Spandan II

The work attempts to capture “Creation” in its essence. The miracle that is life and the world on which it exists has a conceptual vastness difficult to comprehend in itself.When this spins back to that divine moment when nothingness was converted to a tangible, the mind needs to expand beyond any boundaries whatsoever, to even begin to conceptualise this phenomena. According to the Vedic philosophy of creation, the universe, which was set forth by the Spandana or vibration of the primal energy, Prakritri, has a sound symbol and that is “Om”. The symbol denoted in this painting is the Tibetan Om. It brings with it all the propitious attributes that are intrinsic to the act of creation.

Acrylic on canvas 40" X 60"
Acquired
Series: Miscellaneous works

Bhiksham Dehi VIII
The alms bowl refers to the time in the Buddha’s life just before he attained enlightenment, when a young girl, named Sujata offered the Buddha a bowl of milk rice. Although the Buddha was practising austerity and eating only a little food at a time, he realised that to achieve the final stages of enlightenment, he would need to partake the offering of rice from Sujata. After partaking of the meal, the Buddha then threw away a small amount of food left in that bowl to symbolise non-attachment to material possessions. Another legend tells the story that the Buddha threw away the begging bowl itself into the river to symbolise this non-attachment.

Mixed media on canvas (48 X 36)
Acquired

Bhiksham Dehi VII
The alms bowl refers to the time in the Buddha’s life just before he attained enlightenment, when a young girl, named Sujata offered the Buddha a bowl of milk rice. Although the Buddha was practicing austerity and eating only a little food at a time, he realized that to achieve the final stages of enlightenment, he would need to partake the offering of rice from Sujata. After partaking of the meal, the Buddha then threw away a small amount of food left in that bowl to symbolize non-attachment to material possessions. Another legend tells the story that the Buddha threw away the begging bowl itself into the river to symbolize this non-attachment.

Mixed media on canvas (36 X 30)
Acquired

Bhiksham Dehi VI

The alms bowl refers to the time in the Buddha’s life just before he attained enlightenment, when a young girl, named Sujata offered the Buddha a bowl of milk rice. Although the Buddha was practicing austerity and eating only a little food at a time, he realized that to achieve the final stages of enlightenment, he would need to partake the offering of rice from Sujata. After partaking of the meal, the Buddha then threw away a small amount of food left in that bowl to symbolize non-attachment to material possessions. Another legend tells the story that the Buddha threw away the begging bowl itself into the river to symbolize this non-attachment.

Mixed media on canvas (48 X 36)

Status: Acquired 

Bhiksham Dehi IV

The alms bowl refers to the time in the Buddha’s life just before he attained enlightenment, when a young girl, named Sujata offered the Buddha a bowl of milk rice. Although the Buddha was practicing austerity and eating only a little food at a time, he realized that to achieve the final stages of enlightenment, he would need to partake the offering of rice from Sujata. After partaking of the meal, the Buddha then threw away a small amount of food left in that bowl to symbolize non-attachment to material possessions. Another legend tells the story that the Buddha threw away the begging bowl itself into the river to symbolize this non-attachment.

Mixed media on canvas (48 X 36)
Acquired via Gallerie Nvya

Bhiksham Dehi II

The alms bowl refers to the time in the Buddha’s life just before he attained enlightenment, when a young girl, named Sujata offered the Buddha a bowl of milk rice. Although the Buddha was practicing austerity and eating only a little food at a time, he realized that to achieve the final stages of enlightenment, he would need to partake the offering of rice from Sujata. After partaking of the meal, the Buddha then threw away a small amount of food left in that bowl to symbolize non-attachment to material possessions. Another legend tells the story that the Buddha threw away the begging bowl itself into the river to symbolize this non-attachment.

Mixed media on canvas (40 X 36)

Available via Art Houz Chennai 

Bhiksham Dehi I
The alms bowl refers to the time in the Buddha’s life just before he attained enlightenment, when a young girl, named Sujata offered the Buddha a bowl of milk rice. Although the Buddha was practicing austerity and eating only a little food at a time, he realized that to achieve the final stages of enlightenment, he would need to partake the offering of rice from Sujata. After partaking of the meal, the Buddha then threw away a small amount of food left in that bowl to symbolize non-attachment to material possessions. Another legend tells the story that the Buddha threw away the begging bowl itself into the river to symbolize this non-attachment.
Mixed media on canvas (60 X 18)
Acquired via Gallerie Nvya 

Arth Dwar, the Gateway to Abundance

In Hinduism the "purusharthas" or the objectives of individuals  were articulated as Dharma: Righteousness and Duty, Artha: Wealth, Kama: Desire and Moksha: Liberation.

