Nandi Bulls - V

Acrylic

A Golden Tree in the City’s Silence

Nandi Bulls - II

Finding the Sun Again

Mixed Media

Witnessed by Myself

The Light We Carry Together

Acrylic and Charcoal

Here, the spire stands closer, almost within reach, its surface breathing warmth into the morning haze. The city recedes into softened outlines, while the river gathers movement at its edge. Umbrellas tilt like pale moons along the steps. Devotees cluster in quiet rhythms  arriving, pausing, dissolving back into the flow. Smoke, light, and water meet without urgency. Nothing feels staged; everything feels ongoing. The longer you remain, the more the scene shifts from spectacle to stillness, as if the ghat is holding something older than memory, and letting it surface slowly.

Where the Banaras Ghats Remember - IV

The temple rises like a flame held steady against a drifting city. Around it, the river moves in muted greys and softened light, carrying reflections that blur and gather. White umbrellas bloom along the steps, sheltering small moments of prayer, conversation, waiting. The saffron spire does not dominate; it glows quietly, as if warmed from within. Figures come and go, their presence light against the vastness of stone and water. What lingers is not the crowd, but a sense of return as though the ghat itself is remembering each footstep.

Where the Banaras Ghats Remember - III

Clustered forms gather like quiet memories of shelter, each structure holding the suggestion of belonging rather than certainty. They do not stand apart from the earth but seem to rise from it, shaped by the same slow forces that sustain and reshape everything. Planes of warmth and erosion meet without resistance, carrying a sense of balance that feels both present and fragile. Nothing is fully fixed. Boundaries soften, and the idea of home expands beyond walls. The work lingers as a gentle reminder that what holds us is also what we must learn to hold with care.

The Ground That Holds Us

She emerges from a field of flame and night, poised at the meeting of abundance and intensity. Gold gathers in her open palms and falls in quiet streams, not as spectacle, but as offering. Lotuses lift gently in her upper hands, their pale calm balancing the blaze that surrounds her. The deep blue above feels vast, almost cosmic, while the fire below hums with contained force. She does not appear restless within it. Instead, she sits composed, as if prosperity here is not excess, but a steady flow  luminous, watchful, and unwavering.

Goddess Dhanalakshmi-III

Krishna does not appear here as a single form, but as a boundless vision unfolding across space. This is the Viswaroopam; the moment where the human gaze meets the infinite. Layers of presence seem to rise and dissolve within him, as if countless worlds are breathing through one body. Light gathers at the center and radiates outward, holding both stillness and movement at once. There is a quiet power in this expansion, not dramatic, but deeply assured. The work invites the viewer to pause, to feel the vastness without needing to understand it, and to carry its calm long after looking away.

Lord Keshav Viswaroopam

This vision feels like a quiet opening, where thought and breath begin to move together. Saraswati appears not as a distant form, but as a living presence that seems to rise from within the space itself weightless, luminous, and still. The surrounding blues and violets flow like a slow current, holding her in a calm, listening world. 

She does not command the scene; she steadies it. Each gesture feels measured, each symbol resting in balance, as though sound, memory, and learning have found a place to pause. Here, silence begins to feel like music, and knowing feels gently close.

Maha Saraswati

Kumar Kartikey

The scene feels like a pause inside a pause. One presence stands at the edge of another, not seeking entry, only resting there for a moment. A hand opens, not to offer, not to take, but simply to remain open. The space around them holds a slow, steady quiet, as if the world has stepped back to listen. Nothing feels resolved, yet nothing feels unfinished. It is a gentle meeting between inner distances, where thought softens into something almost touchable, and then quietly drifts away again.

Mindscape - A Quiet Conversation Within

Lakshmi - Height:11.5 inches, Width:11inches Depth B:9inches 

Narayana - Height::12.5 Width:11inches, Depth B:8inches 

Medium: Mixed media (Deco paints, acrylics on aluminium)

Lakshmi Narayana

Moondust (Set of 3)

Soul of the Soil – IV

Soul of the Soil – III

Serene Harmony – 1

Earth Unseen – 16

Earth Unseen – 14

The All - Pervading Vishnu

Mixed Media (Acid-Free Paper, MDF, Thread, Acrylic Finish) Sculpture 
In the Balance of Us reflects on how conscious and unconscious patterns shape our inner world over time, using temple-inspired forms and symbolic figures to explore the delicate balance between accumulated emotional layers and the possibility of inner stillness.

