Elephant Stables at Vijayanagara

June 11, 2012 § Leave a comment

On the map above, in the square with the word ROYAL, directly above the letter L, are two small rectangles. The narrow, vertical one locates the stables, which face a large, open parade ground.

Royal Elephant Stables at Vijayanagara, 1856. Photo- J.A. Greenlaw. Victoria and Albert Museum

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Elephants at Sonepur Fair, Bihar, 1952

May 10, 2012 § Leave a comment

The annual fall cattle fair at Sonepur draws thousands of buyers and sellers from all over India. Although the sale of elephants is officially illegal, they still change hands.These photos are from a 1952 LIFE magazine photo story.
http://www.oldindianphotos.in/2011/12/elephants-in-sonepur-cattle-fair-in.html

Tear the Elephant of Ignorance Asunder

May 1, 2012 § Leave a comment

“Wrathful deities often wear the bloodstained skin of a freshly killed elephant stretched across their backs, which is sometimes referred to as ‘Indra’s skin’. The qualities of wrathful forms which are comparable to the wild elephant are revealed in their symbolic activities of bellowing, crushing, tearing, trampling, and uprooting. The symbolism of the flayed skin refers to the deity ‘having torn the elephant of ignorance asunder’. The elephant, human, and tiger skins which adorn wrathful forms symbolize the destruction of the three poisons of ignorance, desire and anger, respectively.”
Robert Beer, Encyclopedia of Tibetan Symbols and Motifs. (Boston, 1990)
On the left side of the deity’s body is the head of a flayed, white elephant. Other parts of the skin are visible against the flaming aureole.

Museum technicians cleaning an African elephant skin.

Tibetan rug with flayed elephant.

Trained Elephant : Liminal Animal

April 10, 2012 § Leave a comment

The Romans learned about elephants in battle first from Phyrrus of Epirus, later from Hannibal and Hasdrubal, who brought the beasts onto the Italian penninsula as weapons of war. When frightened, confused or wounded, elephants would often turn away from the enemy to crash through their own ranks, crushing men and creating chaos, in a complete “rejection of human conventions of alliance.”  (1)

By injuring and killing their own soldiers,  “they threw into confusion the boundaries which humans had constructed to differentiate between friend and foe and between culture and nature,” and earned themselves a reputation for treachery. Elephants that trampled their own troops in spite of the care and training they had been given were perceived as not only  “useless, in the sense that lions or bears are useless to humans, but to have betrayed the humans who offered them the alliance.” (2)

CHUNEE was a male Indian elephant imported from Bengal to London in 1809. He appeared on stage in several theatrical productions, including the pantomime Harlequin and Padmanaba, or the Golden Fish, before ownership passed to Edward Cross in 1817 and he was displayed in a menagerie at Exeter Exchange on the Strand. On November 1, 1825, Chunee gored and killed his keeper. Despite being deemed an accident, the elephant was fined one shilling for the offense. In February, 1826, following a period of “madness that made him totally untractable,” probably during his musth, but attributed at the time to an “annual paroxysm” aggravated by a rotten tusk, his behavior became increasingly violent. For days and nights Chunee battered his oak and iron cage until it threatened to explode. He failed to respond to a “calming” dose of powerful purgatives- 6 ounces of calomel and fifty-five pounds of Epsom salts- mixed with molasses. Crowds that gathered to hear the noise had to be restrained by patrolmen. Finally it was determined that Chunee should be killed. On March 1st his keeper tried to feed him “corrosive sublimate” (mercuric chloride) mixed with his hay, which Chunee refused. Soldiers were eventually called in to shoot Chunee with their muskets; he was hit 152 times, but did not die. His keeper finished the job with a harpoon.

