Kendrit I

"Kendrit" means "Focused". It is often thought that the goal of meditation is to empty the mind. However It's not about "emptying" the mind; it's about focusing on a single focal point or object that could be physical or mental. When the mind wanders,harnessing it and refocusing is achieved through meditation.When total focus of the mind upon a single object is achieved, the mind is totally absorbed in the object to the exclusion of all  distractions. 

We all occasionally experience this state spontaneously when for instance listening to a favourite piece of music or being engrossed in the arts. This focus is the key to a change in experiencing life and relating to others around us. The practice of Kendrit has no age bar and hence this is depicted in the series where the monks are obviously across the age spectrum from the novice child monk to the experienced ageing monk.
Acrylic on canvas (48 x 24)

Acquired

Kendrit II

"Kendrit" means "Focused". It is often thought that the goal of meditation is to empty the mind. However It's not about "emptying" the mind; it's about focusing on a single focal point or object that could be physical or mental. When the mind wanders,harnessing it and refocusing is achieved through meditation.When total focus of the mind upon a single object is achieved, the mind is totally absorbed in the object to the exclusion of all  distractions. 

We all occasionally experience this state spontaneously when for instance listening to a favourite piece of music or being engrossed in the arts. This focus is the key to a change in experiencing life and relating to others around us. The practice of Kendrit has no age bar and hence this is depicted in the series where the monks are obviously across the age spectrum from the novice child monk to the experienced ageing monk.
Acrylic on canvas (48 x 24)

Acquired

Kendrit III
"Kendrit" means "Focused". It is often thought that the goal of meditation is to empty the mind. However It's not about "emptying" the mind; it's about focusing on a single focal point or object that could be physical or mental. When the mind wanders,harnessing it and refocusing is achieved through meditation.When total focus of the mind upon a single object is achieved, the mind is totally absorbed in the object to the exclusion of all  distractions. 

We all occasionally experience this state spontaneously when for instance listening to a favourite piece of music or being engrossed in the arts. This focus is the key to a change in experiencing life and relating to others around us. The practice of Kendrit has no age bar and hence this is depicted in the series where the monks are obviously across the age spectrum from the novice child monk to the experienced ageing monk.
Acrylic on canvas (48 x 24)

Acquired

On the Wings of Good Fortune II
The work  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 72" X 36" 
Acquired

The Awakening 
In Buddhism, the bud of the lotus symbolises potential. The lotus flower represents an awakening, spiritual growth, and enlightenment. Just as the lotus flower emerges from the water clean, the lotus also represents purity of body, speech, and mind. 
Acrylic on canvas (36 X 48)
Acquired 
Series: Miscellaneous works

The Courtyard of Serenity II
A courtyard is a fascinating architectural space. The artist connects this space to a spiritual experience. Located usually in the very centre of strong built-up living areas and opening up to the skies and the elements, a courtyard seems to be synonymous to the spirituality that lies within us... that spirituality which opens our minds and bodies to the greater scheme of life itself. 

Across cultures the courtyard is a space where people meet and bond. It is sacred to the concept of families, their beliefs and their love. In Hindu households the courtyard is the space where the sacred Tulsi plant is tended to and nurtured. Hence the parallel drawn to our internal sacred courtyard of love which we may adorn, nurture and help flourish. Our own courtyard of serenity.
Mixed media on canvas (48" X 36")
Acquired via TAD Arts

The Courtyard of Serenity I
A courtyard is a fascinating architectural space. The artist connects this space to a spiritual experience. Located usually in the very centre of strong built-up living areas and opening up to the skies and the elements, a courtyard seems to be synonymous to the spirituality that lies within us... that spirituality which opens our minds and bodies to the greater scheme of life itself. 

Across cultures the courtyard is a space where people meet and bond. It is sacred to the concept of families, their beliefs and their love. In Hindu households the courtyard is the space where the sacred Tulsi plant is tended to and nurtured. Hence the parallel drawn to our internal sacred courtyard of love which we may adorn, nurture and help flourish. Our own courtyard of serenity.