In the Balance of Us

Soul of the Soil – V

Rituals of Stillness

The Quiet I Return To

Where the Forest Knows My Name

Vishnu Garuda by Ramesh Gorjala reflects the enduring bond between Lord Vishnu and Garuda, his devoted celestial companion. The composition presents their relationship as one of trust, movement, and protection, drawing from mythological tradition without focusing on a specific episode. Through layered forms and symbolic presence, the artwork conveys devotion and guardianship, inviting viewers to reflect on the spiritual connection between the deity and his divine vehicle.

Vishnu Garuda 

Nandi Bulls

They lean toward one another, held by a shared quiet that feels both close and unguarded. Warm amber and soft grey settle across their surfaces, moving gently through layered patterns that feel like memories resting in place. The space between them carries a steady warmth, neither empty nor full, simply present. Nothing asks to be resolved. The moment feels suspended, as if time has slowed just enough to let something tender remain. As you stay with it, a sense of closeness lingers, subtle and enduring, like a calm that continues beyond the frame.

Calm Between Our Hearts

Artist Basuki Dasgupta's mixed media works include Raw canvas, hard board, fevicol, acrylic emulsion, texture white, acrylic paint, he also uses paper-pulp sometimes.

Witness to Forever

Listener of the Ages

Where the Banaras Ghats Remember - II

Where the Banaras Ghats Remember -  I

The face seems to arrive before its thoughts, as if it has paused mid-listening. Layers of quiet circle the head, holding a space where sound might have been, or might return. The eyes drift inward, not searching, simply resting with whatever lingers there. Nothing presses forward. Everything feels gently suspended. You sense a conversation still unfolding, though no words are offered. The longer you stay, the more the silence feels full, like an echo that does not fade but softens, staying close, asking for nothing, and leaving you with something you cannot quite name.

Mindscape of Silent Echoes

The surface feels layered with time rather than place. Rust, ochre, and blue move across one another, settling, then loosening again, as if memory itself were shifting underfoot. Nothing fully arrives; nothing entirely leaves. Forms hint at thresholds, at moments where one state quietly gives way to another, yet they never hold long enough to be named. The paint seems built slowly, then allowed to soften and breathe. Sitting with the work feels like standing between breaths, aware of what has passed, sensing what has not yet taken shape. It stays unresolved, gently suspended, asking only to be held without fixing it in place.

Between Worlds Remembered

Krishna - I

Their Silence Weaves the World

Ascend to Silence

Acrylic and Oil

Unspoken Feelings (Set of 2)

They gather close, as if the air itself has asked for quiet. One leans in, another holds a small flame, another keeps a flower at her throat. Nothing is spoken, yet everything seems to be passing between them through hands, through breath, through the warmth of shared presence. The earth toned surface carries traces of earlier marks, like memories that refuse to disappear. Reds rest gently against muted browns, not insisting, only staying. It feels less like a scene than a pause: something felt but not voiced, held in the space where words were never needed.
    

Songs They Never Sang

The scene holds itself in a quiet, shared rhythm. Four women gather without urgency, their gestures small, deliberate, as if time has softened around them. Hands rise and pause, not to speak, but to tend;toward one another, toward the animal nearby, toward what needs care in this moment. Blue and ash settle into the background, while warm skin tones keep the figures close to the surface. Nothing here insists on meaning. It feels more like a returning: to touch, to watch, to remain. The moment lingers, unfinished, asking only to be stayed with.    
    
    

In the Gentle Hours of Care 

Light seems to move slowly across this surface, as if it has learned the shape of the place through repetition. Layers of color gather into hints of homes and hills, then soften, allowing one memory to drift into another. Nothing feels fixed. The textures hold traces of touch, of time pressing gently and then receding. Blue and ochre rest against each other without urgency, carrying warmth and distance in the same breath. Being with the work feels like standing inside a remembered landscape that no longer exists as it once did, yet still knows how to receive you, quietly and without explanation.

Echoes of Where We Once Stood

Where Their Light Gathers

The face rises quietly, built from fragments that feel gathered rather than assembled. Each surface holds its own small history, softened by time and touch. Light moves across the planes and pauses in the eyes, where stillness seems to settle. Nothing here asks to be named or explained. The form feels inward, as if holding something gently within itself. As you remain with it, the edges begin to blur into a calm presence, one that feels both distant and familiar. It leaves you with a sense of quiet continuity, as though meaning is not found, but slowly rested into.
    

