
Artist Manjari Sharma gestures at her photograph “Lord Ganesha” as curator Katherine Anne Paul stands nearby. Photo: Ruben C. Cordova
Envisioning the Hindu Divine: Expanding Darshan and Manjari Sharma features nine large-scale photographs by Manjari Sharma that depict nine Hindu deities (some are also recognized in the Buddhist and Jain traditions). These photographs are supplemented by 40 complementary sculptures from the South and Southeast Asian Art collection of the Birmingham Museum of Art (BMA) in Alabama. The exhibition is the San Antonio Museum of Art’s (SAMA) first show dedicated to Indian art.
Darshan is a term that refers to the practice of beholding an image of a deity in a profound manner, which is a key component of worship. This devotional act of looking is also understood as reciprocal: the deity “looks” back at the worshipper, and bestows blessings in return.

Procession for Ganesh, Chaturthi Festival, Mumbai, India, 2016. Still image from a video in “Envisioning the Hindu Divine” exhibition, on view at the San Antonio Museum of Art
Hinduism features three primary deities: Brahma is the creator, Vishnu the preserver, and Shiva the destroyer. Together, they personify the cyclical nature of the universe. At the same time, there exists a vast profusion of interlocking deities with multiple incarnations, identities, names, and aspects, and some consider all the various gods to be emanations or manifestations of a single one. Above all, the Hindu religion has no dogma or canon, and all stories, beliefs, and traditions (however contradictory) are regarded as equally valid. In practice, as in folk Catholicism, Hindu devotees often have a favorite, often regional, deity incarnation or image type that they hold particularly dear, with which they have a particularly intense and personal relationship.
Envisioning the Hindu Divine is accompanied by a sophisticated catalog that treats the complexities of Hindu devotion, and it also has an informative section devoted to each of Sharma’s photographs. Titled Expanding Darshan: Manjari Sharma, To See and Be Seen, it is edited by the exhibition’s curator, Katherine Anne Paul, who is the Virginia and William M. Spencer III Curator of Asian Art at BMA, where the exhibit originated.
Emily Ballew Neff, the Kelso Director at SAMA, noted in the press release that Envisioning the Hindu Divine provides visitors with the opportunity “to experience the profound connections between history, spirituality, and contemporary creativity.” In a statement to the author, she added that the opening “perfectly captured the magic that happens when artist, curator, and community come together, including performers from San Antonio’s South Asian dance schools, to amplify the beauty, vibrancy, and enduring relevance of Hindu gods and goddesses in — and also well beyond — India.”
Sharma, who was born and raised in Mumbai, India, and now resides in the Los Angeles area, has a background in photographic portraiture. She is deeply familiar with sculpted and painted depictions of the gods in temples she has visited throughout her life. Sharma undertook this project after realizing that she had never seen devotional images of Hindu gods in the form of photographs. It was her goal to utilize the medium of photography to “evoke a similar spiritual response” to the gods that she had experienced with her parents when they had looked at images in other mediums. Click here to hear the artist provide a short introduction to her Darshan series, which was made near the beginning of the project.
Sharma resolved to photographically recreate Hindu deities within diorama-like shrines in a temple context. This entailed putting together a substantial team of models, make-up artists, and costume makers. Initially, Sharma had utilized ready-made costumes, before concluding that they had to be custom-made to fully realize her vision.
Ultimately, it took a team of about 35 craftspeople to build Sharma’s human model/deity-inhabited sets. The complexity of the latter are made clear in the videos linked in this review. Each element in Sharma’s photographs was constructed by hand, rather than created digitally. When her camera focuses on her deities, portions of her sets are, to varying degrees, out of focus. As a result, the three-dimensional sets create a strong sense of depth.
I discuss each of Sharma’s individual photographs below, as well as some of the sculptural comparanda from BMA.

