Nivedita: Woman Sculptor Breaches Glass Ceiling

Artist Nivedita Mishra, an Odisha Lalit Kala Academy Awardee, is holding an exhibition of sculptures, which reflect her memories from childhood. The solo show, titled Nitya, opens for public viewing in the galleries of Triveni Kala Sangam in the Capital, from March 8 to 22.

When inquired about her show, titled, Nitya, she was emotional. The show was named after her father Nityanand Mishra. From her narration, it was clear that it was very rare for people to encourage someone to pursue art as a career, especially sculpting. Nivedita's father encouraged her to take to sculpting as a career. Finally, she is a little late, to show her father an exclusive show of her works.

Breaching the glass ceiling, Nivedita managed to storm a male bastion that sculpture has been, all along. It was not easy for her to make a mark in her career as a woman sculptor. She has a pillar of support in her better-half in dedicating time and effort to carve the best in a stone. She said it was a much-awaited solo show, coming after a long gap of 28 years, though her work has been presented in several group shows over the last few years.

Nivedita's comprehensive collection of more than a hundred sculptures is devoted to an esoteric theme, moored in rural and tribal traditions. Mishra chiseled away at tons of hard rock to arrive at her own interpretation of the Shakta Art Tradition of Odisha. Her sculptures examine the idea of Vishrambh, or faith, which she believes to be an inextricable aspect of Shiva and Shakti. Shiva, Shakti and Vishrambh coalesce into one.

Sculpture is a visual art form, which is three-dimensional, moulded, casted, carved or assembled. Sculptures exist naturally and in man-made form. India is the country with a repository of art heritage, which includes a major contribution of sculptures.

The sculptures have communicated the rich history, traditions, values, beliefs of the people, who lived during various centuries. The Sculptures are the ancient form of communication. They convey and depict peoples' way of lives and aspects during the time.

The current exhibition, Nitya, is a celebration of Shiva-Shakti Vishwas and it is also her tribute to her father.

In Shaivism, Shiva is forever in Union with Shakti and Shakti is fluid, flowing and powerfully flexible, it can also be wildy sensual, raw and expressive. Shiva's energy is formless, whereas Shakti energy can be seen.

Nivedita narrates that there is some energy that revolves around us, connects and directs. She says it's impossible to control that energy, instead accept it and move on. Life is full of uncertainties, which cannot be escaped or avoided.

Similarly, she has chiseled the marble stones in the form of pillars with symbols of Navagrahas, including Slokas and Yantras. Navagraha body of work represents the nine astral bodies that influence our life and environment. Surya, Chandra, Mangala, Budha, Brihaspati, Shukra, Shani, Rahu, and Ketu. Their deep, celestial connection with Shiva is depicted through a Trishul.

Each Graha is defined by a Stotram, a Vedic Mantra, Tantra, and the line drawing of a vahan, with Sattva Guru Surya standing tall at 10 feet. It is a symbolic cosmos made of black marble that brings out the essence, energy, and aura of every Graha.

Nivedita has done extensive research with the help of Vedic scholars and traced out the rare Yantras related to the concept. Yantras are the mystic or a geometric diagram, used in worship.

There was enormous effort involved in transporting the huge structures and placing them in a thematic form at the location.

Nivedita believes that Hindu Tantric practices, which are secret, having esoteric rituals, considered social evil and information was hidden during young age. It's important for an individual to understand the surroundings, various cultures, beliefs and traditions.

This will enhance one's horizon and introspection of good and bad. The traditional beliefs cannot be ignored, as superstitious beliefs, like tying a thread to hand, is a belief but the scientific reason is that this will improve blood circulation. Similarly, placing vermilion on the forehead, has a reason.

Mishra has carved out 64 Yoginis on metal and arranged the exhibit in an astonishing way. The Yogini metal faces are placed on a wood in a triangle form, where the last line of the faces are visible to the viewer.

The exhibits at the venue reflect the effort not only in sculpting, but also in presentation of her work. She describes, saying, "My Yoginis are Sat-Chit-Ananda, beyond Space, Matter, and Time. I have represented them using 64 century-old wood logs with metal heads."

Yogini is a female master practitioner of Tantra and Yoga. During the 9th and 12th Centuries, the Chausath Yogini Temples were built in hypaethral (roofless) form. These shrines are scattered over Central and Northern India.

Nivedita represents the various forms of sacrifices in such temples. Though the human sacrifices are low in number, there are animal sacrifices that still exist. One of her sculptures represents sacrificed human faces. Mishra believes that during early times, human sacrifices were done by voluntary surrender and through holy procedure. Today, it's surprising to see the crime that one indulged in the name of sacrifice.

Of course, it's scary and terrifying to listen and know such facts. The sculptor has placed a stone at the entrance of a very special attraction. A single marble piece is curved in chambers with specific gaps generates sound like musical instrument. One can strike the stone with a smaller stone by which it produces in one direction its Sa-Re-Ga-Ma-Pa-Da-Ne-Sa and in reverse its Sa- Ne-Da-Pa-Ma-Ga-Re-Sa.

Nivedita has just played the stones and carved out functional elements, which are interesting like jars, bowls, and Thali. Granite, marble and metal are the basic elements of her carving. It's important to note that she has exquisitely utilized the natural form and shape of rocks and chiseled in a thematic form. She created a hollow granite rock to focus lights.

Unfolding the story of Sati, the sculptor says, "They resonate within me when I sculpt, taking abstract and expressionist forms. I have sculpted her lips, ears, eyes, nose, right foot, and anklet in stone."

Nivedita seems most connected to Kamakhya, who has the power to generate and regenerate life, symbolic of the power of creation that every woman possesses, to whom an entire gallery has been devoted.

Nivedita Mishra has studied sculpture at the College of Art in Delhi (1986-1990), and the Slade School of Fine Art in London (1993-1995), where she worked as research assistant. She was a visiting lecturer at the Bristol College of Arts, UK.

She has participated in innumerable national and international workshops, symposiums, and residencies and executed several highly acclaimed commissioned projects in Odisha, Chandigarh, Delhi, Mumbai, and London.