The enigmatic world of sadhus, the vividly decorated or completely nude ascetics of
Hinduism, is explored in "Body Language: The Yogis of India and Nepal" at the Rubin Museum of
Art. Striking color photographs by Thomas L. Kelly capture extraordinary-looking male sadhus (as well as a female sadhvi), famously known as ascetics and yogis of South Asia.
Sadhus renounce worldly life, earthly possessions and social obligations to devote their lives entirely to religious practice and the quest for spiritual enlightenment, the ultimate goal in the Hindu religion. Sadhus embody this search for religious illumination, serving as living representations of spiritual and ascetic ideals. Though an important part of Hindu cultures, sadhus' commitment to attaining non-attachment and transcendence of the physical body leaves them on the fringes of society.
Thomas L. Kelly made his first trip to Nepal in 1978 as a Peace Corps volunteer, and has since
worked as a photo-activist, documenting the struggles of marginalized people and disappearing
cultural traditions all over the world.
Learn more about the "Body Language" exhibit at the Rubin Museum website.
Images of Nepal at the Rubin Museum of Art
Vaishnava Applying Tilaka(01 of14)
Vaishnava Applying Tilaka, 2000Pashupatinath, Kathmandu, Nepal
A sadhu's body is a display of his ascetic identity; his clothes or nudity separate him from the populace, while his painted markings, called tilaka, indicate his focus of devotion. Ranging from a simple daub of color to complex patterns involving the entire face and other body parts, basic tilaka designs mark a sadhu's religious and sectarian affiliations and may incorporate elaborate, individual variations. The vertical design of this sadhu's tilaka shows him to be a Vaishnava, or follower of Vishnu, whose gentleness is reflected in his devotees and their clothing of white or yellow, the colors of purity and surrender.
After sadhus bathe to purify their bodies, they apply the tilaka while uttering mantras to sanctify their bodies, thus completing the ritual that transforms their body into a vessel worthy of receiving divine power and giving worship to a deity. (credit:Thomas Kelly)
A sadhu's body is a display of his ascetic identity; his clothes or nudity separate him from the populace, while his painted markings, called tilaka, indicate his focus of devotion. Ranging from a simple daub of color to complex patterns involving the entire face and other body parts, basic tilaka designs mark a sadhu's religious and sectarian affiliations and may incorporate elaborate, individual variations. The vertical design of this sadhu's tilaka shows him to be a Vaishnava, or follower of Vishnu, whose gentleness is reflected in his devotees and their clothing of white or yellow, the colors of purity and surrender.
After sadhus bathe to purify their bodies, they apply the tilaka while uttering mantras to sanctify their bodies, thus completing the ritual that transforms their body into a vessel worthy of receiving divine power and giving worship to a deity. (credit:Thomas Kelly)
Sadhu Friendship(02 of14)
Sadhu Friendship, 2002 Pashupatinath, Kathmandu, Nepal
Worldly motives often mix with spiritual aspirations when a person decides to join the brotherhood of sadhus. Asceticism not only offers a life devoted to religious study and the possibility of spiritual attainment but also one that is free from the social bonds of family and the restrictions of caste. Boys in early adolescence, like the young sadhus in this photograph, can be adventurous in their abandonment or simply practical, having few other options if they are orphaned or impoverished.
These two young Vaishnavas with colorful tilaka perhaps chose the life of a sadhu over that of a lower caste member, or a family tragedy may have forced them into this role. Regardless, they will be better provided for and have more opportunities than many of the poor and homeless in South Asia. Renouncing his birth family for that of the Hindu gods, a young sadhu adopts as his new family Vishnu, Brahma or Shiva, as well as his guru and brother sadhus. (credit:Thomas Kelly)
Worldly motives often mix with spiritual aspirations when a person decides to join the brotherhood of sadhus. Asceticism not only offers a life devoted to religious study and the possibility of spiritual attainment but also one that is free from the social bonds of family and the restrictions of caste. Boys in early adolescence, like the young sadhus in this photograph, can be adventurous in their abandonment or simply practical, having few other options if they are orphaned or impoverished.
