Incantations of Benares 3
Acrylic on canvas (10" X 8")
Status: Available
Tuesday 31 March 2015
Saturday 28 March 2015
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The Temple Guardian - Kailashvasini The bull, is of significance in many ancient cultures. Within Hinduism, the bull is best known as Nandi, the sacred steed of Shiva and is depicted as a powerful white bull. The white color is a symbol of purity and devotion. Nandi is regarded as the gatekeeper and protector of Shiva as well as Shiva’s consort Goddess Parvati.
The central character is the bull as Nandi, the protector and the guardian of Lord Shiva and of the temple. The latest Temple Guardian series is inspired by the 108 names given to Lord Shiva. The backgrounds in themselves depict Shiva in His various manifestations. The above work is based on Shiva's name ‘Om Kailashvasini Namaha’ in which Lord Shiva is depicted as the one who lives on Mount Kailash. The background is the direct outcome of the artist's emotions in colour when reflecting on his own love for the snow clad peaks of the Himalayas. The airy light colours evoke a feeling of altitude and purity of air and thought, an innocence of devotion as should be when approaching the abode of the Gods- again protected by Nandi the faithful guardian.
Acrylic and pen on canvas 36" X 36"
Acquired
Acquired
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Vishveshwara
The bull, is of significance in many ancient cultures. Within Hinduism, the bull is best known as Nandi, the sacred steed of Shiva and is depicted as a powerful white bull. The white colour is a symbol of purity and devotion. Nandi is regarded as the gatekeeper and protector of Shiva as well as Shiva’s consort Goddess Parvati.
Acrylic and pen on canvas 36" X 36"
Status: Unavailable
The Temple Guardian - Gangadhara
The bull, is of significance in many ancient cultures. Within Hinduism, the bull is best known as Nandi, the sacred steed of Shiva and is depicted as a powerful white bull. The white color is a symbol of purity and devotion. Nandi is regarded as the gatekeeper and protector of Shiva as well as Shiva’s consort Goddess Parvati and It is believed that one must first gain the approval of Nandi before being allowed to worship Lord Shiva.
The central character is the bull as Nandi, the protector and the guardian of Lord Shiva and of the temple. The latest Temple Guardian series is inspired by the 108 names given to Lord Shiva. The backgrounds in themselves depict Shiva in His various manifestations. The above work is based on Shiva's name 'Om Gangadhara Namaha' in which Lord Shiva is depicted as the Lord of the river Ganges.
Acrylic and pen on canvas 36" X 36"
Status: Acquired via Gallery Art Spice, Delhi
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The bull, is of significance in many ancient cultures. In buddhism The Bull represents "desire" during the life of the Buddha as a prince. Amongst the Jains The bull is the emblem of Adinath, the first Jain tirthankara. In Greek mythology it is a symbol of male sexuality, illustrated by Zeus, in the form of a white bull, unrelentingly pursuing Europa.
Within Hinduism, the bull is best known as Nandi, the sacred steed of Shiva and is depicted as a powerful white bull. The white color is a symbol of purity and devotion. Nandi is regarded as the gatekeeper and protector of Shiva as well as Shiva’s consort the Hindu Goddess Parvati and It is believed that one must first gain the approval of Nandi before being allowed to worship Lord Shiva. Nandi also means joyous, and in ancient times, the bull was also worshipped as the Lord of Joy.
In this work the bulls are shown as Nandi the guardian, but not just of shiva as believed amongst the Hindus but also of The Lord Buddha represented by the central Lotus. The lotus in buddhist/ tibetan art is the symbol that represents the birth of the Buddha.
Acrylic and pen on canvas 18" X 50 / 2012 / FramedStatus: Acquired
via Gallerie NVYA - GMR Artwalk project at IGI Airport, New Delhi.
