Upcoming Kerala mural painting - Hari - cause of all causes

Upcoming Kerala mural painting - Gajendra varada - Hari - cause of all causes

Srimad Bhagavatam. Canto 8:
Chapter 3: Gajendra's Prayers of Surrender. Text 15

नमो नमस्तेऽखिलकारणाय
निष्कारणायाद्भुतकारणाय ।
सर्वागमाम्नायमहार्णवाय
नमोऽपवर्गाय परायणाय ॥१५॥

Yogānandanṛsiṁha - योगानन्दनृसिंह

Let us contemplate on Yogānandanṛsiṁha

[ svāti nakṣatra - sthiravāsara - 23rd April 2016 ]

Final painting of nrusimha

Firstly the dhyana sloka :

अथ योगानन्दनृसिंहध्यानम् |  अथर्वणसारे

 - (श्रीमुम्मडि कृष्णराज ओडेयर् विरचितः - श्रीतत्वनिधिः - द्वितीयःसंपुटः - विष्णुनिधिः)

नित्यानन्दमयं निरञ्जनमजं निर्वाणसन्दायकं

निर्व्याजं निखिलक्षमादिसुगुणं नीरेजपत्रेक्षणम् |

जान्वोर्बद्धभुजं सुदर्शनदरात्युग्रायुधोद्यद्द्वयं

योगारूढनृसिंहमीशमनिशं ध्यायेत् त्रिणेत्रं हरिम् ||

Meditation on Yogānandanṛsiṁha | from atharvaṇasāra

 - (śrīmummaḍi kṛṣṇarāja oḍeyar viracitaḥ - śrītatvanidhiḥ - dvitīyaḥsaṁpuṭaḥ - viṣṇunidhiḥ)

nityānandamayaṁ nirañjanamajaṁ nirvāṇasandāyakaṁ

nirvyājaṁ nikhilakṣamādisuguṇaṁ nīrejapatrekṣaṇam |

jānvorbaddhabhujaṁ sudarśanadarātyugrāyudhodyaddvayaṁ

yogārūḍhanṛsiṁhamīśamaniśaṁ dhyāyet triṇetraṁ harim ||

I contemplate on śrīYogānandanṛsiṁha, hari with three eyes. He is in eternal bliss and free from any attachment; He is birthless and gives liberation; without any external reason he posses all good qualities like forgiveness/tolerance; his eyes are long like the lotus petals. his hands rest on his knees. His other two hands carry two fierce weapons viz., a conch and a discus called sudarśana.

About yoga form 

Initial sketch

There are many classifications of images(vigrahas) in Indian Iconography. Generally people confuse Yoga form as merely the cross-legged-setaed posture, but there are yoga forms of vishnu in standing, sitting or reclining variants as well.

Here's a extract from the book "Elements of HINDU ICONOGRAPHY" by TA Gopinath Rao :

In the case of Vaishnava images each of these three kinds of images is further divided into yoga, bhoga, vira and abhicharika varieties. These varieties of the standing, sitting and reclining images of vishnu are worshipped respectively by those who desire to attain yoga or spiritual self-realisation, bhoga or enjoyment and vira or military prowess.

specific to the yoga form :

Among the aspects of vishnu  the yoga form, be it standing, sitting or reclining, must be enshrined in a temple built far away from the bustle of village, on the banks of rivers, or at junction two or more rivers, on hill tops and in forest reccess. The reason of the choice of such place is quite patent. The worshipper of the yoga image has to be a yogi or one aspiring to become a yogi; He would certainly  desire to have a calm place for concentrating his thoughts on the object of his worship; and naturally the temple is intended for the conduct of worship by him has to be away from human habitations.

Temples where this image is Enshrined 

We can see that the shrines of yoga form of śrīnṛsiṁha is seen is many temples like Ahobilam, Sholinghur(chozha-simha-puram/ghatikaachala) & Melukote(yadhugiri).
Most of these places are hill tops and in forest reccess as mentioend earlier.