The artist is fascinated by the revelation that the ancient seers propagated that the spiritual seeker did not need to be in a state of poverty. They reasoned that if one is in a constant state of worry and one's focus is on the basics like food and shelter, then how could one pursue spirituality? In fact just as nature is abundant in every aspect, abundance is the quality of the Divine. However, one must not get attached  to the possession or attainment of wealth and hence get distracted from Dharma, and ultimately Moksha. It is this attainment of wealth with detachment to it that is a superior level of high thinking.

This fascinating thought has translated in the creation of this polyptych work called Arth Dwar, the Gateway to Abundance.

Acrylic on canvas (polyptych 55" X 36")

Status: Available via Gallery Artistique

Dev Bhoomi I
 
Dev Bhoomi is the fascinating land where the the Gods and Godesses reside. A land where the Sun God rides his chariot, where the Trinity reside, and where the Bow of Indra provides an ethereal backdrop. It is a land where the rivers flow with milk like the white waters of the Ganga, beside which the Goddesses feed on Ambrosia and nectar is their wine. The air is scented with the fragrance of Jasmine and the paths strewn with love. This is where the sacred mountain, Sumeru exists in all its glory. This is that land where mortals would aspire to enter like Yudhishthir and his faithful dog had, only to be pulled down by the burden of their sins just as Draupadi and the four Pandavas were. This 'kalpana' of Dev Bhumi is what the Artist attempts to translate onto his canvas. 
Acrylic on canvas (48 X 36)

Status: Available 

Dev Bhoomi II
Dev Bhoomi is the fascinating land where the the Gods and Godesses reside. A land where the Sun God rides his chariot, where the Trinity reside, and where the Bow of Indra provides an ethereal backdrop. It is a land where the rivers flow with milk like the white waters of the Ganga, beside which the Goddesses feed on Ambrosia and nectar is their wine. The air is scented with the fragrance of Jasmine and the paths strewn with love. This is where the sacred mountain, Sumeru exists in all its glory. This is that land where mortals would aspire to enter like Yudhishthir and his faithful dog had, only to be pulled down by the burden of their sins just as Draupadi and the four Pandavas were. This 'kalpana' of Dev Bhumi is what the Artist attempts to translate onto his canvas. 
Acrylic on canvas
Status: Available

Windows of Faith I
The artist has experienced a great sense of peace on every occasion that he visited a cathedral.from the minimalistic, modern Scandinavian to the grandiose gilded  European styles the all prevailing sense of calm has been consistent. The artist has always walked away with a lasting impression of the hallowed silence,the mighty pillars and the rafters high above. But the most fascinating of all have been the stained glass windows. The play of light, the vivid colours, all streaming into the hallowed halls seemed to be a symphony of happiness and a source of absolute joy and inspiration. These stained glass windows seem to be the very symbol of the unending love between the faithful and their faith, evoking no awe, no fear but love stripped down to its barest and purest form.

Acrylic and graphite on canvas ( Triptych 50 X 54)
Status: Acquired

Windows of Faith II
The artist has experienced a great sense of peace on every occasion that he visited a cathedral.from the minimalistic, modern Scandinavian to the grandiose gilded  European styles the all prevailing sense of calm has been consistent. The artist has always walked away with a lasting impression of the hallowed silence,the mighty pillars and the rafters high above. But the most fascinating of all have been the stained glass windows. The play of light, the vivid colours, all streaming into the hallowed halls seemed to be a symphony of happiness and a source of absolute joy and inspiration. These stained glass windows seem to be the very symbol of the unending love between the faithful and their faith, evoking no awe, no fear but love stripped down to its barest and purest form.

Acrylic and graphite on canvas (24 X 36)
Status: Available

Memories of a childhood III
“In the life of everyone there is a limited number of experiences which are not written upon the memory, but stamped there with a die; and in the long years after, they can be called up in detail, and every emotion that was stirred by them can be lived through anew.” 
― JW Johnson, The Autobiography of an Ex-Colored Man

Acrylic on canvas 36" X 40"
Acquired via Gallerie Nvya

Memories of a childhood II

“In the life of everyone there is a limited number of experiences which are not written upon the memory, but stamped there with a die; and in the long years after, they can be called up in detail, and every emotion that was stirred by them can be lived through anew.” 
― JW Johnson, The Autobiography of an Ex-Colored Man

Acrylic on canvas 36" X 40"

