Narasimha


 * Narasimha**

**Artwork Identification** Title: Artist(s): Date: Period: Country of Origin: Japan Cultural/Ethnic Affiliation: Medium: Dimensions: Museum/Collection: Accession Number: Current Location and Manner of Display: Provenance:


 * Introduction:**

This statue of Narasimha, or "man-lion," is currently located at Gallery 30, in the Asian art section of the Toledo Museum of Art. It is displayed in an alcove alongside two other statues of Indian deities, the goddess Parvati on the left and Varaha the Boar on the right. It is thought to have originally been part of a temple complex in the coastal state of Orissa in northern India, where its open back could let light into the interior of the building. It is dated to approximately the year 1250 CE, and was purchased for the museum using funds from the Libbey Endowment. [1] The statue, carved from sandstone, is fairly well preserved, with the only noticeable damage being some weathering towards the bottom of the piece and a broken bracelet on a left wrist. Its size is approximately one and a half feet wide by three feet high. Portrayed is a man with the face of a lion and protruding, tusk-like teeth. He has four arms, two of which hold a conch shell and a disc, respectively. He is seated cross legged on a platform shaped like a lotus flower, with a band running from knee to knee upon which two of his four arms rest. There is the figure of a woman seated on his lap. Other humanoid figures hover above his head, resembling angels or perhaps musicians.
 * Current Location:**
 * Descriptive Analysis:**

The subject is the Hindu god Narasimha, the fourth avatar of the Hindu preserver god Vishnu, who upholds world order. An avatar is defined by Noel Sheth as a “descent” or manifestation of a god or other supernatural being in material form. [2] In other words, this means that Vishnu manifests himself into an avatar in order to battle demons when the world is in danger. Vishnu assumed the "man-lion" form in order to battle the demon king Hiranyakashipu, who was impervious to attacks by man or beast, by day or night, in his house or outside it, in heaven or on earth. As a result of his near invincibility, Hiranyakashipu led his followers to destroy goodness, drive the gods from their realm and upset dharma (right order). [3] When the demon went too far as to persecute his own son, Prahlada, for his devotion to Vishnu, Prahlada stated that the Lord Vishnu was everywhere. Hiranyakashipu challenged Prahlada to show him Vishnu, knocking over a stone pillar and asking if Vishnu was present in the pillar as well. [4] Vishnu then descended to earth in the shape of a man-lion, emerging from the stone pillar and bypassing the protection against man or beasts. [5] He attacked the demon on the threshold of his home at dusk, bypassing the protections of his house and of day or night. He then placed the demon upon his lap, circumventing the protection of earth and heaven, and ripped his opponent apart for his crimes against the gods. [6] Upon Hiranyakashipu’s death, Narasimha allowed the demon’s son Prahlada to worship, ironically, Vishnu himself. Hiranyakashipu was also freed from his demonic body, enabling him to ascend to another, better life through the process of rebirth. Narasimha’s (Vishnu’s) supremacy in the pantheon of Hindu gods was proved by his singular ability to solve the problem of the immortal Hiranyakashipu, as well as his ability to destroy evil and in the process benefit the evil as well as the good. [7] In this statue, Narasimha is shown in a composed, meditative pose, legs crossed in the lotus position with a meditation band around his knees. [8] This is a contrast to some of his portrayals; often his ferocious aspect is emphasized with bulging eyes, tousled mane, and extended claws (see below). In his meditative portrayals he is often pictured with a wife or consort; the figure accompanying him in this statue could be his consort Lakshmi. The lotus that he sits on is a symbol of royalty, the discus that he holds in one hand represents the power of creation and destruction, and the conch that he holds in another hand is associated with the origin of life. [9]
 * Formal and Contextual Analysis:**

Hinduism explored, "Narasimha Avatar- The Fourth Avatar- Half Man Half Beast." 17 March 2008), [| (30 October 2008).

"Narasimha Avatara of Vishnu." 2 October 2008,  (30 October 2008).

[1] Toledo Museum of Art, “Narasimha,” 2008,  (October 2008). [2] Noel Sheth, “Hindu Avatara and Christian Incarnation: A Comparison,” //Philosophy East and West// Vol//.// 52.1 (2002): 98. [3] George M. Williams, //Handbook of Hindu Mythology// (Santa Barbara; ABC-CLIO, 2003), 223. [4] “Narasimha Avatar of Lord Vishnu,” <[|http://members.tripod.com/~srinivasp/mythology/nara.html]> (30 October 2008). [5] Arvind Sharma, //Classical Hindu Thought// (New Delhi, New York: Oxford University Press, 2000), 85. [6] Williams, 223. [7] Williams, 223. [8] “Narasimha,” < http://www.newworldencyclopedia.org/entry/Narasimha> (30 October 2008). [9] Toledo Museum of Art, “Narasimha.”