Mixed media on canvas (36" X 36")
Status: Acquired

A town named Nostalgia I I look back with a mix of emotions: sadness for the people who are gone, nostalgia for times that have passed, but immense gratitude for the wonderful opportunities that came my way. - Dick Van Patten
Acrylic on canvas 27 X 42
Acquired via Art for Concern

A town named Nostalgia II
I look back with a mix of emotions: sadness for the people who are gone, nostalgia for times that have passed, but immense gratitude for the wonderful opportunities that came my way. - Dick Van Patten
Acrylic on canvas 27 X 36
Acquired via Art for Concern

A town named Nostalgia III
I look back with a mix of emotions: sadness for the people who are gone, nostalgia for times that have passed, but immense gratitude for the wonderful opportunities that came my way. - Dick Van Patten

Acrylic on canvas 30 X 48

Status: Available 

Tabernacle of the Soul I 
During the Exodus, the tabernacle was a portable worship facility with the outer court, the holy place and the holiest of holies. The Apostle Paul referred to man as the temple of God - hence the outer court being the body or flesh; the holy place is like the soul; and the holiest of holies like the spirit. The Buddhists believe, as do the Hindus that the body is the tabernacle of the soul. Across faiths it is therefore, almost ritualistic to care for the  body as one would, a place of worship, a temple or tabernacle. The work attempts to illustrate and carry this message underlining the belief that within each of us lies a soul and resides our God. Hence each one of us is worthy of respect by the other.

Acrylic on canvas / 36" X 36"
Acquired

Tabernacle of the Soul II
During the Exodus, the tabernacle was a portable worship facility with the outer court, the holy place and the holiest of holies. The Apostle Paul referred to man as the temple of God - hence the outer court being the body or flesh; the holy place is like the soul; and the holiest of holies like the spirit. The Buddhists believe, as do the Hindus that the body is the tabernacle of the soul. Across faiths it is therefore, almost ritualistic to care for the  body as one would, a place of worship, a temple or tabernacle. The work attempts to illustrate and carry this message underlining the belief that within each of us lies a soul and resides our God. Hence each one of us is worthy of respect by the other.
Acrylic on canvas / 36" X 36"
Acquired via Art Houz, Chennai

Tabernacle of the Soul IV 
During the Exodus, the tabernacle was a portable worship facility with the outer court, the holy place and the holiest of holies. The Apostle Paul referred to man as the temple of God - hence the outer court being the body or flesh; the holy place is like the soul; and the holiest of holies like the spirit. The Buddhists believe, as do the Hindus that the body is the tabernacle of the soul. Across faiths it is therefore, almost ritualistic to care for the  body as one would, a place of worship, a temple or tabernacle. The work attempts to illustrate and carry this message underlining the belief that within each of us lies a soul and resides our God. Hence each one of us is worthy of respect by the other.

Acrylic on canvas / 48" X 36"
Acquired

Tabernacle of the Soul III 

During the Exodus, the tabernacle was a portable worship facility with the outer court, the holy place and the holiest of holies. The Apostle Paul referred to man as the temple of God - hence the outer court being the body or flesh; the holy place is like the soul; and the holiest of holies like the spirit. The Buddhists believe, as do the Hindus that the body is the tabernacle of the soul. Across faiths it is therefore, almost ritualistic to care for the  body as one would, a place of worship, a temple or tabernacle. The work attempts to illustrate and carry this message underlining the belief that within each of us lies a soul and resides our God. Hence each one of us is worthy of respect by the other.

Acrylic on canvas / 48" X 36"

Acquired

Sanjeevani
The work depicts the ever popular theme from the epic, The Ramayana. To the artist , in essence this part of the epic beautifully brings forth and epitomises, devotion, resilience, and perseverance.This is depicted by the  flower not only pushing through the rock but blooming as well.
Acrylic on canvas (40" X 36")
Available via Saatchi
Series: Miscellaneous works

The Wheel of Harmony 
Buddhists from the Himalayas state that they experience a deep sense of harmony in their homes and environment when the prayer wheel is placed in their abode. A number of Tibetan commentaries state that having a prayer wheel in a building makes that place become like the Potala - the pure land of the Buddha. Without doubt the prayer wheel’s beauty and energy exudes a very clear and positive effect.

