Jan 23, 2013

Krishna - New Forever series (Govinda Pattabhishekam) watercolor.

Jan 21, 2013

 Achyuta (one who never lets your hand slip away from his.)
Forever new series. watercolor.

Jan 20, 2013

Paradox Krishna, oil on canvas, 2006.


































Wacom Vamana. (digital coloring)







































                                                    Shiva Ganga - watercolor.
Shiva bears the force of the heavenly river Ganga on his head.






































































Krishna - Experiments with Krishna series. watercolor.

































Krishna - New Forever series. watercolor.

Jan 18, 2013

Eka - Rekha Krishna  (single-line Krishna). Calligraphy pen.

Jan 16, 2013

Jan 14, 2013

Kshirsagar Sisters, oil on canvas, 2006.
Kamadhenu ushers in Lakshmi to garland Vishnu.
Madhuradhipathi, oil on canvas, 2006.

Jan 13, 2013

Jan 11, 2013

Bhakta Hanuman. watercolor.
The Geetacharya. watercolor on papyrus
Arjuna: 'Karishye vachanam thava..' -- I will do your bidding.

Jan 10, 2013

 Gitaamrita. oil on canvas. 5'x4'

'Sarvopanishado gaavo dogdha gopalanandana: ..." Gita Maahaatmya.

Krishna milks the essence of the Upanishads in the form of Bhagawad Gita, 

which has to be churned by our mind with his grace, 
to yield the butter called Bhakti.

Jan 9, 2013

Goverdhandhari, oil on leather

The composition of the epic Mahabharatha. Watercolor.

Ganesha agrees to be the scribe, as Vyasa dictates the epic, but with a condition that he will not stop while writing. Vyasa accepts -- with a counter-condition that he should fully understand the import of the verse before writing. Where some intervals were inevitable, Vyasa composes some complex verses for Ganesha to understand -- to gain time to compose his next verse. Krishna, the central figure of the epic, watches on, with a wheel, the symbol of the Mahabharatha.

Jan 8, 2013

 
Krishna and Arjuna.watercolor.
  'Divyam dadami thae chakshu:' -- I give you divine eyes to behold my cosmic form...'

Jan 7, 2013

.....from the 'Experiments with Krishna' series.
The Paramacharya, Chandrasekharendra Saraswathi, summons and hears from the legendary singer, Ariyakkudi Ramanuja Iyengar the composition, 'Subrahmanyaya Namasthe...' by Sri Muthuswami Dikshitar. He also explains the meaning and the intricacies of the composition, stressing that it is important for singers to understand the words in the composition in order to sing it with bhava (feel).
'Experiments with Krishna' series, watercolor

Jan 5, 2013


Vishwaroopa, Acrylic mural.
Inspired by Gopala Vimshati of Swamy Desika. 'Adharahita chaaru vamsha naala..." 
I want to see this form of yours during my last breath. 
your charming lips playing on your flute. The peacock feathers on your crest, 
slipping away and fluttering. Blue as a piece of the Indraneela gem, 
let this vision be with me always, until my last breath."
Narada, the guru for both the boys Dhruva and Prahlada.
For Prahlada it was his upadesha of 'Hari, Hari' and
for Dhruva it was the Dwadashakshara mantra.

 Sudarshana, the discus in a personal form.

Panchajanya, the conch in a personal form.

Arjuna, 'I will do your bidding...' (karishye vachanam thava...)


Meera 'Mere tho Giridhar Gopala, doosro na koi...'

Andal (kurai ondrum illada Govinda...)

Swamy Desika and the verse in Gopala Vimshati. 
Krishna's important verses from the Gita 
(with the last shloka, sarva dharman parityajya..) also included.



































                                                     
The Lord's foot rising upto the skies (emphasised with a line) during
the Vamana avatar. Brahma washes his feet, the water of which flows down as the Ganga.
Kaliya Mardhana, acrylic on bamboo mat. 2005

Jan 3, 2013


Navaneetha Natyam:
5' x 4' acrylic on canvas, 2004.

The basic idea is inspired from Swami Desika's verse in Gopala Vimshati (20 verses in praise of Gopala). In the fourth verse he describes Krishna's ways to seek butter (navaneetam). In Nanda's house Yashoda is churning butter. One of his knees bent, and supporting himself firmly on the other leg, he begins to dance. The jingling sound of the ornaments on his person, made by his swinging movements and the rhythmic churning keep the beats for his dance.  He dances and asks for a handful of butter, as if it were a fee. Let this vision appear to me, prays Desika.
The pot is shown as the tabala, which keeps the beat. A comparison is made with the Kurma avatar, where the Lord churned entire ocean of milk for Amrita. Adding to the music, is his own flute, emerging from the pot. Butter is the symbol of bhakti, churned out from milk, a pure heart. This milk goes through various forms to get to the final stage of butter. The various dance poses are pictured in the background, suggesting his various leelas in Gokula.