Other subtle details of this painting 

close up of the face 

• In aagama shashtras śrīnṛsiṁha is prescribed to be enshrined in hill tops forests etc or amdist sudharshana chakra. As per this rule, most of the south indian vaishnava temples have a nṛsiṁha amdist sudarshana. I have also added a shadkonam to represent sudharshana
• The shadkona(hexagram) which is the symbolism for sudharshana(in agama) happens to be symbolism of Anahata Chakra(heart) as well.
• Srivatsam is marked in right chest of nrusimha which is the pheeta of srimahalakshmi.
• He is also adorned with kausthubha maNi. This maNi represents the yogi who is so dear to him.  Reminds of Krishna's words in Bhagavad gItA - jñānī tvātmaiva me matam
  भगवद गीता  -- "ज्ञानी त्वात्मैव मे मतम् "  

close view of his lotus feet and padmasana 

• Also we have a aasana padma in which Nrusimha is seated(8petal).
• To depict his ugra(raudra) sharp nails, sharp teeth, etc are also captured.
• All typical ornamets and garments in indian iconography are also used to decorate him.
  (ornamets - kirIta, makara kundala, graivEyaka, hAra, kEyUra, kataka, srivatsa, kausthubha, nUpura,etc
  garments - udara-bandhana, mukthA-dhAma, bAhya-dhAma, kaichiguna, yOga-paTa etc)

योगानन्दनृसिंह

This painting is A3 size - water+poster paint +ink on paper.

Comments and feedback are welcome.

Let us conclude with a mangala sloka on योगानन्दनृसिंह by Sriivanshatakopa Sriisriinivaasa Yatiindra Mahaadeshikan(ahobila-maTam)
[www.prapatti.com/slokas/slokasbyname.html : Navanaarasimha Mangalaashaasanam ]

चतुरानन-चेतोब्ज-चित्रभानुस्वरूपिणे |

वेदाद्रि-गह्वरस्थाय योगानन्दाय मङ्गलम् ||

caturānana-cetobja-citrabhānusvarūpiṇe |

vedādri-gahvarasthāya yogānandāya maṅgalam ||

Sriman Narayana - Kerala mural painting

SrimanNarayana श्रीमन् नारायण !

Here's a painting of SrimanNarayana in traditional kerala mural painting style - keralIya sOpAna chitrakalA shaili (केरलीय सोपानचित्रकला)

A painting of Srimannarayana surrounded by devathas, rushis, bhaktas and bhagavathas

Few aspects of the traditional Indian art system is documented here with this art as an example.

• Art begins on a auspicious day - this one began on shravana-dwadashi on 6th March 2016.
   
• Started by contemplating the deity of Sriman Narayana - Vishnu - with following dhyana sloka
  
  
  सशङ्खचक्रं सकिरीटकुण्डलं सपीतवस्त्रं सरसीरुहेक्षणम् । सहारवक्षःस्थलशोभिकौस्तुभं नमामि विष्णुं शिरसा चतुर्भुजम् ।।

• The murthy is sketched with shanka, chakra, gadhaa and padma in four hands resembling the guruvAtapurESha also known as guruvayurappan
   
• The basic sketch is sketched in navatAla(नवताल) proportions.
  (similar to 8 head proportion for humans,
  this 9 head proportion is prescribed for uttama purusha & god in shilpa shashtrams)

Initial rough sketch on 6th March 2016 -
श्रवणनक्षत्रम्(विष्णुनक्षत्र) - द्वदशीतिथि

• Usually ancient paintings have other devathas surrounding the central diety.
  So wanted to try something similar around this vishnu.
  
  
  यं ब्रह्मा वरुणेन्द्ररुद्रमरुत: स्तुन्वन्ति दिव्यै: स्तवै- र्वेदै: साङ्गपदक्रमोपनिषदैर्गायन्ति यं सामगा:।
  ध्यानावस्थिततद्गतेन मनसा पश्यन्ति यं योगिनो- यस्तानं न विदु: सुरासुरगणा देवाय तस्मै नम:।।
  Namaskaram to that God is worshiped by Brahma, Varuna, Indra, Rudra, and the Maruts, who is praised with divine hymns, Vedas with their Angas and in the Pada and Krama methods and by the Upanishads whom the Sama-chanters sing, whom Yogis see with their minds absorbed in Him through meditation, and whose end the Devas and Asuras know not.