In this work the artist has attempted to capture this sense of harmony and surrounded the prayer wheel with symbolic representations of the prayer flags that traditionally,are used to promote peace, compassion, strength, and wisdom. The Tibetans believe the prayers and mantras on the flags will be blown by the winds to spread good will and compassion into all pervading space, hence benefitting one and all. Visually,the work is syncretic in its essence and a fusion of the contemporary with the traditionally spiritual.

Acrylic on canvas (36" X 48")
Acquired
Series: Miscellaneous works

Celebrating the Chandrabindu II
The work is a result of the artist's fascination of the devanagari script's chandra bindu derivatives of which are found in the tibetan umê and Uchen scripts, Bhutanese Dzongka,and Sikkimese Drendzongké amongst other Sino Tibetic scripts around central Asia and the high plateaus.To the Artist the ' Moon -Dot' is mystic in its simplistic artisitic stroke of a crescent moon surrounding a dot. it seems to be a protective bowl cradling the very soul and some believe that the crescent and dot represents the land of the perfect soul. The crescent, the shape of an inverted umbrella is considered the shape of the universe. While also reminiscent of the urdhva-pundra tilaka in the form of a U-shape usually with a red dot inside, worn by Vaishnavas, the followers of Vishnu, the chandra bindu also reminds the artist of the crescent moon and star symbol, transcending cultures.

Ofcourse the chandrabindu is intrinsic to the famous and sacred Aum where it is by some believed to repre-sent Vishnu. Interpretations of the symbol of ॐ (aum) containing three curves, one semicircle and a dot is that the large lower curve symbolizes the waking state; the upper curve denotes deep sleep (or the uncon-scious) state, and the curve between the two (which lies between deep sleep and the waking state) signifies the dream state. Coming to the Chandrabindu, the dot signifies the Absolute (fourth or Turiya state of con-sciousness),the semicircle symbolizes "maya" and separates the dot from the other three curves. The semi-circle is open on the top, which means that the absolute is infinite and is not affected by maya.

Even if taken as just a Devanagri diacritic placed above the top-line of vowels, in order to emphatically nasalize their sound, in the view of the artist, the Sacred Aum (the vibrant resonance of which has deep conotations and significance in the creation of the world) is incomplete in its very essence without the Chandrabindu.
Size 18 X 50 // Acrylic on canvas
Acquired via Art for Concern 

Celebrating the Chandrabindu VIII
The work is a result of the artist's fascination of the devanagari script's chandra bindu derivatives of which are found in the tibetan umê and Uchen scripts, Bhutanese Dzongka,and Sikkimese Drendzongké amongst other Sino Tibetic scripts around central Asia and the high plateaus.To the Artist the ' Moon -Dot' is mystic in its simplistic artisitic stroke of a crescent moon surrounding a dot. it seems to be a protective bowl cradling the very soul and some believe that the crescent and dot represents the land of the perfect soul. The crescent, the shape of an inverted umbrella is considered the shape of the universe. While also reminiscent of the urdhva-pundra tilaka in the form of a U-shape usually with a red dot inside, worn by Vaishnavas, the followers of Vishnu, the chandra bindu also reminds the artist of the crescent moon and star symbol, transcending cultures.

Ofcourse the chandrabindu is intrinsic to the famous and sacred Aum where it is by some believed to repre-sent Vishnu. Interpretations of the symbol of ॐ (aum) containing three curves, one semicircle and a dot is that the large lower curve symbolizes the waking state; the upper curve denotes deep sleep (or the uncon-scious) state, and the curve between the two (which lies between deep sleep and the waking state) signifies the dream state. Coming to the Chandrabindu, the dot signifies the Absolute (fourth or Turiya state of con-sciousness),the semicircle symbolizes "maya" and separates the dot from the other three curves. The semi-circle is open on the top, which means that the absolute is infinite and is not affected by maya.

Even if taken as just a Devanagri diacritic placed above the top-line of vowels, in order to emphatically nasalize their sound, in the view of the artist, the Sacred Aum (the vibrant resonance of which has deep conotations and significance in the creation of the world) is incomplete in its very essence without the Chandrabindu.

Size 18 X 50 // Acrylic on canvas
Status: Available 

Celebrating the Chandrabindu VI

The work is a result of the artist's fascination of the devanagari script's chandra bindu derivatives of which are found in the Tibetan umê and Uchen scripts, Bhutanese Dzongka,and Sikkimese Drendzongké amongst other Sino Tibetic scripts around central Asia. Some believe, the ' Moon -Dot' to be a protective bowl cradling the soul, and  that the crescent and dot represents the land of the perfect soul. The chandra bindu also reminds the artist of the crescent moon and star symbol which transcends cultures.