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The Temple Guardian II
The bull, is of significance in many ancient cultures. In buddhism The Bull represents "desire" during the life of the Buddha as a prince. Amongst the Jains The bull is the emblem of Adinath, the first Jain tirthankara. In Greek mythology it is a symbol of male sexuality, illustrated by Zeus, in the form of a white bull, unrelentingly pursuing Europa.
Within Hinduism, the bull is best known as Nandi, the sacred steed of Shiva and is depicted as a powerful white bull. The white color is a symbol of purity and devotion. Nandi is regarded as the gatekeeper and protector of Shiva as well as Shiva’s consort the Hindu Goddess Parvati and It is believed that one must first gain the approval of Nandi before being allowed to worship Lord Shiva. Nandi also means joyous, and in ancient times, the bull was also worshipped as the Lord of Joy.
In this work the artist depicts Nandi as the guardian of the temple of shiva but also alludes to Nandi being the god of joy, with the golden bull of joy lying within the pristine and pure, white bull.
Acrylic and pen on canvas 18" X 48" / 2012 / FramedStatus: Acquired
via Gallerie NVYA - GMR Artwalk project at IGI Airport, New Delhi.
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The Temple Guardian I The bull, is of significance in many ancient cultures. In Buddhism The Bull represents "desire" during the life of the Buddha as a prince. Amongst the Jains The bull is the emblem of Adinath, the first Jain tirthankara. In Greek mythology it is a symbol of male sexuality, illustrated by Zeus, in the form of a white bull,...
Status: Acquired
unrelentingly pursuing Europa.
Within Hinduism, the bull is best known as Nandi, the sacred steed of Shiva and is depicted as a powerful white bull. The white color is a symbol of purity and devotion. Nandi is regarded as the gatekeeper and protector of Shiva as well as Shiva’s consort the Hindu Goddess Parvati and It is believed that one must first gain the approval of Nandi before being allowed to worship Lord Shiva. Nandi also means joyous, and in ancient times, the bull was also worshipped as the Lord of Joy.
Within Hinduism, the bull is best known as Nandi, the sacred steed of Shiva and is depicted as a powerful white bull. The white color is a symbol of purity and devotion. Nandi is regarded as the gatekeeper and protector of Shiva as well as Shiva’s consort the Hindu Goddess Parvati and It is believed that one must first gain the approval of Nandi before being allowed to worship Lord Shiva. Nandi also means joyous, and in ancient times, the bull was also worshipped as the Lord of Joy.
In this work the artist has a twofold depiction of the bull. One, as Nandi facing the symbol representing Shiva and two as the bull representing desire in the life of prince Sidharth .Within the Bull is the image of the bodhi tree, the symbol of nirvana. Hence, depicting the transition of Sidhartha from a worldly Prince, to the Buddha. With both the Hindu and Buddhist beliefs on the same canvas the two great and ancient paths of worship in the world are linked.
Acrylic and pen on canvas 18" X 48" / 2012 / Framedvia Terminal 1D, Indira Gandhi International Airport, from the Gallerie Nvya - GMR art walk project
Sunday 15 March 2015
Divya Chakshu- The Tenth Gateway I The work presents the artist’s interpretation of the esoteric concept of the third eye or the inner eye. While putting forth this concept on canvas there has been an attempt to symbolize the evocation of mental images that occurred owing to a deep personal spiritual connect with his work.
This divine eye, is a concept prevalent in several spiritual beliefs stretching across cultural boundaries and existing in Hinduism, Sikhism, Buddhism and Taoism. (This is represented by the texture in relief that resembles a script at first glance but in its anonymity signals a universality ). The third eye is referred to the gate that leads within to the inner realms and spaces of higher consciousness.With the body being compared to a village wherein The Creator has established nine gates or openings e.g eyes, ears, nostrils, mouth etc the “tenth gateway” is the hidden gateway at the centre of the brows and hence in Sanskrit called “Divya Chakshu” where the all seeing, all knowing, Lord resides . It is associated with the resonance of “OM” and the Ajna Chakra. The opening of the third eye often symbolizes a state of enlightenment .
