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