Manjari Sharma, “Lord Ganesha” (detail), from the Darshan Series, 2011, chromogenic print, brass embossed frame, 71 1/2 x 59 1/4 x 5 3/4 inches. Collection of the Birmingham Museum of Art. Photo: Ruben C. Cordova
Lord Ganesha
Fittingly, the exhibition commences with the elephant-headed god Ganesha, who is the god of beginnings. With his elephant trunk, and attributes such as his axe and lasso, he can either put obstacles in one’s way, or remove them. Consequently, one should pray to him at the beginning of every endeavor. Jains and Buddhists also worship Ganesha.
Infinitely useful, Ganesha is the most beloved of the Hindu gods, and the most approachable. He is not a remote, intimidating god. He loves sweets — perhaps a little too much — and he usually has a heaping bowl of laddu treats on hand. Ganesha is vain and childish. He can also be responsible and scholarly. When the moon laughed at him, he broke off one of his tusks, tossed it at the mocking orb, and uttered a curse. This is why, according to one tradition, Ganesha sometimes holds a broken tusk in one of his hands, as a threat (backed by a curse) to the moon. A different tradition holds that Ganesha broke off his tusk to record the whole of the Hindu epic The Mahabharata — without missing a word — when it was being recited by the sage Vyasa. Yet others view the cone-shaped object as a radish, revered as the first fruit of spring.
Ganesha has more than a thousand honorific names and titles, as well as a multitude of origin stories. He is usually regarded to be the son of Shiva and his consort Parvati (or at least the latter). By one account, in Shiva’s absence, Parvati grew lonely and created a son, who guarded her door. When Shiva returned from lengthy wanderings, the hapless boy tried to bar his entry, and the angry god beheaded him. Parvati was despondent, so Shiva, who vowed to resurrect the boy with the head of the next creature that wandered by, sliced off the head of an elephant and created the composite creature we know as Ganesha. My favorite of these origin stories avers that Shiva and Parvati got turned on while watching two elephants mate. They transformed themselves into elephants and followed suit. When their baby was born, he had an elephant’s head. For a thorough treatment of the god, see Paul B. Courtright, Ganesa: Lord of Obstacles, Lord of Beginnings (Oxford University Press, 1985).
One never sees a skinny, emaciated Ganesha, since he is a god associated with prosperity. Sharma’s Ganesha possesses gold jewelry studded with rubies and emeralds. The inscription in the foreground of her photograph translates as “wealth, savings, and profit.” Perhaps uniquely, Sharma’s Ganesha holds a pair of lassos in his rear hands. This iconographic variation was unplanned. Sharma had intended to place an axe in his right hand, but it would not fit into the carved and painted hand that had been created for him, so she opted to outfit that hand with another lasso. The rat at Ganesha’s feet is his vahana (animal-vehicle). According to one legend, Ganesha’s fall from the rat caused the moon to laugh at him. The rat offers a laddu ball to Ganesha.

Installation image with Dale Chihuly’s “Persian Ceiling” (2004) at entrance to the gallery. Photo: Ruben C. Cordova
Offerings are traditionally made to Hindu deities, and I noticed, on the way into the exhibition gallery, that the Dale Chihuly glass installation served as an appropriately colorful offering and gateway to Lord Ganesha’s domain.
The model for Lord Ganesha was very familiar to the artist. Pandit Santosh Tiwari served as her family’s priest. For an overview of how the set and Ganesha’s prosthetics and costume were fabricated, see Sharma’s video.

“Seated Two-Armed Ganesha, God of Success and Abundance,” Cambodia, Khmer, Buriram province, Khmer empire (802-1431), 10th century, sandstone, 27 3/4 x 17 x 10 1/2 inches. Collection of the Birmingham Museum of Art. Photo courtesy of the Birmingham Museum of Art
In the gallery, Sharma’s image is surrounded by seven Ganesha sculptures from several Asian countries. In the Khmer example illustrated above, the crowned Ganesha has only two arms. He holds a laddu treat in his left hand, and a radish or broken tusk in his right hand.

“Seated Two-Armed Ganesha, God of Success and Abundance,” Eastern Java, 14th century, Majapahit Period (1201-1550), andesite, 21 × 14 1/4 × 12 inches. Collection of the Birmingham Museum of Art. Photo courtesy of the Birmingham Museum of Art
One distinction unique to Javanese Ganeshas is that they are seated in a pose that allows the soles of their feet to come together, sometimes to touch. The raised arms of the above Ganesha hold an axe and a noose. He partakes of his bowl of treats with his trunk. Ganesha’s right hand, which is restored, holds an additional treat instead of a broken tusk or a radish.