Status: Available via My Indian Art / Kolkata

Memories of a childhood I

“In the life of everyone there is a limited number of experiences which are not written upon the memory, but stamped there with a die; and in the long years after, they can be called up in detail, and every emotion that was stirred by them can be lived through anew.” 
― JW Johnson, The Autobiography of an Ex-Colored Man

Acrylic on canvas 36" X 40"

Acquired via Gallerie Nvya

The Auspicious Alta

A work inspired while attending a wedding of a friend's daughter, belonging to the Newari community of Nepal. This Hindu ritual of applying Alta is a part of the ‘Solah Shringar’ or 16 bridal adornments. It is traced back to the mythological depictions of Lord Krishna seen applying Alta on to his beloved Radha’s feet. Also according to Hindu mythology, the images and sculptures of the Goddesses, particularly that of Durga and Lakshmi are painted with Alta. A notable fact about the significance of Alta is that it resembles blood, which is symbolic of fertility. The color red also stands for purity and prosperity. 

The other element depicted is the tambula (betel leaf), which is a token of honor, pledge, and love, the exchange of which is a sign of marriage or betrothal. Regarded as an auspicious symbol of hospitality, the leaf denotes a moral, social, and legal commitment. 
Acrylic on canvas (48 X 36)
Acquired

Vasudeva
Acrylic on canvas - 44" X 14"

Plenitude I
'Plenitude' is the condition of completeness or wholeness. The artist has attempted to capture that state of "plenitude of being" in which the individual( represented as the monk)  is wholly and completely focussed upon the ongoing experience and hence is, in that moment, completely aware, fully engaged and therefore wholly alive. In this state our senses, which are the "gates of our being" are ebulllient and exalted in their existance. Achieving and maintaining this level of awareness is difficult, however these complete and fullest moments are the measure of the worth of our day.The complete power of self developement, self discipline  is within us and the Buddha can only be a teacher. But this knowledge rests on the senses which are precarious, wherein any lack of discipline and control will turn good into evil simply by losing the balance of their use. It was because of this that the Buddha developed the doctrine of the golden mean, where all things were to be done without excess, reaching the fullness of benefit, without going beyond into the self-destruction of over-indulgence and weakness.

Acrylic on canvas (36 X 40)
Status: Available 

Plenitude V
'Plenitude' is the condition of completeness or wholeness. The artist has attempted to capture that state of "plenitude of being" in which the individual( represented as the monk)  is wholly and completely focused upon the ongoing experience and hence is, in that moment, completely aware, fully engaged and therefore wholly alive. In this state our senses, which are the "gates of our being" are ebullient and exalted in their existence. Achieving and maintaining this level of awareness is difficult, however these complete and fullest moments are the measure of the worth of our day.The complete power of self development, self discipline  is within us and the Buddha can only be a teacher. But this knowledge rests on the senses which are precarious, wherein any lack of discipline and control will turn good into evil simply by losing the balance of their use. It was because of this that the Buddha developed the doctrine of the golden mean, where all things were to be done without excess, reaching the fullness of benefit, without going beyond into the self-destruction of over-indulgence and weakness.

Size 36 X 40 // Acrylic on canvas
Status: Available via Artistique / The Oberoi Gurgaon

The strength within I 

The works depict an inner strength or the strength within us, which the arches represent. Arches are one of the strongest and oldest structures in architecture which bear tremendous stress and strain therefore the significance and the corelation. the artist has observed this architectural structure at various archaeological and historical  sites around the world and has been fascinated by them.Arches are elegant and magnificent and stand proud even when all structures around them succumb to the vagaries of nature or the test of time.  

Acrylic on canvas (36" X 36")

Status: Available 

The strength within II 

The works depict an inner strength or the strength within us, which the arches represent. Arches are one of the strongest and oldest structures in architecture which bear tremendous stress and strain therefore the significance and the corelation. the artist has observed this architectural structure at various archaeological and historical  sites around the world and has been fascinated by them.Arches are elegant and magnificent and stand proud even when all structures around them succumb to the vagaries of nature or the test of time.  