These two young Vaishnavas with colorful tilaka perhaps chose the life of a sadhu over that of a lower caste member, or a family tragedy may have forced them into this role. Regardless, they will be better provided for and have more opportunities than many of the poor and homeless in South Asia. Renouncing his birth family for that of the Hindu gods, a young sadhu adopts as his new family Vishnu, Brahma or Shiva, as well as his guru and brother sadhus. (credit:Thomas Kelly)
Textual Tilaka(03 of14)
Textual Tilaka, 2002Pashupatinath, Kathmandu, Nepal
While some sadhus value a more energetic and impressionistic approach to tilaka, others prefer precision and complexity in their body art. This Vaishnava sadhu has written sacred text, likely a mantra or hymn, across his face. This tilaka might be an act of devotion to his tutelary deity, offering a prayer to Vishnu as part of his daily activities. However, painting the efficacious syllables of an esoteric mantra on the body might suggest more magical motivations.
Mantras have myriad meanings and uses, both public and secret. They can be magical incantations for healing, invocations requesting the presence of a god, primordial sounds of creation and the absolute, or repetitive prayers aimed at focusing the mind on a deity. During a sadhu's initiation his guru imparts to him a powerful, personal mantra, which is never spoken aloud. This mantra establishes the psychic bond between teacher and student, through which guidance may be asked for and issued. (credit:Thomas Kelly)
While some sadhus value a more energetic and impressionistic approach to tilaka, others prefer precision and complexity in their body art. This Vaishnava sadhu has written sacred text, likely a mantra or hymn, across his face. This tilaka might be an act of devotion to his tutelary deity, offering a prayer to Vishnu as part of his daily activities. However, painting the efficacious syllables of an esoteric mantra on the body might suggest more magical motivations.
Mantras have myriad meanings and uses, both public and secret. They can be magical incantations for healing, invocations requesting the presence of a god, primordial sounds of creation and the absolute, or repetitive prayers aimed at focusing the mind on a deity. During a sadhu's initiation his guru imparts to him a powerful, personal mantra, which is never spoken aloud. This mantra establishes the psychic bond between teacher and student, through which guidance may be asked for and issued. (credit:Thomas Kelly)
Sadhu Brothers(04 of14)
Sadhu Brothers, 2000Pashupatinath, Kathmandu, Nepal
Vaishnava sadhus, like the two brothers in this photograph, are identified by their vertical tilaka consisting of three parts: two yellow or white arcs form a U-shape from the bridge of the nose to the hairline and a red dot or line fills in the center. Different Vaishnava sects reinterpret this basic form, resulting in a variety of distinct tilakas and symbolic meanings. These two sadhus bear a swath of red set off by yellow patterning symbolic of the bow that Rama, an incarnation of Vishnu, used to slay the demon Ravana in the Hindu Ramayana epic. The Tengal Vaishnavas draw a trident, while the Badgals and Acharis interpret their tilaka as the white sole of Vishnu's right foot on a lotus with the red center representing his consort Lakshmi.
Red pigment made from turmeric called the "powder of Shri," referring to Vishnu's consort, and white or yellow clay called gopi-chandana, a type of sandalwood that comes from a sacred Vishnu site, are used by Vaishnava sadhus to create their tilaka decorations. (credit:Thomas Kelly)
Vaishnava sadhus, like the two brothers in this photograph, are identified by their vertical tilaka consisting of three parts: two yellow or white arcs form a U-shape from the bridge of the nose to the hairline and a red dot or line fills in the center. Different Vaishnava sects reinterpret this basic form, resulting in a variety of distinct tilakas and symbolic meanings. These two sadhus bear a swath of red set off by yellow patterning symbolic of the bow that Rama, an incarnation of Vishnu, used to slay the demon Ravana in the Hindu Ramayana epic. The Tengal Vaishnavas draw a trident, while the Badgals and Acharis interpret their tilaka as the white sole of Vishnu's right foot on a lotus with the red center representing his consort Lakshmi.