“Seated Six-Armed Ganesha, God of Success and Abundance,” Nepal, 18th century, Shah Period (1768-2008), copper alloy, 5 × 1 1/4 × 3 1/2 inches. Collection of the Birmingham Museum of Art. Photo courtesy of the Birmingham Museum of Art
The small Nepalese bronze Ganesha illustrated above may have constituted a portion of an oil lamp. Such lamps, in Nepal and elsewhere, serve a symbolic function, with the flame serving a revelatory, obstacle-moving function.
This Ganesha wears an enormous, Nepalese crown, and is framed by a mandorla surmounted by a small canopy. His rear-most hands hold aloft a lasso and an axe, while the hands belonging to his middle arms make auspicious gestures. His foremost right hand holds either a radish or a tusk, and his left hand brings his bowl of treats close to his trunk. This Ganesha is slim, and much more anthropomorphic than other examples we have seen. He is more like a man with an elephant’s head than an elephant that mimics a human.
In some locales, particularly Tibet, land of polyarmed deities, Ganesha has up to 32 arms. Europeans, of course, often viewed the animal-headed, multi-armed Hindu deities as demonic and monstrous. See Partha Mitter, Much Maligned Monsters: A History of European Reactions to Indian Art (University of Chicago Press, 1992).

Manjari Sharma, “Maa Laxmi,” from the Darshan Series, 2011, chromogenic print, brass embossed frame, 71 1/2 x 59 1/4 x 5 3/4 inches. Collection of the Birmingham Museum of Art. Photo: Manjari Sharma, © Manjari Sharma
Maa Laxmi
Laxmi is the goddess of wealth. Even her colors — red, yellow, and gold — denote wealth. Bejeweled, she emerges from a giant water lily, with coins flowing from one of her upraised right hands, which is in the abhayamudra gesture, meaning no fear. She nestles a gold-filled pot with an arm that terminates with a hand making the wish-granting gesture.
Laxmi is framed by a pair of white elephants that hold a ritual water pot in their trunks, creating a stream of holy water that blesses Laxmi. Two images of Ganesha are embossed on the golden frame. Ganesha and Laxmi are closely connected (and sometimes said to be related), due to their auspiciousness and connection with prosperity. Devotees of Vishnu regard Laxmi as one of his primary wives. Laxmi is also sometimes considered to be the daughter of Durga, a female goddess who took on the powers of the male gods in order to slay the buffalo demon.
Sharma’s model for Laxmi was the actress and model Sonampreet Bajwa, who, one year after this photograph was made, was crowned Miss India, 2012.

“Elephant with Riders Roof Bracket,” India, 18th century, Mughal period (1526-1857), red sandstone, 25 1/8 x 21 1/2 x 4 inches. Collection of the Birmingham Museum of Art. Photo courtesy of the Birmingham Museum of Art
Water-immersed or water-spouting elephants are equated with monsoon rain clouds, and their trumpeting is likened to thunder. They are also a symbol of royalty, and thus wealth, so it is symbolically appropriate to include them in a scene with Laxmi.

Manjari Sharma with her photograph “Lord Brahma,” 2013. Photo: Ruben C. Cordova
Lord Brahma
As noted above, Brahma is the creator, one of the Hindu trinity known as the Trimurti. Brahma is understood to have four heads, each of which faces one of the four directions. Here he floats in the heavens, surrounded by cotton candy-like clouds, seated on a giant lotus flower. A gold disk, symbolizing the sun, is situated behind his heads, and is amplified by the wall color behind the photograph. The book he holds is a mantra that symbolizes his authorship of the Vedas, the foundational Hindu texts.
Sharma’s model, Suhas Joshi, is a musician and architect. His beard is real, not part of his costume, which is why he was nicknamed Brahma by his friends.

Manjari Sharma, “Lord Vishnu,” from the Darshan Series, 2013, chromogenic print, brass embossed frame, 71 1/2 x 59 1/4 x 5 3/4 inches. Collection of the Birmingham Museum of Art. Photo: Manjari Sharma, © Manjari Sharma
Lord Vishnu
Vishnu, the preserver, defends the world from all attacks, sometimes as incarnations such as Krishna and Rama, who figure prominently in India’s great epics, the Ramayana and the Mahabharata. Vishnu typically has blue skin. He is closely associated with a five-hooded serpent that, as noted in the catalog by curator Katherine Anne Paul, is “an aspect of Vishnu called Ananta (without end) or Shesha (remainder), [and] is the primordial entity that navigates and encompasses the universe” (p. 64).
Sharma’s Vishnu maintains a balanced, confident pose as he stands amidst the frothing, cosmic sea, a point of creation. His mighty weapons are a discus and a mace. His lotus blossom symbolizes purity. Vishnu’s decorated conch shell is a wind instrument that also serves as a weapon, as well as a symbol of infinity.
Sharma’s model for Vishnu was the Bollywood actor Pransh Chopra.