Ofcourse the chandrabindu is intrinsic to the famous and sacred Aum where it is believed to represent Vishnu. Interpretations of the symbol of ॐ (aum) containing three curves, one semicircle and a dot is that the large lower curve symbolizes the waking state; the upper curve denotes deep sleep (or the uncon-scious) state, and the curve between the two (which lies between deep sleep and the waking state) signifies the dream state. Coming to the Chandrabindu, the dot signifies the Absolute (fourth or Turiya state of consciousness), the semicircle symbolizes "maya" and separates the dot from the other three curves. The semi-circle is open on the top, which means that the absolute is infinite and is not affected by maya.

In the view of the artist, the Sacred Aum (the vibrant resonance of which has deep connotations and significance in the creation of the world) is incomplete in its very essence without the Chandrabindu.

Size 64 X 48 // Acrylic on canvas

Acquired via Art for Concern

Rajah 
"Swadeshe pujyate Raja,vidhvan sarvate pujyate" or a Raja is revered in his own kingdom a wise man through out the world... inspired by the motto of his school the artist depicts the attributes of a learned and wise ruler which makes him far more effective than that of a tyrant. The owl depicts wisdom and the tear compassion, while the crown and throne are the traditional symbols of absolute power. Yielding power with compassion and wisdom holds true as mighty attributes even in the world of today, whether in politics or in the corporate world.

Acrylic on canvas 48" X 36"
Status: Available
Series: Miscellaneous works

On the Wings of Good Fortune I
The work  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 48"
Status: Available

The Lotus Buddha I
The painting depicts the meditation Buddha or the Lotus Buddha as Buddha in this position resembles a lotus flower. The lotus besides being a symbol of purity was also the symbolic vehicle that led the Buddha to Nirvana. The Lotus Buddha has the hands resting gently on the lap while the legs are crossed. This position is commonly used for meditation and is known as the lotus position. The lotus flower is rich with symbolic meaning in Buddhism. It is a symbol of Bodhi, a state of spiritual perfection and complete mental purity, the pacification of our base nature. 
Mixed media on canvas (46 X 22)
Acquired via Gallerie Nvya

The Lotus Buddha II
The painting depicts the meditation Buddha or the Lotus Buddha as Buddha in this position resembles a lotus flower. The lotus besides being a symbol of purity was also the symbolic vehicle that led the Buddha to Nirvana. The Lotus Buddha has the hands resting gently on the lap while the legs are crossed. This position is commonly used for meditation and is known as the lotus position. The lotus flower is rich with symbolic meaning in Buddhism. It is a symbol of Bodhi, a state of spiritual perfection and complete mental purity, the pacification of our base nature. 
Acrylic on canvas (40 X 36)
Acquired

The Lotus Buddha III
The painting depicts the meditation Buddha or the Lotus Buddha as Buddha in this position resembles a lotus flower. The lotus besides being a symbol of purity was also the symbolic vehicle that led the Buddha to Nirvana. The Lotus Buddha has the hands resting gently on the lap while the legs are crossed. This position is commonly used for meditation and is known as the lotus position. The lotus flower is rich with symbolic meaning in Buddhism. It is a symbol of Bodhi, a state of spiritual perfection and complete mental purity, the pacification of our base nature. 
Acrylic on canvas 36"X 48"
Status: Available via Mojarto

The Lotus Buddha IV
The painting depicts the meditation Buddha or the Lotus Buddha as Buddha in this position resembles a lotus flower. The lotus besides being a symbol of purity was also the symbolic vehicle that led the Buddha to Nirvana. The Lotus Buddha has the hands resting gently on the lap while the legs are crossed. This position is commonly used for meditation and is known as the lotus position. The lotus flower is rich with symbolic meaning in Buddhism. It is a symbol of Bodhi, a state of spiritual perfection and complete mental purity, the pacification of our base nature.

