Underground Shrine Queens Stepwell Patan

Author(s): Jaikishandas Sadani
Publisher: B J Institute of Learning & Research

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Underground Shrine : Queen's step-well at Patan
folds. It is shown in the back ground. As usual the figure is placed in between two beautiful carved round pillars with dangling clusters of mangoes and decorated mango leaves on the top. The whole image has suffered no erosion. The warm feelings of maiden for her pet is well expressed in this image. It faithfully depicts the vātsalya of the maiden for the pet bird.
Nāyikā admonishing a bearded man who is infatuated by her beauty and charm. The maiden is well dressed and adorned with all the ornaments. Her hair are well groomed with a rounded coiffure over which is shown the studded ear-ring. The nāyikā is holding the beard of the man making advances towards her, as he looks at her completely spellbound. Her left hand with open palm is restraining him while he is holding her leg. What is interesting to note is that the enchanted man has lost his height and strature and has become dwarfish. The restraining palm, the admonishing looks, the tugging at the beard and the charmed man all create a scene of emotional tenor whereby the artist is as it were giving a message that the infatuated man loses his strature. It has erotic tones, instead of invoking śrngara rasa it evokes häsya rasa wherein the bearded love-lorn man becomes an amusing person evoking laughter.
Nāyikās in worship and devotion is depicted in several panels. They are shown in between the panels of divine images. Thus creating the serenity which shows maidens moving towards the gods and goddesses for offering prayers. We have the maiden holding the chowrie or the fly-whisk which she waves in honour of the divinity.
Another panel depicts a maiden going to the temple, carrying a bell in one hand and a censer in the other hand. It spreads aromatic smoke for sanctifying the atmosphere.
Again in one panel we have a maiden going to the temple for evening worship, holding a lamp in one hand and the fly-whisk in the other.
In another panel is a maiden going to the temple holding a garland of flowers for offering to the deity. There are many more panels with devotional fervour. As one looks on these beautiful and elegant figures in various moods of worship and self-abnegation, the whole atmosphere of śrngāra or romance of several other panels is transformed in a devotional mood of prayers, worship and self surrender to the divine. Endless description of these lovely images could be extolled, as over 200 images of Nāyikās have been chiselled by the great artists of the Queen's step-well. All these images give full expression of the dedication and devotion of the masters.