“The God Vishnu Dreaming the World into Existence, Reclining on the Endless Serpent Shesha, with Lakshmi, Goddess of Abundance, and Bhu Devi, Earth Goddess, Massaging His Feet,” India, late 13th century, Chola period (9th-13th century) or later, bronze, 3 3/16 × 7 3/4 × 2 3/4 inches. Collection of the Birmingham Museum of Art. Photo courtesy of the Birmingham Museum of Art
Indian gods are not above usurping the roles of other gods, including members of the Trimurti. Here Vishnu, the preserver and not the creator, dreams the world into existence, aided by his wives’ massages. A lotus grows out of his navel, from which Brahma emerges to create the world.

Manjari Sharma, “Lord Shiva,” from the Darshan Series, 2011, chromogenic print, brass embossed frame, 71 1/2 x 59 1/4 x 5 3/4 inches. Collection of the Birmingham Museum of Art. Photo: Manjari Sharma, © Manjari Sharma
Lord Shiva
The third member of the Hindu trinity, Lord Shiva is the god of destruction. He is also known for his cosmic dance, as Shiva Nataraja. In bronze examples, he is surrounded by a halo of flames. (See my discussion of Shiva Nataraja in a review of the Asia Society collection.)
In Sharma’s rendition of Shiva, flames spring from the level of Shiva’s feet, and a flaming halo surrounds his head. His third eye, located on his forehead, is closed because it emits destructive rays. The goddess Ganga is represented on Shiva’s head, because the sacred river Ganges flows onto his hair. Shiva’s abode is Mount Kailash, the source of the Ganges, and snow covered peaks are visible in the foreground.
From head to foot, Sharma’s Shiva is ornamented with golden cobras, symbolizing his purifying powers, particularly his ability to offer protection from poison. His destructive dance also serves as a purifying prelude to rebirth.
Shiva tramples Apasmara, the dwarf of ignorance. With his outstretched hands, he holds his primary weapon, a trident, which is associated with water, as well as a drum. He makes the fear-allaying gesture with one hand, and the other arm reads like an elephant’s trunk, with fingers pointing to his upraised right leg, which offers liberation and refuge.
Shiva was modeled by Robin Chaurasia. Click here to view a short video of the Shiva photoshoot and the preparations made for it.

Manjari Sharma, “Maa Durga,” from the Darshan Series, 2011, chromogenic print, brass embossed frame, 71 1/2 x 59 1/4 x 5 3/4 inches. Collection of the Birmingham Museum of Art. Photo: Manjari Sharma, © Manjari Sharma
Maa Durga
As noted above, when the male gods failed to vanquish a demon that threatened the universe (usually pictured as a water buffalo), Durga, who sprang from the skin of Parvati, came to the rescue. She gathered all the weapons of the male gods, ranging from Vishnu’s discus and mace to Shiva’s trident. In so doing, Durga took on all of their fearsome powers.
Sharma’s Durga sits atop a tiger, calmly stilling fear with one hand, while her weapon-bearing arms radiate in a circular manner, like spokes in a wheel.
Sharma’s model was the actor, producer, and designer Kanchan Jadhav.

“Durga Slaying the Buffalo-Demon Mahishasura,” 20th century revival style of the 12th-16th century, Eastern Java, Indonesia, stone, 32 1/2 × 16 1/2 × 17 1/2 inches. Collection of the Birmingham Museum of Art. Photo courtesy of the Birmingham Museum of Art
In the sculpture pictured above, Durga stands triumphant, atop the vanquished buffalo demon, which she grasps by the tail. The buffalo is dead, so the shape-shifting demon emerges from its corpse in human form. But Durga grasps it by the hair, ensuring its destruction at her hands.

Artist Manjari Sharma stands with her work “Hanuman,” 2011, and curator Katherine Anne Paul. Photo: Ruben C. Cordova
Lord Hanuman
Somewhat similar to Ganesha, Hanuman is a beloved composite creature. He is part man, and part monkey. An astonishingly strong, fearsome warrior, with the power to fly, Hanuman is best-known through the Hindu epic Ramayana.