Acrylic on canvas 36" X 48"
Status: Unavailable 

The Lotus Buddha VI
The painting depicts the meditation Buddha or the Lotus Buddha as Buddha in this position resembles a lotus flower. The lotus besides being a symbol of purity was also the symbolic vehicle that led the Buddha to Nirvana. The Lotus Buddha has the hands resting gently on the lap while the legs are crossed. This position is commonly used for meditation and is known as the lotus position. The lotus flower is rich with symbolic meaning in Buddhism. It is a symbol of Bodhi, a state of spiritual perfection and complete mental purity, the pacification of our base nature. 
Acrylic on canvas 36"X 48"
Status: Available via Gallery Artistique

Dhyana I ( Tiger and the meditating monk) 
In this work the tiger represents the mind in all its power and untamed ferocity with the random unformed script-like forms representing scattered thoughts. Through the power of meditation the monk seemingly brings this "chanchal" mind under control. The contrast of the tigers ferocity highlights the calmness of the monk- just as it takes some hardships for us to appreciate the good that lies within. The retention of calmness in a tumultuous environment is achieved through Dhyana, the practice of mind control by which we stop all thinking  and seek to realise Truth in its essence. The dot in the work depicts this focusing of the mind. Of the many different paths to Nirvana, the most important one  is the path of Dhyana, the practice of “stopping and realising.”

Mixed media on canvas 40" X 30"   
Acquired

Dhyana II ( Bodhi tree and the four boy monks) 
Selected for the AIFACS 86th All India Annual Exhibition/ December 2013

In this work the novice boy monks are revealed the concept of "Nirvana" as depicted by the tree in its purest form of monochromatic representation. The novice monks are in awe of this magnificent vision. They see the path that links them to their final goal through Dhyana, represented by the simple red dot. The sanctity and purity of this thought lies in the vast whiteness of the canvas. As one pauses to absorb the work, the artist endeavours to instil The retention of calmness in the midst of a  tumultuous environment that the viewer may find himself in. It is  through Dhyana, the practice of mind control by which we stop all thinking and seek to realize Truth in its essence. Of the many different paths to Nirvana, the most important one  is the path of Dhyana, the practice of “stopping and realizing.”

Mixed media on canvas 48" X 36"   

Acquired via Gallerie Nvya  
Selected for AIFACS 86th All India Annual Exhibition, Delhi

Dhyana III (boy monk on wall) 
The mantra Om mani padme hum as presented in the artwork is deep and vast in its resonance and meaning.  The six syllables, om mani padme hum, mean that with the practice of the path which is an indivisible union of method and wisdom, the impure body, speech, and mind can be transformed into the pure exalted form of the Buddha. The chant rises upwards as a tribute to the Buddha. The boy monk sits on a wall contemplating the immense meaning of the chant resolvoing to conquer fear on his path to wisdom. 
Mixed media on canvas 48" X 36"   
Acquired via Gallerie Nvya

Dhyana IV

In the work, the artist depicts the swirling random movement of the mind and uncontrolled circumstances that surround us, every moment, often dictating our actions. Thus we react to all that we are surrounded by and enveloped in. The monk is also therefore in a similar situation but appears to emerge out of it, retaining his serenity which is reflected by his posture. This retention of calmness in a tumultuous environment is achieved through Dhyana, the practice of mind control by which we stop all thinking and seek to realize Truth in its essence. Of the many different paths to Nirvana, the most important one  is the path of Dhyana, the practice of “stopping and realizing.”

Mixed media on canvas (36" X 36" Framed) / 2013
Acquired

Dhyana VI
In the work, the artist depicts the swirling random movement of the mind and uncontrolled circumstances that surround us, every moment, often dictating our actions. Thus we react to all that we are surrounded by and enveloped in. The monk is also therefore in a similar situation but appears to emerge out of it, retaining his serenity which is reflected by his posture. This retention of calmness in a tumultuous environment is achieved through Dhyana, the practice of mind control by which we stop all thinking and seek to realize Truth in its essence. Of the many different paths to Nirvana, the most important one  is the path of Dhyana, the practice of “stopping and realizing.”
Mixed media on canvas (36" X 36" Framed) / 2013
Unavailable 

Dhyana VII - Asthachal, the evening meditation
As the sun sets and the mountain air turns cold, it is time to find peace within one's self simply by focussing on the spectacular sunset, the silence that envelopes and the smells of pine and wood smoke. The artist has attempted to capture this memory on his canvas in the hope of sharing the tranquillity with all who may enjoy the work.