Acrylic on canvas (36" X 48")

Acquired via Gallerie Nvya

La máscara de amor / the mask of love II
The power of the woman and her strength to carry on in the face of adversity is legendary. She adorns the mask of love to achieve her goal – whether it be to gain power and fame or to bring stability in the lives of those who fall within her close social framework. Thus this mask may be adorned for negative or positive results – but who are we to judge? This is the very question that the portrait seems to ask, “Who are you to judge?” and leaves the viewer with this thought.
Acrylic on canvas 36 X 36
Status: Available 

La máscara de amor / the mask of love I
The power of the woman and her strength to carry on in the face of adversity is legendary. She adorns the mask of love to achieve her goal – whether it be to gain power and fame or to bring stability in the lives of those who fall within her close social framework. Thus this mask may be adorned for negative or positive results – but who are we to judge? This is the very question that the portrait seems to ask, “Who are you to judge?” and leaves the viewer with this thought.
Acrylic on canvas 36 X 36
Acquired via Art Houz Chennai

The Curator I

‘The Curator’ is a series of three works depicting the artist’s interpretation of the curator being like the holy trinity - the creator, the preserver and the destroyer. Undoubtedly revered, the artist pictures the curator on a pedestal almost looking down on what she surveys and chooses to select or reject, as the case may be. The word and authority of the curator is seldom questioned. And the future of the artist balances precariously in the hands of the curator who may decide on playing the role of either - the creator, the preserver or the destroyer! 

Acrylic on canvas ( 36" X 48" )
Status: Available

The Curator III

‘The Curator’ is a series of three works depicting the artist’s interpretation of the curator being like the holy trinity - the creator, the preserver and the destroyer. Undoubtedly revered, the artist pictures the curator on a pedestal almost looking down on what she surveys and chooses to select or reject, as the case may be. The word and authority of the curator is seldom questioned. And the future of the artist balances precariously in the hands of the curator who may decide on playing the role of either - the creator, the preserver or the destroyer! 

Acrylic on canvas ( 36" X 48" )
Status: Available 

The Curator II

‘The Curator’ is a series of three works depicting the artist’s interpretation of the curator being like the holy trinity - the creator, the preserver and the destroyer. Undoubtedly revered, the artist pictures the curator on a pedestal almost looking down on what she surveys and chooses to select or reject, as the case may be. The word and authority of the curator is seldom questioned. And the future of the artist balances precariously in the hands of the curator who may decide on playing the role of either - the creator, the preserver or the destroyer! 

Acrylic on canvas ( 36" X 48" )
Status: Unavailable 

The silence between (the melodies)
The diptych is the result of the artist's realisation that often the impact of the tune is the sudden silence and pause between the sounds of harmony and notes. Just as in life it is that pause , that introspection, even in an apparently harmonious life that brings about realisation of what one is in search of, this sudden silence brings the notes to that level of harmony that makes the tune exceptional. 

In the work the two large canvases depict harmonies and the gap between them does not separate, but links them together to create  one entire musical tune of joy. 

Acrylic on canvas
Status: Available

Yellow Brick Road

The diptych has been specially created for Dream Theatre and has been inspired by the legendary Yellow Brick Road found in the novel "The Wonderful Wizard of Oz" by L. Frank Baum. 

The road has been an inspiration for several renowned personalities from the world of music and the arts as The Yellow Brick Road is used as a metaphor, which symbolizes the path to someone’s biggest dreams in life. Baum has described the road as curving and looping, journeying through scenic and beautiful lands as well as cutting through dark, abandoned forests and challenging landscapes inhabited by wild animals. The road's intended destination is at the magnificent gates of the wonderful Emerald City. 

The road therefore is significant as it symbolises the vision, the adventure, the burning desire to achieve, to prove to one self, to skilfully navigate the challenges; it is where friends join the journey to the enchanting vision and where others say goodbye to the road. Indeed it is a lifetime in an epic journey full of lessons and joy, challenges and disappointments, but it is the way to success and happiness and like Dorothy, Dream Theatre has found its Yellow Brick Road to follow for who can tell what else you may find ‘Over The Rainbow’.

Acrylic on canvas / diptych
Acquired

Padmanabha II
The work depicts the reclining Vishnu who signifies a state of calmness. In the textures of the work is captured the impression of the ananta nag on which Vishnu reclines. The ananta nag depicts an awakend state of mind. It is in this state of calmness and consciousness that the lotus with Brahma, the Creator emerges from deep within the navel of Vishnu. Thus as an interpretation, for creativity to emerge it is imperative to have an environment that induces a sense of calm and  an uncluttered awakened mind.
Acrylic on canvas 36"X60"
Status: Acquired

Padmanabha I
The work depicts the reclining Vishnu who signifies a state of calmness. In the textures of the work is captured the impression of the ananta nag on which Vishnu reclines. The ananta nag depicts an awakend state of mind. It is in this state of calmness and consciousness that the lotus with Brahma, the Creator emerges from deep within the navel of Vishnu. Thus as an interpretation, for creativity to emerge it is imperative to have an environment that induces a sense of calm and  an uncluttered awakened mind.
Acrylic on canvas 40"X60"
Acquired via Gallerie Nvya