George Cruikshank, 1826

Chunee, all 10,000 pounds of him, was skinned, dissected and cut up by a team of surgeons, medical students and butchers before a large paying audience. The story and controversy surrounding his death inspired prose, poetry and a successful play at Sadler’s Wells, entitled Chuneelah; or, The Death of the Elephant at Exeter ‘Change. One pamphlet promised  Every Particular Respecting the Madness of the Tremendous Elephant of Exeter Change, and the Manner Adopted to Destroy That Living Mountain, by Firing nearly 150 Balls, with Particulars Relating to His Disesction. His mounted skeleton remained on display in London until 1941 when it was destroyed by a direct hit from a Luftwaffe bomb. (3)

TOPSY (c.1875-1903), a female elephant belonging to the Forepaugh Circus, lived at Coney Island’s Luna Park. In 1903, after killing three men in three years, it was decided that Topsy herself should be put to death. When hanging as a means of execution was rejected, Thomas Edison offered the option of electrocution. Edison was keen to establish the superiority of his DC current over the “dangerous” AC current promoted by his rival, Nicola Tesla. (AC current had been used to execute humans since 1890.)

On January 4, 1903, Topsy was fed a last meal of carrots laced with 460 grams of cyanide. With Edison’s camera rolling to record the event in front of an audience of 1500, Topsy was fitted with a conducting harness, led forward to stand on metal plates, and 6,600 volts AC was sent through her body. Edison’s film, Electrocuting an Elephant, was shown to audiences throughout the United States.

G.B. Piranesi (1720-1780), Reconstruction of Circus Maximus. Etching. Kupferstickcabinett, Berlin

It was a “slow, difficult process to train elephants for use in battle. And they remained scarcely trained, even after many years of discipline and prolonged practice.” They could not be “counted on to be either always savage, like lions, or always docile, like donkeys.” Elephants captured in battle by the Romans were sent back to the capital for triumphs and spectacles before being slaughtered in front of huge audiences in the Circus. (4)

(1) Shelton, Jo-ann, Dancing and Dying:The Display of Elephants in Ancient Roman Arenas. Daimonopylai, (Winnepeg, 2004)
(2) Ibid.
(3)Altick, Richard, The Shows of London. (London, 1978)
(4) Shelton

Gods in Chains

March 22, 2012 § Leave a comment

“Elephants have a long history of use in temples. However, their roles in most temples have changed significantly over time. Hundreds of years ago when elephants were used in warfare, they were kept in temples -in between battles- as symbols of strength and victory. The practical decision to keep elephants in temples when they were not used led to the cultural and religious belief that elephants were an essential part of Kerala’s historical culture. People began to donate them to temples as symbols of one of the most popular Hindu deities, Lord Ganapati. Now even temples that have no relation to Lord Ganapati keep elephants: they are looked upon as symbols of status by the temples to encourage more donations. In recent years, churches and mosques have also started using elephants at major occasions. Politicians often donate elephants to boost approval ratings. Temples in Kerala have significantly more elephants that anywhere else in India. The nationally renowned Guruvayoor temple houses 63 elephants, all given as gifts. The area around Thrissur in Kerala has over 500 temples, with approximately 250 captive elephants available for functions. Each temple has 2-5 major festivals between November and May, resulting in a strong demand for pachyderms.”

Rhea Ghosh, Gods in Chains

“Whenever we speak about elephants, we invariably take pride in the long cultural relationship between elephant and people in the country. There is no other example of a relationship between an animal and humans that is so remarkable for its splendor and contrast, of an animal that has been slaughtered and, at the same time, deified. This relationship goes back at least 4000 years to the Harappan period and almost certainly beyond.”

“To shackle such a god, to illtreat it or, worse, to ignore its plight would be a tragedy that history would not forgive our nation.”

Raman Sukumar, from the forward to Gods in Chains, Rhea Ghosh

Photo by Vinoth Chandar

Images of Annone

March 10, 2012 § Leave a comment

Annone, Giulio Romano after Raffaello, 1516

 

 

 

 

 

 

 

 

King Manuel I riding an elephant, from Lietura Nova, first half 16th century

Annone, woodcut c.1514

4 Studies of an Elephant, by Giulio Romano, 1514-1518

“The Wheel of the Elephant”, S. Fanti, 1526

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