Mixed media on canvas 36" X 48" / 2013
Status: Acquired 

Dhyana VIII
As the sun sets it is time to find peace within one's self simply by focussing on the spectacular sunset, the silence that envelopes. The artist has attempted to capture this memory on his canvas in the hope of sharing the tranquillity with all who may enjoy the work. 
Acrylic on canvas 60" X 40"
Acquired via Gallerie Nvya

Dhyana IX
In the work, the artist depicts the swirling random movement of the mind and uncontrolled circumstances that surround us, every moment, often dictating our actions. Thus we react to all that we are surrounded by and enveloped in. The monk is also therefore in a similar situation but appears to emerge out of it, retaining his serenity which is reflected by his posture. This retention of calmness in a tumultuous environment is achieved through Dhyana, the practice of mind control by which we stop all thinking and seek to realize Truth in its essence. Of the many different paths to Nirvana, the most important one  is the path of Dhyana, the practice of “stopping and realizing.”
Acrylic on canvas (50" X 36" Diptych) 
Acquired via Veranda Art

Moksha - the liberation 

Moksha (Sanskrit for liberation) or mukti (Sanskrit for release) is liberation from 'samsara', the cycle of death and rebirth or reincarnation and all the suffering and limitation of worldly existence. It is a state of absolute freedom, peace and bliss attained through self-realisation.This is the supreme goal of human endeavour. It is seen as a transcendence of phenomenal being, a state of higher consciousness, in which matter, energy, time, space, karma (causation) and the other features of empirical reality are understood as 'maya' or an illusion that anchors one to the materialistic.

In this work the tree represents this self realisation and is seemingly aglow with the bliss of liberation from our limitations of worldly existence. The tree itself rises from the darker shades of 'Maya' even as the monk endeavours to achieve this supreme goal through the practice of 'Dhyana'.

Mixed media on canvas (36 X 48)
Acquired
Series: Miscellaneous works

Kashi I

Varanasi derives its name from the two rivers that flank the city, the Varuna to the north and the Asi to the south. However, pilgrims refer to it as Kashi, first used three thousand years ago to describe the kingdom and the city outside which the Buddha preached his first sermon; the "City of Light" is also called Kashika, "the shining one", referring to the light of Shiva. Another epithet, Avimukta, meaning "Never Forsaken", refers to the city that Shiva never deserted. Also referred to as Rudravasa, the place where Shiva (Rudra) resides, Kashi's associations with Shiva extend to the beginning of time: legends relate how, after his marriage to Parvati, Shiva left his Himalyan abode and came to reside in Kashi with all the gods in attendance. Temporarily banished during the rule of the great king Divodasa, Shiva ultimately returned to his rightful abode protected by his loyal attendants Kalabhairav and Dandapani. Over 350 gods and goddesses, including a protective ring of Ganeshaa form a mandala or sacred pattern with Shiva Vishwanatha at its centre.

Mixed media on canvas (54" X 36") 

Acquired via Gallerie NVYA

Kashi II

Varanasi derives its name from the two rivers that flank the city, the Varuna to the north and the Asi to the south. However, pilgrims refer to it as Kashi, first used three thousand years ago to describe the kingdom and the city outside which the Buddha preached his first sermon; the "City of Light" is also called Kashika, "the shining one", referring to the light of Shiva. Another epithet, Avimukta, meaning "Never Forsaken", refers to the city that Shiva never deserted. Also referred to as Rudravasa, the place where Shiva (Rudra) resides, Kashi's associations with Shiva extend to the beginning of time: legends relate how, after his marriage to Parvati, Shiva left his Himalyan abode and came to reside in Kashi with all the gods in attendance. Temporarily banished during the rule of the great king Divodasa, Shiva ultimately returned to his rightful abode protected by his loyal attendants Kalabhairav and Dandapani. Over 350 gods and goddesses, including a protective ring of Ganeshaa form a mandala or sacred pattern with Shiva Vishwanatha at its centre.