This divine eye, is a concept prevalent in several spiritual beliefs stretching across cultural boundaries and existing in Hinduism, Sikhism, Buddhism and Taoism. (This is represented by the texture in relief that resembles a script at first glance but in its anonymity signals a universality ). The third eye is referred to the gate that leads within to the inner realms and spaces of higher consciousness.With the body being compared to a village wherein The Creator has established nine gates or openings e.g eyes, ears, nostrils, mouth etc the “tenth gateway” is the hidden gateway at the centre of the brows and hence in Sanskrit called “Divya Chakshu” where the all seeing, all knowing, Lord resides . It is associated with the resonance of “OM” and the Ajna Chakra. The opening of the third eye often symbolizes a state of enlightenment .
Acrylic on Canvas. 50" X 25" / Framed
Status: Acquired
Divya Chakshu- The Tenth Gateway II
The work presents the artist’s interpretation of the esoteric concept of the third eye or the inner eye. While putting forth this concept on canvas there has been an attempt to symbolize the evocation of mental images that occurred owing to a deep personal spiritual connect with his work.
This divine eye, is a concept prevalent in several spiritual beliefs stretching across cultural boundaries and existing in Hinduism, Sikhism, Buddhism and Taoism. (This is represented by the texture in relief that resembles a script at first glance but in its anonymity signals a universality ). The third eye is referred to the gate that leads within to the inner realms and spaces of higher consciousness. With the body being compared to a village wherein The Creator has established nine gates or openings e.g. eyes, ears, nostrils, mouth etc the “tenth gateway” is the hidden gateway at the centre of the brows and hence in Sanskrit called “Divya Chakshu” where the all seeing, all knowing, Lord resides . It is associated with the resonance of “OM” and the Ajna Chakra. The opening of the third eye often symbolizes a state of enlightenment .
The work presents the artist’s interpretation of the esoteric concept of the third eye or the inner eye. While putting forth this concept on canvas there has been an attempt to symbolize the evocation of mental images that occurred owing to a deep personal spiritual connect with his work.
This divine eye, is a concept prevalent in several spiritual beliefs stretching across cultural boundaries and existing in Hinduism, Sikhism, Buddhism and Taoism. (This is represented by the texture in relief that resembles a script at first glance but in its anonymity signals a universality ). The third eye is referred to the gate that leads within to the inner realms and spaces of higher consciousness. With the body being compared to a village wherein The Creator has established nine gates or openings e.g. eyes, ears, nostrils, mouth etc the “tenth gateway” is the hidden gateway at the centre of the brows and hence in Sanskrit called “Divya Chakshu” where the all seeing, all knowing, Lord resides . It is associated with the resonance of “OM” and the Ajna Chakra. The opening of the third eye often symbolizes a state of enlightenment .
Acrylic on Canvas. 50" X 25" / Framed
Status: Acquired
via Gallery Art Alive
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Hoofbeats of the Four Winds
In Greek Mythology The four winds were perceived as mighty horse-formed spirits or beasts and they were controlled and contained solely by Aeolus The God of the winds also known as "reiner of the horses". The work is inspired by this interesting mythological depiction of the four winds and has been given an Asian visual tint linking the great civilisations that existed and thrived in the ancient world.
Acrylic and pen on canvas 36" X 36"
Status: Acquired via Gallerie NVYA, New Delhi
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On the Wings of the Four Winds
The work "On the Wings of the Four Winds " depicts the movement of the auspicious winds through the cranes that have been a symbol of happiness and eternal youth throughout Asia .The Japanese refer to the crane as “the bird of happiness;” the Chinese as “heavenly crane” believing they were symbols of wisdom. The powerful wings of the crane were believed to be able to convey souls up to paradise and to uplift mortals to higher levels of spiritual being. In Greek mythology the crane was usually considered to be a bird of Apollo, the sun god, who heralded in Spring and light.
Acrylic and pen on canvas 36" X 36" (Framed)
Status: Acquired
Status: Acquired
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