Red pigment made from turmeric called the "powder of Shri," referring to Vishnu's consort, and white or yellow clay called gopi-chandana, a type of sandalwood that comes from a sacred Vishnu site, are used by Vaishnava sadhus to create their tilaka decorations. (credit:Thomas Kelly)
Sadhvi(05 of14)
Sadhvi, 2000 Pashupatinath, Kathmandu, Nepal
Though the vast majority of sadhus are men -- their various communities are frequently referred to as brotherhoods -- women also renounce the worldly life in favor of one dedicated to spiritual practice. They are called sadhvis, and like the Vishnu devotee in this portrait, typically enter the ascetic life when they are older, usually widowed or still unmarried.
Traditionally, widows have been marginalized in Hindu society, the legacy of an ancient belief in the deeply inauspicious character of a woman who has lost her husband; asceticism offers an alternative to this stigma. Not all sects accept women while a few are composed entirely of sadhvis, and history is marked by a number of important female saints. However, women do occupy a lower position in the spiritual hierarchy. (credit:Thomas Kelly)
Though the vast majority of sadhus are men -- their various communities are frequently referred to as brotherhoods -- women also renounce the worldly life in favor of one dedicated to spiritual practice. They are called sadhvis, and like the Vishnu devotee in this portrait, typically enter the ascetic life when they are older, usually widowed or still unmarried.
Traditionally, widows have been marginalized in Hindu society, the legacy of an ancient belief in the deeply inauspicious character of a woman who has lost her husband; asceticism offers an alternative to this stigma. Not all sects accept women while a few are composed entirely of sadhvis, and history is marked by a number of important female saints. However, women do occupy a lower position in the spiritual hierarchy. (credit:Thomas Kelly)
Bom Shankar(06 of14)
Bom Shankar, 2000Pashupatinath, Kathmandu, Nepal
Red, orange, saffron, ochre and pink -- colors representing fire, the sun, sacrificial blood and the earth -- are the shades preferred by Shaivas, who are most commonly recognized by their distinctive tilaka, composed of three horizontal lines across their foreheads made with sandalwood, other yellow or orange pigments, or ashes from the sacred fire (vibhuti). The three lines are associated with Shiva's iconic trident, symbolizing the oneness of the Hindu trinity of Shiva, Brahma and Vishnu. Often a red or black dot (bindu) representing either the "void" or Shiva's powerful third eye, is incorporated into Shaiva tilaka, as this sadhu's forehead decoration displays.
Emulating the model of Shiva, Lord of Yogis, this Shaiva sadhu wears his hair in matted locks (jata) and dons multiple strands of rudraksh-bead rosaries (malas), used primarily to count mantra recitations and as a kind of amulet. Shiva's jata control the force of the River Ganges and serve as the seat of his yogic powers; to sadhus the locks are a symbol of virility and supernatural power. (credit:Thomas Kelly)
Red, orange, saffron, ochre and pink -- colors representing fire, the sun, sacrificial blood and the earth -- are the shades preferred by Shaivas, who are most commonly recognized by their distinctive tilaka, composed of three horizontal lines across their foreheads made with sandalwood, other yellow or orange pigments, or ashes from the sacred fire (vibhuti). The three lines are associated with Shiva's iconic trident, symbolizing the oneness of the Hindu trinity of Shiva, Brahma and Vishnu. Often a red or black dot (bindu) representing either the "void" or Shiva's powerful third eye, is incorporated into Shaiva tilaka, as this sadhu's forehead decoration displays.
Emulating the model of Shiva, Lord of Yogis, this Shaiva sadhu wears his hair in matted locks (jata) and dons multiple strands of rudraksh-bead rosaries (malas), used primarily to count mantra recitations and as a kind of amulet. Shiva's jata control the force of the River Ganges and serve as the seat of his yogic powers; to sadhus the locks are a symbol of virility and supernatural power. (credit:Thomas Kelly)
Shaivite Chanting(07 of14)
Shaivite Chanting, 1989Pashupatinath, Kathmandu, Nepal
Shiva is a god of countless manifestations and a variety of forms, each famed for certain attributes, deeds and powers. Shaiva sadhus seek to emulate the image of the deity outwardly while internalizing the god's being and knowledge through ritual and spiritual practice. On the surface this sadhu adopts the characteristics of Shiva: he sanctifies his body with sacred ash tilaka, wears his hair in matted locks to evoke yogic power, and carries the god's iconic trident (trishul), the weapon that connects heaven and earth. On a deeper level, however, the sadhu performs all daily activities, both sacred and mundane, as rituals dedicated to the divine, thus transforming his whole existence into holiness. The sadhu seeks to be like Shiva and ultimately be in complete union with him.
