One of the most popular narratives of Hindu mythology is the story of marriage of Parvati (Girija) the daughter of the mountain king, Giriraja/Himavant with Shiva. Depicted in various puranas, the story has been popularized through the epic poem Kumara-sambhava of Kalidasa, where he romantically narrates the scenic beauty of the Himalayas and the grace of Himavant's daughter and her dedication and love for Shiva. The narrative has various episodes where the gods request Manmatha, the god of love to imbibe love in Shiva towards Girija so that they may unite to deliver a warrior god to destroy Tarakasura. Although martyred in his mission, Manmatha triumphs and the marriage of the Shiva and Parvati takes place.
Besides the puranas, this story is narrated in the Uttarakamikagama, Purva-Karanagama, Amsumadbhedagama and other cult texts as well as in canons such as Shilparatna which prescribes in detail the making of this composition, popularly known as Kalyanasundara murti, Vaivahika Shiva, Panigrahana murti, etc.
In the Lepakshi temple's natyamantapa, the Girija Kalyana painting is depicted in a single plane and occupies almost three-fourth of the entire stretch of the narrative panel, with a centre of focus on the main event of the 'panigrahana'. The prime event of the marriage of Shiva and Parvati is depicted inside a mantapa with slender pillars and ornate crown. A plantain tree is tied to a pillar to mark the auspicious occasion. The kalyanamantapa seems to be within a palatial structure, with many gopurams and fortified walls and is probably the depiction of the royal palace of Himavant in Aushadhiprastha.
Shiva as Kalyanasundara is the largest character in the centre of the panel. Most of the iconography of the murti is comparable with the Shilparatna canon Shiva's jatamakuta and tiger skin attire varies from the Kalyanasundara iconography. Girija holds an utpala flower. The two female attendants on either side of the couple are probably Sri and Bhu. Nandi is shown near Shiva lifting his head and looking at Parvati. Himavant and his wife Mena are standing beside Parvati. In an extended space of the kalyanamantapa, Brahma is depicted seated on a cushion over a plank. Although there are a few ritual vessels, the homa kunda and fire are not depicted. Indira and other Ashtadikpalakas are portrayed standing in a row near Brahma.
To the left of the kalyanamantapa, the three well decked ladies with fine jewellery are draped in saris. Behind them is Vishnu, crowned and bejeweled, with his left hand raised in a gesture of praise. The five headed deity, standing beside Vishnu is commonly understood to be Sadashiva, but the deity's Vaishnava and Shaiva attributes indicate that he could be Vishwakarma. Behind this deity, we find an interesting depiction of eight rishis with different hairstyles and gestures interacting with each other. The third Rishi has a parrot on top of the head.
In contrast to the more ritualistic depiction of Girija Kalyana narrative in the Lepakshi temple, the portrayal in the Hampi Virupaksha temple is of celebration and amusement among the guests with several musical instruments and rich foliage and fauna in the background.
- Balaji Srinivasan