**Bibliography** **"Narasimha." July 18, 2008.  (30 October 2008).** "Narasimha Avatar of Lord Vishnu." <[|http://members.tripod.com/~srinivasp/mythology/nara.html]>. (30 October 2008).

Sharma, Arvind. //Classical Hindu Thought: An Introduction//. New Delhi: Oxford University Press, 2000.

Sheth, Noel. "Hindu Avatara and Christian Incarnation: A Comparison.” //Philosophy East and West.// Vol. 52, No. 1 (2002), 98-125,  (30 October 2008).

Toledo Museum of Art. “Narasimha.” 2008.  (October 2008).

Williams, George M.. //Handbook of Hindu Mythology.// Santa Barbara: ABC-CLIO, 2003.


 * Lesson Plan Title:** Narasimha and the Avatars of Vishnu


 * Grade Level**: 9-12


 * Time**: 3 class periods

This lesson meets the following National Standards for Arts Education: VA.9-12.3 Choosing and evaluating a range of subject matter, symbols, and ideas (Proficient: 1) VA.9-12.5 Reflecting upon and assessing the characteristics and merits of their work and the work of others (Proficient: 1)
 * Standards:**

This lesson meets the following National Educational Technology Standards for Students 3. Research and Information Fluency (b, c & d) 5. Digital Citizenship (a).

“An avatar is defined by Noel Sheth as a “descent” or manifestation of a god or other supernatural being in material form.” Narasimha iconography: pictured with a wife or consort; lotus is a symbol of royalty; discus represents power of creation and destruction; conch represents origin of life, etc.
 * Significant Key Concepts:**

1. Have students read description of Narasimha on the TeachArt Wiki website at http://teachartwiki.wikispaces.com/Narasimha.
 * Teaching and Learning Activities:**

2. Have students look at other avatars of Vishnu at [|http://members.tripod.com/~srinivasp/mythology/avatars.html] and discuss the symbolism of the animals represented in Vishnu’s manifestations and iconography of each of the avatars of Vishnu.

3. Allow students to choose one avatar they are particularly interested in to further research. Ask the class to think about the stories related to the avatar, and the quality of the spirit of the animal portrayed.

4. Introduce social networking to students by reading the tutorial at []

5. Have students begin creating their own MySpace profile of their chosen Vishnu avatar by clicking the Sign Up! tab at [] Demonstrate the steps of creating an account using an e-mail account set up by the teacher. Ask students to not fill in their own name, but the name of their Vishnu avatar.

6. After students have created a login, allow them to begin browsing the Web to find artworks created of their chosen Vishnu avatar. After instruction of how to upload a photo, students may begin editing their Vishnu avatar profile and creating information about their avatar using their research. Some of the possibilities include favorite books, movies, and music. The student may choose to include tastes from modern or ancient times, but their choices should always be backed by relevant information about their avatar. For example, Narasimha may list a favorite song as “The Lion Sleeps Tonight” by The Tokens, or “The Man-Eaters of Tsavo” by John Henry Patterson as a favorite book. Support for this may be that because Narasimha takes the form of a lion, he could relate to this song and book.

7. After students have completed their profiles, they may add classmates as friends. Then, each student will write a blog on their site detailing their experiences of creating these profiles, and how their incarnation of Vishnu is represented in the artwork (analysis of the iconography of their Vishnu avatar) they have chosen. Students should include three images from the Internet of the incarnation and write a short analysis about all three.

8. Students are required to comment on at least three blogs of other students who chose different avatars. [Guidelines for making the comments?]

Scoring Rubric Student used the Internet appropriately and was able to effectively research three artworks of the avatar of Vishnu of their choice to apply to his/her social networking profile page. Points Possible 6
 * Assessment Criteria**

Students created a social networking page representative of their chosen avatar. Their research is evidenced in the thoughtful profile of their Vishnu avatar and blog post of iconographic analyses of the three artworks of Vishnu avatar of his/her choice. Points Possible 15

Students provided articulate, meaningful responses to their pages and the blogs of classmates. Points Possible 10

Total 35 Points

Bibliography http://members.tripod.com/~srinivasp/mythology/avatars.html http://teachartwiki.wikispaces.com/Narasimha http://computer.howstuffworks.com/myspace2.htm http://www.myspace.com