I wanted to encounter my gods as objects of beauty, and not as objects of praise. There, in the Bronze Gallery, I found I had miscalculated, for what was I doing if not engaging in idolatry, tracing with my eyes limbs and lines that had transferred from wax to mould to molten five-metal? They had travelled through centuries coveted and worshipped, smuggled and salvaged, to arrive finally behind glass – bare of turmeric, the cascade of milk, the caress of flowers.
I wanted to encounter myself at 19 again, the last time I had been in this gallery (isn’t this the shame of all of us who don’t appreciate beauty within stone’s throw of our dwellings, hungering for distant terrains to locate our most inspiring experiences in?). I want to say I have visited it in the interim years, and perhaps I have – but the only clear memory I have is of exploring it with another girl, to whom I texted a whole Audre Lorde poem to, stanza by stanza, whose admiration of the cambers of womanly bodies in bronze I had hoped to mean something more than purely aesthetic.
I looked from the statues to the mirrors behind them, poised so as to allow a dorsal view: the way a garment drapes at the back, snail-curls of hair. I was in those mirrors too.
In Tiruvarur, years ago, someone pointed to a woman in the Mucukunda murals, another feat of Chola artistry, and told me that she looked just like me. This became my conceit: a devadasi from centuries ago, ancestress or avatar. When the murals were fully restored later, I was fortunate to be among the celebrating party. We were given mirrored trays so we could wander the hall and look at the paintings on the ceiling without straining our necks. I stood underneath my dark-skinned, long-eyed charmer and saw her face and mine in the same reflection. It was a moment of triumphant vanity, a mysterious confrontation. There’s a funny comfort in catching one’s own eye.
When confronted by beauty upon beauty, one sees nuance, becomes partial to certain renderings. In the Bronze Gallery, I contemplated how we cannot touch these statues, but other hands have. Artistan, thief, curator. I imagine a pair pressing a stylus into the softness of wax, a softness that the 16th century Devi in the far-eastern corner embodies and expresses with eyes that brim with stone-still sadness. From that Audre Lorde poem on the fullness of body and moon – Thus I hold you / frank in my heart’s eye / in my skin’s knowing / as my fingers conceive your flesh…
I walked away, gazed down at her from an upper level, returned to cross the hall only to adore her again. She was the reason I had contemplated touch. It was her eloquent left eye that held me captivated. In the play of light and shadow in that corner, the right one was opaque. Right eye stoic to the world, left eye brimming with truth. This was how I saw her.
But who’s to say who or what it was I saw – sculpture, mirror, self, memory, symbol?
An edited version appeared in The New Indian Express on September 29th. “The Venus Flytrap” appears on Thursdays in Chennai’s City Express supplement.