Divine Resonance - The Tibetan prayer bell
A series in progress, depicted here by the Tibetan Prayer bell that seems to resonate deep into the dark spaces of the mind and indeed the significant void of space itself... ushering a sense of peace and spirituality
Acrylic on canvas 36" X 36"
Status: Acquired

Divine Resonance - Dung-Dkar, the Tibetan prayer conch 

A series in progress, depicted here by the white Tibetan prayer conch called “Dung-Dkar”, one of the Ashtamangala or the eight auspicious objects as per the Buddhist doctrines. While it symbolizes great power, authority and sovereignty ,the white conch in Tibetan religious music is a sacred symbol of peace and good energy representing the spread and fame of the Buddha's teachings. Vajrayana Buddhism speaks of the conch as a symbol which fearlessly proclaims the truth of the dharma. It is heavily decorated with ornate patterns in metals such as silver and is topped with a bright bead, which is said to represent good energy.

This work attempts to capture the very essence of this unique and reverberating sound that echoes in the mountains spreading the good energy of the Buddha in all directions. Heard at  times of prayer from the otherwise silent and peaceful monasteries, the distant sound blends in with the smell of pine trees and wood smoke as the evening begins to turn cold and the dusk sky takes on gold and crimson hues gradually melting into an inky night.

Acrylic on canvas 36" X 36"
Status: Unavailable 

Divine Resonance - The Sacred Chant
The mantra Om mani padme hum as presented in the third panel of 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 'all seeing eyes' of the Buddha culminating in the blossoming of the lotus. The fourth panel depicts the 'abhaya' mudra - and hence fearlessness on your path to wisdom.

Acrylic on canvas (Framed Polyptych) 60" X 26"
Status: Acquired 

Divine Resonance - The Garden of Tranquillity  II 
The work attempts to capture a state of inner peace and calmness that is achieved through the philosophy of simple living, a truthful soul and high thinking....that Garden of Tranquillity in one's own secret space. The work urges the viewer to contemplate and listen for the resonance of the sound of ripples in the dark and indeed the sound of the blossoming of water lilies.... the power of the resonance of silence.

Acrylic on canvas 24" X 48"  
Status: Available via Mojarto

Divine Resonance - The Garden of Tranquillity
The work attempts to capture a state of inner peace and calmness that is achieved through the philosophy of simple living, a truthful soul and high thinking....that Garden of Tranquillity in one's own secret space. The work urges the viewer to contemplate and listen for the resonance of the sound of ripples in the dark and indeed the sound of the blossoming of water lilies.... the power of the resonance of silence.

Acrylic on canvas 24" X 48"  Status: Acquired 

Tushita
Tuṣhita is one of the six deva-worlds of the Kāmadhātu, located between the Yāma heaven and the Nirmāṇarati heaven. Like the other heavens, Tuṣhita is said to be reachable through meditation. It is the heaven where the Bodhisattva Śvetaketu resided before being reborn on earth as Gautama, the historical Buddha; it is, likewise, the heaven where the Bodhisattva Nātha ("Protector") currently resides, who will later be born as the next Buddha, Maitreya.
Mixed media on canvas 18" X 50"
Status: Available** 

Incantations of Benares 3
Acrylic on canvas (10" X 8")
Status: Available 

Incantations of Benares 67
Acrylic on canvas (10 X 8)
Status: Available 

Incantations of Benares 68
Acrylic on canvas (10" X 8")
Status: Available 

Incantations of Benares 63

Acrylic on canvas (10" X 8")

Status: Available 

Incantations of Benares IX
Acrylic on canvas (10" X 8")
Status: Available 

The Temple Guardian - Mahamaya III & IV
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Acrylic on canvas 24" X 12"
Status: Available 

The Temple Guardian - Mahamaya I & II
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Acrylic on canvas
Status: Available

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 

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

The Temple Guardian III

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 / Framed
Status: Acquired
via Gallerie NVYA - GMR Artwalk project at IGI Airport, New Delhi. 

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 / Framed
Status: Acquired
via Gallerie NVYA - GMR Artwalk project at IGI Airport, New Delhi. 

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,...

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 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 / Framed

Status: Acquired 
via Terminal 1D, Indira Gandhi International Airport, from the Gallerie Nvya - GMR art walk project

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 .

Acrylic on Canvas. 50" X 25" / Framed
Status: Acquired