Added more devathas around vishnu

• Subsequently, added rushis around - viz nArada & thumburu and shuka & vyAsa
   
• Was listening to "endarO mahAnubhAvulu-andariki vandanamulu" - kriti by Tyagaraja
  Decided to add more bhAgavathAs = bhagavad-bhaktas into the scene
   
• Thus came prahlāda, dhruva, kuchela, gajendra, garuda, hanuman, gopikas, the cows and calves, the squirrel which performed its little mite in service of SriRama, etc

Completed the sketch with final details - and start of painting

• In sOpAna chitrakala, the colors are applied in coats  yellow, red, green, blue, black  - in order

First coat of yellow color

Red and great coat

finally blue :)

• The skin tones, proportions, expressions, etc of these characters describe the qualities which are beyond the retinal perception. This is one of the core aspects of stylistic indian art.
  For us, art is something which elevates us beyond this material perception!
   
• The qualities of the character which the artist(kalAkAra) perceives is coded into the art using this framework.
  (It is more like the swara-system of the vEdas - with which the bhAva of mantra as seen by the mantra drashtas is captured)

black outline starting

• This process of sketching and painting took around 28 days for me (since i'm doing this part time), and again on a shravana nakshatra, but this time with ekadashi tithi, on 3rd April 2016, the painting is completed by his grace.
   
• Completion of the paitning is done by drawing the eyes of the main deity.
  It is called "nEthrOnmIlanam" - which literally means to "open the eyes"
  Traditionally this is done by the teacher.
  In my case I sought teacher's permission & did it myself.
   
• Here's a video of my teacher doing the same to a similar painting

finished painting - 3rd April 2016

References :

• paintings from north kerala temples,
• paintings from mattancherry palace, 
• paintings of my teacher sasi edawarad,
• vishnunidhi-shritatvanidhi, vishnukosha, 
• knowledge which has been passed on by the rushi parampara..

Comments and feedback are welcome.

॥ सर्वं श्री कृष्णार्पणमस्तु ॥

Sri Venu Gopala - Kerala mural painting

First attempt of kerala mural painting(सांप्रदायिक-केरलीय-सोपान-चित्रकला)
under the guidance of Sasi Edavarad

कृष्णो रक्षतु नो जगत्त्रयगुरुः कृष्णं नमस्याम्यहम्
कृष्णेनामरशत्रवो विनिहताः कृष्णाय तस्मै नमः।
कृष्णादेव समुत्थितं जगदिदं कृष्णस्य दासोऽस्म्यहम्
कृष्णे तिष्ठति सर्वमेतदखिलं हे कृष्ण रक्षस्व माम्॥
-- मुकुन्दमालास्तोत्रात् 

Sriramaanjaneya - painting

A3 size Srirama and Hanuman painting

रामाय रामभद्राय रामचन्द्राय वेधसे। 

रघुनाथाय नाथाय सीतायाः पतये नमः॥

rAmAya rAmabhadrAya ramachandrAya vedhase

raghunAthAya nAthAya seetAyah pataye namah.

Vedavyasa - Painting

Commissioned work vedavyasa A3 size painting

vyAsAya vishNu-rUpAya vyAsa-rUpAya vishNave

namo vai Brahma-nidhaye vAsishtAya namo namaH.

My repeated salutations to vyAsa who is a form of vishNu and to

vishNu who is a form of vyAsa- sage vyAsa, who is a descendent 

of vasishta and who is a treasure of brahman, (i.e. vedas).  