Because sadhus imitate the gods in appearance and behavior, they are perceived and worshiped as living idols with the ability to accumulate and channel spiritual energy to the laity. (credit:Thomas Kelly)
Shiva is a god of countless manifestations and a variety of forms, each famed for certain attributes, deeds and powers. Shaiva sadhus seek to emulate the image of the deity outwardly while internalizing the god's being and knowledge through ritual and spiritual practice. On the surface this sadhu adopts the characteristics of Shiva: he sanctifies his body with sacred ash tilaka, wears his hair in matted locks to evoke yogic power, and carries the god's iconic trident (trishul), the weapon that connects heaven and earth. On a deeper level, however, the sadhu performs all daily activities, both sacred and mundane, as rituals dedicated to the divine, thus transforming his whole existence into holiness. The sadhu seeks to be like Shiva and ultimately be in complete union with him.
Because sadhus imitate the gods in appearance and behavior, they are perceived and worshiped as living idols with the ability to accumulate and channel spiritual energy to the laity. (credit:Thomas Kelly)
Nag-Phani Baba(08 of14)
Nag-Phani Baba, 1989Varanasi, India
From ancient times, a tradition of militancy has existed within Hindu asceticism. At first scattered and unorganized, armed ascetics were assembled and recruited from lower castes to form a system of regiments called akharas in response to the aggressive Muslim invasions of the early 13th century. Though these were centers of military rather than religious training, many of these warrior sadhus, who are called Naga Sannyasis, or "Naked Renouncers," continued to perform austerities and yogic practices.
This fierce-looking sadhu from a Shaivite akhara displays his sword and nag-phani, or serpent horn, which is related to Shiva's intimate companion the cobra. Although Nagas no longer engage in actual battles, they still proudly wield their weapons as symbols of their spiritual power and will not hesitate to use them if pressed. (credit:Thomas Kelly)
From ancient times, a tradition of militancy has existed within Hindu asceticism. At first scattered and unorganized, armed ascetics were assembled and recruited from lower castes to form a system of regiments called akharas in response to the aggressive Muslim invasions of the early 13th century. Though these were centers of military rather than religious training, many of these warrior sadhus, who are called Naga Sannyasis, or "Naked Renouncers," continued to perform austerities and yogic practices.
This fierce-looking sadhu from a Shaivite akhara displays his sword and nag-phani, or serpent horn, which is related to Shiva's intimate companion the cobra. Although Nagas no longer engage in actual battles, they still proudly wield their weapons as symbols of their spiritual power and will not hesitate to use them if pressed. (credit:Thomas Kelly)
Aghori(09 of14)
Aghori, 2000Pashupatinath, Kathmandu, Nepal
The Aghori sub-sect of Shaivas closely resembles one of the earliest organized groups of Hindu ascetics, the Kapalikas, or "bearers of skulls," who originated in the ninth or 10th century. Like the modern-day Aghori, Kapalikas worshipped the terrifying manifestation of Shiva, Bhairava, and were known to perform human sacrifice, which often involved offering their own flesh to the deity in acts of self-mutilation and even ritual suicide. Though these extreme practices have evolved into symbolic acts today, the Aghori still use human skulls in rituals, as seen in this photograph. Drinking out of a skullcup (kapala) is a magical act in which the sadhu partakes of the deceased's life force, controlling it with the use of mantras. The skull also serves as a constant reminder of human mortality and the necessity of conquering the duality of life and death.
