Underground Shrine Queens Stepwell Patan

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

Page 60

The Eternal Woman of Grace and Beauty
stands between two round decorated pillars. On top of the image is a pedestal on which three owls are sitting. A peacock seated below is looking towards the coiling snake. This peculiar composition is a reconciliation of the paradoxes of life which often baffle mankind.
The three owls on the top of the nāga-kanyā panel convey that this compositon depicts the scene at night, the period when the owls are awake and active. The bowl with fish or matsya is a tantric depiction. Fish is one of the constituents of the five makaras. Arthur Avlon interprets matsya by explaining the samāsa or the compound as mat meaning the ego. The serpent is the symbol of Kama or the libido in the Freudian terminology. It shows the tendency of the passions to beguile the ego towards licentiousness. The Nāgakanyā raises the palm of the right hand to caution the snake. "thus far and no further” rather restraining its further advances. The peacock in between the legs of the Nāgakanyā further affronts the snake from transgressing its limits. Peacock is the natural enemy of snake. Peacock is often taken as a symbol of nonattachment and not moved by passions. Apart from laymen, this panel cautions the tantrics also to restrain the limits of their sādhanā with a spirit of non-attachment or else it would become perverse and land the aspirants or sadhakas in disgrace.
Nāga-Kanyās are chiselled in serveral panels of the Queen's step-well. They are all nude and a snake is coiling around. These have tantric representation. In the gross stage, the snake represents the gross wild passions that surge in the heart of man, seeking transient carnal delights. But in the sublime form the snake is the repository of great spiritual power or kundalini the coiled snake residing in the pelvis of man and when awakened by spiritual sadhanā it passes through the spinal cord and reaches the Apec of the brain which is like a thousand petalled lotus sahasrāra the abode of infinite bliss of Siva. Thus Kundalini is the Sakti when aroused by sādhanā it unites the aspirant with Śiva the epitome of the Divine Godhead who grants him endless bliss 'akhanda-ānanda. This is experienced by saints absorbed in deep meditation.
The Nāgakanyā, however, represents the initial stage of tantras which is more corporal. In one panel a snake has coiled around the leg and arm of the nude Nāgakanyā, while she is threatening by her other free hand preventing it to advance any further.
In another panel the snake has coiled around the thigh of the Nāgakanyā and is trying to reach the fish bowl in her hand while she is admonishing it with her free hand commanding it to start uncoiling at once and not defile her yogic or tantric sadhanā.