Acrylic on canvas (44" X 14") 

Acquired via Gallerie NVYA

Kashi III

Varanasi derives its name from the two rivers that flank the city, the Varuna to the north and the Asi to the south. However, pilgrims refer to it as Kashi, first used three thousand years ago to describe the kingdom and the city outside which the Buddha preached his first sermon; the "City of Light" is also called Kashika, "the shining one", referring to the light of Shiva. Another epithet, Avimukta, meaning "Never Forsaken", refers to the city that Shiva never deserted. Also referred to as Rudravasa, the place where Shiva (Rudra) resides, Kashi's associations with Shiva extend to the beginning of time: legends relate how, after his marriage to Parvati, Shiva left his Himalyan abode and came to reside in Kashi with all the gods in attendance. Temporarily banished during the rule of the great king Divodasa, Shiva ultimately returned to his rightful abode protected by his loyal attendants Kalabhairav and Dandapani. Over 350 gods and goddesses, including a protective ring of Ganeshaa form a mandala or sacred pattern with Shiva Vishwanatha at its centre.
Mixed media on canvas (48" X 45") 
Acquired 

Kashi V
Varanasi derives its name from the two rivers that flank the city, the Varuna to the north and the Asi to the south. However, pilgrims refer to it as Kashi, first used three thousand years ago to describe the kingdom and the city outside which the Buddha preached his first sermon; the "City of Light" is also called Kashika, "the shining one", referring to the light of Shiva. Another epithet, Avimukta, meaning "Never Forsaken", refers to the city that Shiva never deserted. Also referred to as Rudravasa, the place where Shiva (Rudra) resides, Kashi's associations with Shiva extend to the beginning of time: legends relate how, after his marriage to Parvati, Shiva left his Himalayan abode and came to reside in Kashi with all the gods in attendance. Temporarily banished during the rule of the great king Divodasa, Shiva ultimately returned to his rightful abode protected by his loyal attendants Kalabhairav and Dandapani. Over 350 gods and goddesses, including a protective ring of Ganeshaa form a mandala or sacred pattern with Shiva Vishwanatha at its centre.
Acrylic on canvas (50" X 18") / Framed
Status: Available

Kashi VI
Varanasi derives its name from the two rivers that flank the city, the Varuna to the north and the Asi to the south. However, pilgrims refer to it as Kashi, first used three thousand years ago to describe the kingdom and the city outside which the Buddha preached his first sermon; the "City of Light" is also called Kashika, "the shining one", referring to the light of Shiva. Another epithet, Avimukta, meaning "Never Forsaken", refers to the city that Shiva never deserted. Also referred to as Rudravasa, the place where Shiva (Rudra) resides, Kashi's associations with Shiva extend to the beginning of time: legends relate how, after his marriage to Parvati, Shiva left his Himalyan abode and came to reside in Kashi with all the gods in attendance. Temporarily banished during the rule of the great king Divodasa, Shiva ultimately returned to his rightful abode protected by his loyal attendants Kalabhairav and Dandapani. Over 350 gods and goddesses, including a protective ring of Ganeshaa form a mandala or sacred pattern with Shiva Vishwanatha at its centre.
Acrylic on canvas (50" X 18") / Framed
Status: Available via Gallery Artistique

Kashi VIII
Varanasi derives its name from the two rivers that flank the city, the Varuna to the north and the Asi to the south. However, pilgrims refer to it as Kashi, first used three thousand years ago to describe the kingdom and the city outside which the Buddha preached his first sermon; the "City of Light" is also called Kashika, "the shining one", referring to the light of Shiva. Another epithet, Avimukta, meaning "Never Forsaken", refers to the city that Shiva never deserted. Also referred to as Rudravasa, the place where Shiva (Rudra) resides, Kashi's associations with Shiva extend to the beginning of time: legends relate how, after his marriage to Parvati, Shiva left his Himalyan abode and came to reside in Kashi with all the gods in attendance. Temporarily banished during the rule of the great king Divodasa, Shiva ultimately returned to his rightful abode protected by his loyal attendants Kalabhairav and Dandapani. Over 350 gods and goddesses, including a protective ring of Ganeshaa form a mandala or sacred pattern with Shiva Vishwanatha at its centre.
Acrylic on canvas (36" X 36") 
Status: Not available 

