajputana Art: A Case Study of Bhima Devi Temple,Pinjore,Haryana (original) (raw)

In this paper, the main concern is the role of Tantric philosophy in the art of Bhima Devi Temple of Pinjore. Before delving deeper into how Tantric elements can be identified in the remains of the temple or how Tantra became a part of the act of worship in Hinduism, it becomes imperative to address why Indian philosophy and art are so intrinsically annealed in one another. It has usually been alleged by Western Scholars of Art that Indian Art very often combines varied and contrasting elements in a singular piece of work. To address this allegation, if not essentially refute it, one needs look no deeper than the Indian attitude to life, something that is reflected in its art, literature and religion. In this context, According to Ananda Coomaraswamy (1918), in the case of Indian Art, “All activity not directed in accordance with a consistent theory of the meaning and purpose of life” is “supremely impractical.” Simply put, Indic Art is created around the belief that if something does not relate to the purpose of life, it is futile. Art, thus, must have religious connotations and religion, in turn, cannot be studied in isolation from philosophy. Bearing Coomaraswamy’s statement in mind that in the Indian context, “Philosophy is the key to the map of life, by which are set forth the meaning of life and the means of attaining its goal,” this paper will first attempt to define the Tantra Philosophy and the meaning of Puja before exploring how these two philosophical concepts are represented in the art of the site in question .