American Institute of Indian Studies
Centre for Art and Archaeology, American Institute of Indian Studies
Deur Mandir, Ganga on south of entrance (600-699 CE)American Institute of Indian Studies
Representation of hair plays an important role in the Indian art and architecture. For Gods, demigods, celestial beings and humans different kinds of hair styles are used.
Paramguru temple, Vimana, north face, panel of Mahisasuramardini (ca 600-699 CE)American Institute of Indian Studies
Divine Protective goddesses are generally depicted with tightly tied hair with a crown adorning their head. Here are some of the different hair styles donned by them.
Cave 21 (Ramesvara), Chaple to left of entrance, Mahisamardini panel (ca 400-525 CE)American Institute of Indian Studies
Mahcshasurmardini relief from Ramesvara with nicely tied up hair adorned with a high rising crown. Though in contemporary representations she is shown with long untied hair as marker of her rage.
Papanasesvara group, Temple No. 2, South shrine, north wall, Mahisamardini (ca 975 CE)American Institute of Indian Studies
Another rock relief from Andhra Pradesh of Mahisasur Mardini with tightly held back hair adorned with high multi-tier crown more like in Vaishnav style.
Somesvara temple, Mulaprasada, west wall, Ganga in khattaka (ca 800-899 CE)American Institute of Indian Studies
River goddesses are depicted with hair swept combed backwards with crown and a loose bun on one side. This is symbolic to their identity as river goddess.
Ganga (400-525 CE)American Institute of Indian Studies
Depiction of Ganga at Ellora dating to circa 500 BC. The river Goddess is depicted with curled hair adorning her forehead with a Persian cap like crown on her head.
Rayala gopuram, Rupastambha detail: Ganga (?) (ca 1600-1699 CE)American Institute of Indian Studies
Ganga at Mahabalipuram with a kumbhak (pitcher) hair style resembling top-knot.
Door frame (450 CE)American Institute of Indian Studies
River goddess Yamuna depicted on the left side standing on waves. Her hair resembles water ripples and is tied in a loose side bun falling on her shoulder.
Her hair resembles the water wave that she is standing on and quite like ripples. Her attendant on her left has similar hairstyle representing connection with water.
Venugopalasvami temple (facing east), Vimana, South wall, Vinadharini figure (1600-1625 CE)American Institute of Indian Studies
Different hair styles also indicate different moods. This one is a beautiful specimen of loosely coiled hair showing hair strands clearly. Loosely tied hair represents light mood.
Closer view of a beautiful specimen of loosely coiled hair showing hair strands clearly. Besides her broad smile Veenadharini female figure's hair style denotes light mood.
Railing pillar, amorous couple (99-1 BCE)American Institute of Indian Studies
Amorous couple engaged in a playful fight depicting a female with her hair tied into a huge side bun.
Railing pillar, mithuna (99-1 BCE)American Institute of Indian Studies
At times Mithun or amorous couple are shown wearing same hair styles. Here the female figure is shown with hair tied neatly in a front bun probably with some kind of cloth head gear.
Stupa 1, Northern gateway, Back view west side, detail (ca 99-1 BCE)American Institute of Indian Studies
Untied hair is equated with sensuous invitation and thus often indecent. As a result most of the goddesses, except ferocious goddesses like Kali and amorous mithun, are shown with neatly tied hair.
Untied hair represents sensuous or playful mood of the nayika. The back view of shalabhajika yakshi sculpture with her soft curls of hair decorated with floral garlands.
Stupa 1, Eastern gateway, Back view, north ends of bottom architrave (ca 99-1 BCE)American Institute of Indian Studies
This sculpture of a shalbhanjika is interesting as she is represented with short length hair which is not a commonly associated with female beauty in Indian art which is obsessed about long hair.
Paccala Somesvara temple, Shrine 1, Vimana, west wall, bhadra balcony, north face, salabhanjika (ca 1075 CE)American Institute of Indian Studies
A shalabhanjika figure with a round crown / head gear and thick densely curled long hair falling on both sides.
Saptamatrka with Virabhadra & Ganesa (ca 551-599 CE)American Institute of Indian Studies
Long open hair are also an identifying characteristics of angry, powerful or fierce goddesses. Here is Saptamatrika with Virbhadra and Ganesh shown with neatly combed hair tied up in a pony tail.
Causath Yogini temple, Outer circular wall, outer face, image on the North east quadrant (c. 9th-10th century CE)American Institute of Indian Studies
Ferocious goddesses like Causath Yogini, shown here, Goddess Kali, Shiva as Nataraja are also depicted with open flying hair to represent rage, anger, and destructive power.
Navaranga, south wall, interior, Mohini dressing her hair on bracket (ca 1117 CE)American Institute of Indian Studies
Hair continues to play different symbolic roles in Indian cultures, especially with regard to women. In temple of Tirupati Balaji in Andhra Pradesh, women offer their hair as their ultimate offering.
Image Source : American Institute of Indian Studies
Video Source: Youtube BBC Video
Curator : Meenakshi J.