Kashi  IX

Varanasi derives its name from the two rivers that flank the city, the Varuna to the north and the Asi to the south. However, pilgrims refer to it as Kashi, first used three thousand years ago to describe the kingdom and the city outside which the Buddha preached his first sermon; the "City of Light" is also called Kashika, "the shining one", referring to the light of Shiva. Another epithet, Avimukta, meaning "Never Forsaken", refers to the city that Shiva never deserted. Also referred to as Rudravasa, the place where Shiva (Rudra) resides, Kashi's associations with Shiva extend to the beginning of time: legends relate how, after his marriage to Parvati, Shiva left his Himalyan abode and came to reside in Kashi with all the gods in attendance. Temporarily banished during the rule of the great king Divodasa, Shiva ultimately returned to his rightful abode protected by his loyal attendants Kalabhairav and Dandapani. Over 350 gods and goddesses, including a protective ring of Ganeshaa form a mandala or sacred pattern with Shiva Vishwanatha at its centre. 

Acrylic on canvas (36" X 72") 
Acquired via Art For Concern

Basant Kashi

Varanasi derives its name from the two rivers that flank the city, the Varuna to the north and the Asi to the south. However, pilgrims refer to it as Kashi, first used three thousand years ago to describe the kingdom and the city outside which the Buddha preached his first sermon; the "City of Light" is also called Kashika, "the shining one", referring to the light of Shiva. Another epithet, Avimukta, meaning "Never Forsaken", refers to the city that Shiva never deserted. Also referred to as Rudravasa, the place where Shiva (Rudra) resides, Kashi's associations with Shiva extend to the beginning of time: legends relate how, after his marriage to Parvati, Shiva left his Himalyan abode and came to reside in Kashi with all the gods in attendance. Temporarily banished during the rule of the great king Divodasa, Shiva ultimately returned to his rightful abode protected by his loyal attendants Kalabhairav and Dandapani. Over 350 gods and goddesses, including a protective ring of Ganeshaa form a mandala or sacred pattern with Shiva Vishwanatha at its centre.

Mixed media on canvas (48" X 20") 
Status: Available via Artistique / The Oberoi Gurgaon

Quiet the mind - and the soul will speak 

Meditation leads to experiencing the centre of consciousness within. It's a science and not a part of any religion. The work depicts a meditating form surrounded by what can be interpreted as temples of worship.

Acrylic on canvas 48" X 36"
Status: Available 
Series: Miscellaneous works

The Temple Guardian - Mahashaktimaya 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.

In this work the Dumru, represented within the Shiva symbol of the Lingam, is significant in the mythology and character of the God. It was the rhythm of the Dumru to which Shiva began his dance of creation of the world, in the nothingness, endless void of space. Interestingly the Dumru is also believed to symbolise and represent the Far Eastern Asian concept of the Ying and the Yang of creation wherein the shape of the Dumru symbolises the alliance between the two complimentary forces of co-creation in the universe...the Divine Feminine (Yin) where the downward representation symbolizes the Yoni)and the Divine Masculine (Yang). or the male portion of the Damaru which symbolizes the Lingam. Hence, the creation of the world begins when the lingam and yoni meets at the mid-point of the Damaru, and the destruction takes place when both separate from each other.

Acrylic on canvas 50" X 24"   
Acquired via Art For Concern

The Temple Guardian - Akshayaguna
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 colour 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.

In this work the vivid crimson hues in the background and the thickness of the layering is inspired by the Pashupatinath Temple in Kathmandu where in the sanctum sanctorum  vermillion applied by devotees is never wiped away but simply allowed to collect layer upon layer. The work depicts the guardian of the abode in the foreground significantly superimposed on the golden lingam shape. Allegory to Buddhist links of Shiva, known as Lha Chen is portrayed by the lotus flowers and the Tibetan Buddhist script for the all prevailing 'OM".

Acrylic on canvas 50" X 24"  
Acquired

On Hallowed Ground III
Hallowed ground is a term used for a sacred place. It is a place that is considered to be highly venerated and sacrosanct and is usually blessed by a priest or a monk. In this work the artist tries to capture on canvas the sanctity of the hallowed ground by depicting the devotee bowing and hence showing his submission to the will of God and of his being a true believer. The work portrays unquestioning, undying devotion. 
Acrylic on canvas 48" X 36"  
Acquired via Saatchi Art