Because of their taboo behavior, Aghori ascetics remain on the furthest fringes of Hindu society. They drink alcohol, eat meat and use obscene language, transgressions that defy conventional Hindu rules of purity and pollution. Through ritual activities that deliberately combine behavior considered sacred and profane in the Hindu tradition, the Aghori seek to see all things as one, especially opposites. (credit:Thomas Kelly)
The Aghori sub-sect of Shaivas closely resembles one of the earliest organized groups of Hindu ascetics, the Kapalikas, or "bearers of skulls," who originated in the ninth or 10th century. Like the modern-day Aghori, Kapalikas worshipped the terrifying manifestation of Shiva, Bhairava, and were known to perform human sacrifice, which often involved offering their own flesh to the deity in acts of self-mutilation and even ritual suicide. Though these extreme practices have evolved into symbolic acts today, the Aghori still use human skulls in rituals, as seen in this photograph. Drinking out of a skullcup (kapala) is a magical act in which the sadhu partakes of the deceased's life force, controlling it with the use of mantras. The skull also serves as a constant reminder of human mortality and the necessity of conquering the duality of life and death.
Because of their taboo behavior, Aghori ascetics remain on the furthest fringes of Hindu society. They drink alcohol, eat meat and use obscene language, transgressions that defy conventional Hindu rules of purity and pollution. Through ritual activities that deliberately combine behavior considered sacred and profane in the Hindu tradition, the Aghori seek to see all things as one, especially opposites. (credit:Thomas Kelly)
Ektara(10 of14)
Ektara, 2010Pashupatinath, Kathmandu, Nepal
The sadhu photographed here holds an ektara. This is a stringed instrument commonly used in kirtan chanting, a Hindu devotional practice of singing divine names and mantras in an ecstatic call and response format. (credit:Thomas Kelly)
The sadhu photographed here holds an ektara. This is a stringed instrument commonly used in kirtan chanting, a Hindu devotional practice of singing divine names and mantras in an ecstatic call and response format. (credit:Thomas Kelly)
Hanuman Das(11 of14)
Hanuman Das, 2000Pashupatinath, Kathmandu, Nepal
By looking into the eyes of the 86-year-old Vaishnava Hanuman Das the social function of the sadhu as a charismatic guru, compassionate transmitter of spiritual energy and earthly representative of the divine becomes plainly evident. Like other magnetic sadhus, Hanuman Das likely lives off of offerings, which he either keeps, sacrifices to his deity, or returns to the devotees as prasad, or "blessings of the gods." As renunciants, sadhus are exemplars of religious practice and closest to the divine, therefore they are able to give blessings and spiritual instructions. Like consecrated Hindu images, they are capable of giving darshan, or the "returned divine gaze" through which their spiritual energy is transmitted to admiring devotees.
Hanuman Das sits atop a spotted deerskin -- now a substitute for endangered tigers and lions -- which is not only a symbol of power but also thought to prevent the energy accumulated during meditation from escaping into the earth. (credit:Thomas Kelly)
By looking into the eyes of the 86-year-old Vaishnava Hanuman Das the social function of the sadhu as a charismatic guru, compassionate transmitter of spiritual energy and earthly representative of the divine becomes plainly evident. Like other magnetic sadhus, Hanuman Das likely lives off of offerings, which he either keeps, sacrifices to his deity, or returns to the devotees as prasad, or "blessings of the gods." As renunciants, sadhus are exemplars of religious practice and closest to the divine, therefore they are able to give blessings and spiritual instructions. Like consecrated Hindu images, they are capable of giving darshan, or the "returned divine gaze" through which their spiritual energy is transmitted to admiring devotees.
Hanuman Das sits atop a spotted deerskin -- now a substitute for endangered tigers and lions -- which is not only a symbol of power but also thought to prevent the energy accumulated during meditation from escaping into the earth. (credit:Thomas Kelly)
Smoking Sadhu(12 of14)
Smoking Sadhu, 2000 Pashupatinath, Kathmandu, Nepal
Although sadhus as well as Hindu religious texts hold varying opinions about drug use as a spiritual practice, it is an important act for many ascetics, including the one pictured here. Support for the practice is based in the god Shiva's ability to transmute poisonous substances into harmless or beneficial elements. This sadhu is smoking what is most likely a mixture of tobacco and hashish, or charas, in a straight clay pipe called a chilam. Shiva is invoked before the first puff and the intoxicating properties are felt to be the blessings of Shiva, Lord of Charas, and a means of attaining divine wisdom and partaking in Shiva's ecstasy. As a final gesture of devotion, a sadhu may mark his forehead with chilam ash.