Manjari Sharma, “Lord Hanuman,” from the Darshan Series, 2011, chromogenic print, brass embossed frame, 71 1/2 x 59 1/4 x 5 3/4 inches. Collection of the Birmingham Museum of Art. Photo: Manjari Sharma, © Manjari Sharma
Sharma’s photograph depicts a dramatic moment in the Ramayana, when Hanuman had to gather herbs to cure an army of bears and monkeys fighting in support of Rama and Lakshman. For the sake of expediency, instead of harvesting the herbs by hand, he broke off the top of an herb-laden mountain and flew back with it.
The body builder Mahendra Chavan posed as Hanuman. In 2017, he won the title Mr. World Champion.

“Head of Hanuman,” Cambodia, 11th century, sandstone, 19 × 13 1/2 × 8 inches. Collection of the Birmingham Museum of Art. Photo courtesy of the Birmingham Museum of Art
This head is identifiable as that of Hanuman due to his substantial crown and bracelet. The placement of Hanuman’s hand, palm-up against the crown, is a convention used to indicate flight.

“Covered Box with Flying Hanuman” (depiction of lid), Thailand, 19th century or early 20th century, Rattanakosin period (1782-1932), 2 1/4 × 2 5/8 × 2 5/8 inches. Collection of the Birmingham Museum of Art. Photo courtesy of the Birmingham Museum of Art
This figure’s feet are posed with one bent backwards and the other bent downward, to signify flight. Hanuman bears a sword and a flower. The latter may represent the herbs he brought from the mountaintop.

Artist Manjari Sharma stands with her work “Maa Saraswati,” 2013. Photo: Ruben C. Cordova
Saraswati, by tradition a consort of Brahma, is the goddess of wisdom, learning, music, writing, and the arts. She typically plays the veena, and her attributes (as in Sharma’s photograph) include prayer beads and a book. Sharma’s model for this photograph was the television journalist Devika Chitnis.
In the video screen visible in the above photograph, the model for Hanuman is being outfitted with his prosthetic nose.

“Saraswati Riding Her Sacred Hamsa (Angsa) Goose,” 19th-20th century, Bali, Indonesia, colors on wood, 21 3/4 x 8 1/8 x 6 13/16 inches. Collection of the Birmingham Museum of Art. Photo: Ruben C. Cordova
A work such as the one pictured above could have served as an architectural ornament, as an object featured in ritual processions, and/or a witness to or focus of ritual rites.

Artist Manjari Sharma stands with her work “Kali,” (2011), and curator Katherine Anne Paul. Photo: Ruben C. Cordova
Maa Kali
Kali, who, according to one tradition, originated from Durga’s sweat, can manifest Durga’s rage. Also associated with time, Kali personifies mass violence and death.

Manjari Sharma, “Kali,” from the Darshan Series, 2011, chromogenic print, brass embossed frame, 71 1/2 x 59 1/4 x 5 3/4 inches. Collection of the Birmingham Museum of Art. Photo: Manjari Sharma, © Manjari Sharma
Kali sports a garland of human heads, and a skirt of severed arms and hands. In each of her ten hands, she holds a weapon — they are taken, as in the case of Durga, from the principal male gods — or a severed head. She stands on a pile of skulls, amidst waves of splashing blood.
Kali was modeled by Payal Bhattacharya. Click here to watch a short video in which she discusses her role.

Models costumed as Hindu gods at Family Day at the San Antonio Museum of Art, 2025. Photo courtesy of the San Antonio Museum of Art
In her video made at the inception of this project, Sharma noted that she moved to the United States to pursue her studies. Her pilgrimages to museums and galleries replaced her pilgrimages to temples. Art replaced deities as esteemed objects of wonder and contemplation. “The museum had become the temple,” she declared. Now Sharma’s photographs have become vehicles for enlightenment and aesthetic devotion in museums.
Envisioning the Hindu Divine: Expanding Darshan and Manjari Sharma was organized by the Birmingham Museum of Art, which is the only museum to possess the complete Darshan series. The exhibition is on view at the San Antonio Museum of Art through July 6, 2025.
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Ruben C. Cordova is an art historian and curator. He has addressed the art and culture of greater India in several pieces for Glasstire: “Buddha, Shiva, Lotus, Dragon”: New York’s Asia Society Masterpieces at the Kimbell; Cupid’s Revenge 2: Apollo and Daphne, From Ancient Greece to Airbrushed Fantasy; 15 Years of Shahzia Sikander’s Extraordinary Realities in Houston; and Deborah Keller-Rihn’s photography in Glasstire’s Best of 2024. Cordova has also reviewed Tree and Serpent: Early Buddhist Art in India at the Metropolitan Museum of Art for the New Journal of the Philosophical Research Association (2023).
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