( source : http://www.ramanuja.org/sv/bhakti/archives/mar96/0037.html )

Limited number of prints available - let me know if interested

Nammazhwar - Painting

ஆழ்வார்கள் வாழி அருளிச்செயல் வாழி 

Commissioned work Nammazhwar A3 size painting

NammAzhwAr was born in ThirukkurugUr (AzhwAr thirunagari) as the child of KAri and udayanangai. He was born days after the advent of kaliyugam. In bhagavad gIthA, krishnan declares that “After many many birth one comes to the conclusion that everything belongs to vAsudevan (himself). And it is very rare to find such jnAnis”. NammAzhwAr from his life and works proves that he was one such jnAni who is very dear to emperumAn. Throughout his life (which only lasted 32 years in this samsAram), he stayed under the tamarind tree (thirupuLiyAzhwAr) and was always in yOgam (meditation) thinking about emperumAn.
(source : https://guruparamparai.wordpress.com/2012/08/18/nammazhwar/)

Limited number of prints available - let me know if interested

Lakshmi Narasimha & Rudra - Concept Art - StotraBased

This painting is based on the prayers by Shiva on Narasimha in Mantrarajapada Stotram, part of Ahirbudhnya Samhita, of Paancharaatra aagama.

Rudra - ahirbudhina

दासभूताः स्वतस्सर्वे ह्यात्मानः परमात्मनः | 

अतोऽहमपि ते दासः इति मत्वा नमाम्यहम् ||

dAsabhUtA: svata: sarvE hyAtmAna: paramAtmana: |

atOahamapi tE dAsa: iti matvA namAmyaham ||

All devotees of Parama-Purushan Narasimhan seek His sacred feet of their

refuge for protection. adiyEn follows this group of blessed PrapannAs and

perform SaraNaagati at Your feet with the bhAvam (mood) of Your Servant.

Rudran states that He is conducting himself as the servant to Lord Narasimha

and as One who has performed Prapatti to Him as His Master

(meaning from www.sadagopan,org)

Sri Swetha Varahar - Mysore style painting

Swetha Varaha murthy in srimushnam is described in SrimuShNamAhAtmya as follows : 

Swetavaraha appears there, having two hands and facing the west. He has kept both his hands on this waist. His snout is bent towards right side. The conch and the discus are hidden in his hands. His face is turned upwards. In the eastern side of the nithya pushkarini (sacred pond), there is a ashwattha vruksha (sacred fig tree). Hari taught vedas to all people under that tree. 

A close up picture depicting the details

The complete picture with the description written in grantha lipi below.

The panting depicts the nithya pushkarini , ashwattha vruksha and the shwetha varahar.
This painting is attempted in traditional mysore mural style. 

Here's the dhyAna text in dEvanAgari lipi

अथ श्वेतवराहध्यानम् । श्री मुष्णमाहात्म्य ।

श्वेतो वराहस्तत्रास्ते द्विभुजः पश्चिमामुखः।   कटिन्यस्तकरद्वन्द्वो दक्शिणावर्ततुण्डवान् ॥

करन्तर्गूढशङ्खारिरुन्नमय्य मुखं स्थितः ।  पुष्करिण्यास्तथाऽऽग्नेयां वर्तते पिप्पलद्रुमः ॥

वेदानध्यापयामास तन्मूले सकलान् हरिः । 

The same text has been written below the painting in grnatha lipi. 

Sri Lakshmi Hayagrivar - Mysore style painting

॥ श्रीहयग्रीवस्तोत्रम् ॥

विशुद्धविज्ञानघनस्वरूपं विज्ञानविश्राणनबद्धदीक्षम् । 

दयानिधिं देहभृतां शरण्यं देवं हयग्रीवमहं प्रपद्ये ॥ ५॥

SriLakshmiHayagriva - first attempt - Mysore style painting :)

This Hayagriva painting is as per this stotram by Swami Deshikan (श्रीहयग्रीवस्तोत्रम्), 

व्याख्यामुद्रां करसरसिजैः पुस्तकं शङ्खचक्रे बिभ्रद्भिन्नस्फटिकरुचिरे पुण्डरीके निषण्णः ।
अम्लानश्रीरमृतविशदैरंशुभिः प्लावयन् मां आविर्भूयादनघमहिमा मानसे वागधीशः ॥ ३२॥

Here are the intermediate steps of Mysore painting in making.. :) 

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