While smoking itself is considered an austerity demonstrating non-attachment to the body, it is also a communal ritual between sadhus and other devotees. (credit:Thomas L. Kelly)
Although sadhus as well as Hindu religious texts hold varying opinions about drug use as a spiritual practice, it is an important act for many ascetics, including the one pictured here. Support for the practice is based in the god Shiva's ability to transmute poisonous substances into harmless or beneficial elements. This sadhu is smoking what is most likely a mixture of tobacco and hashish, or charas, in a straight clay pipe called a chilam. Shiva is invoked before the first puff and the intoxicating properties are felt to be the blessings of Shiva, Lord of Charas, and a means of attaining divine wisdom and partaking in Shiva's ecstasy. As a final gesture of devotion, a sadhu may mark his forehead with chilam ash.
While smoking itself is considered an austerity demonstrating non-attachment to the body, it is also a communal ritual between sadhus and other devotees. (credit:Thomas L. Kelly)
Kukkuta Asana(13 of14)
Kukkuta Asana, 2010 Pashupatinath, Kathmandu, Nepal Aside from a life of simplicity and religious focus, many sadhus engage in a diverse array of practices, both internal and external, in order to attain higher states of awareness and consciousness. This sadhu has chosen Hatha yoga and shows off the results -- a well-disciplined, strong body -- by holding the kukkuta asana, or "cock pose." Although Hatha yoga is partially physical in nature, there are many internal, mental practices that accompany the outer, physical postures. Through the united control of body and mind, the sadhu prepares for deeper, more advanced meditation. Hatha yoga also helps the ascetic with sexual discipline and sublimation. Through yogic techniques that manipulate and control the body's physical processes and energetic principles, a sadhu's semen may be retained and converted into shakti, the divine female power that is the basis of all creation. (credit:Thomas Kelly)
Panch-Agni-Tapasya(14 of14)
Panch-Agni-Tapasya, 2000Pashupatinath, Kathmandu, Nepal
In this photograph a group of sadhus engage in an ancient practice called the panch-agni-tapasya, or "five fire austerity." During this austerity the ascetic surrounds himself with four cow dung fires, taking the sun as the "fifth fire," and repeatedly chants the name of his chosen deity. Over a cycle of 18 years, divided into three-year stages, the sadhu increases the number of fires, eventually achieving a full ring of "innumerable" fires in the fifth stage. This circle is never completely closed, so that the god may always enter. In the sixth and final stage of the cycle, a pot of burning cow dung is held on top of the sadhu's head. Usually practiced during the height of summer heat, the sadhu's ability to remain focused on his chosen mantra and deity is severely tested. The intention of this ritual is for the sadhu to symbolically sacrifice himself to the fire, ultimately becoming an offering to the invoked god.
This austerity is connected to the small sacred fire (dhuni) that many sadhus keep as the focal point of all daily worship rituals and religious practices and a potent symbol of the ascetic's self-sacrifice, rebirth from ashes and the ash-covered Shiva. (credit:Thomas Kelly)
In this photograph a group of sadhus engage in an ancient practice called the panch-agni-tapasya, or "five fire austerity." During this austerity the ascetic surrounds himself with four cow dung fires, taking the sun as the "fifth fire," and repeatedly chants the name of his chosen deity. Over a cycle of 18 years, divided into three-year stages, the sadhu increases the number of fires, eventually achieving a full ring of "innumerable" fires in the fifth stage. This circle is never completely closed, so that the god may always enter. In the sixth and final stage of the cycle, a pot of burning cow dung is held on top of the sadhu's head. Usually practiced during the height of summer heat, the sadhu's ability to remain focused on his chosen mantra and deity is severely tested. The intention of this ritual is for the sadhu to symbolically sacrifice himself to the fire, ultimately becoming an offering to the invoked god.
This austerity is connected to the small sacred fire (dhuni) that many sadhus keep as the focal point of all daily worship rituals and religious practices and a potent symbol of the ascetic's self-sacrifice, rebirth from ashes and the ash-covered Shiva. (credit:Thomas Kelly)
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