Where Meaning Rests

Fiberglass

Vaishvanara - The Divine Within

Vaishvanara - 25

Color gathers across the face like a memory slowly surfacing. From each angle, the form shifts, offering a new rhythm of light and shadow. Patterns settle into one another, then gently pull apart, as if holding many moments at once. The surface feels alive with small movements of tone and texture, yet the expression remains calm, inward. Nothing asks to be resolved here. The sculpture seems to pause within itself, carrying a quiet presence that stays long after you have moved on, like a thought that continues to echo softly.
    
    

Quiet Resonance

The figures turn inward, as if drawn by something just beyond the surface. Soft light moves through their forms, resting in the quiet spaces between them. Patterns feel like distant echoes, gently layered, never asking to be fully read. The moment seems held in a pause, where breath and thought meet. Nothing feels fixed, yet everything feels present. As you stay with it, the space begins to feel like a listening place, where what cannot be seen is still quietly felt, lingering long after the first glance.

Listening to the Unseen

    
   The moment feels caught between movement and pause. Cloth slips from the shoulder, not in haste, but in quiet acknowledgment of a change already unfolding. The presence between them seems to listen to the space where breath and distance meet. Light rests on skin, then drifts away, leaving a trace of warmth. Nothing asks to be resolved. The scene holds its own stillness, as if time has leaned back to watch. What remains is a sense of nearness without touch, a soft tension that lingers long after the moment has passed.
    

The Whisper of Space

Color rises and settles like a slow tide. Shapes meet, lean, and drift apart, never fully leaving one another. There is a sense of movement without direction, as if the painting is remembering how to arrive again and again. Warm earth tones rest beside softened blues, holding a quiet balance between weight and air. Nothing asks to be understood. The surface feels patient, layered with small shifts and pauses. Being with the work feels like coming back to something you never truly left, not as a destination, but as a gentle rhythm that continues, open and unfinished.

A Soft Return to Everything

Color moves here like a quiet melody, layered and gently unfolding across the surface. Warm reds and glowing yellows settle into cooler blues, each tone arriving as if it has been waiting its turn. The movement feels guided by a shared pulse, something soft and enduring beneath the surface. Nothing presses for clarity. The moment feels lived rather than declared, as though it has been returning to itself for a long time. You sense the artist lingering in this space, listening to what continues to resonate, even after the sound has faded.

We Were Always a Song

Color settles in slow layers, as if placed and then gently left to rest. Warm ochres and softened blues lean into one another, carrying the weight of time without needing to speak. The surface feels built from quiet decisions, each one held long enough to leave a trace. Nothing insists on being seen all at once. Forms suggest ground and sky, yet remain open, allowing the eye to wander and return. Being with the work feels like standing on something that has known many footsteps, still holding them, still offering a place to pause and listen.

The Earth Remembers

Hanuman

Ganesha - II

Where the River Meets the Divine

Drawn to the Same Sky

The colors arrive like a quiet tide, layered and steady, carrying warmth through the surface. Shapes rest against one another, then slowly release, as if guided by a rhythm felt more than seen. Blues move gently through fields of ochre and red, softening their weight and leaving space to breathe. Nothing feels resolved, yet nothing feels restless. The painting holds a kind of inward motion, as though it is listening to its own shifting. You sense the artist lingering here, not to capture a thought, but to remain with the way it continues to form.

Geometry of the Mind

Gossip in the Courtyard

Back When the Afternoons Lingered

The Unheard Hymn

The River Remembers

Unspoken Desires

She kneels into the warmth of the surface, as if the ground itself is listening. One hand steadies a small flame, the other rests in quiet prayer, though nothing here feels formal or finished. Yellow gathers softly around her, spreading like late afternoon light that has nowhere else to go. Another presence lingers just behind, close enough to feel but not interrupt. The gesture is simple, almost habitual, yet it holds a tenderness that asks for time. The light does not brighten the scene; it stays low, cupped, carried forward without urgency.

Light in Her Hands

Forms rise and settle as if guided by a quiet breath. Colors shift from cool blues to warm earth tones, touching lightly before moving on. Nothing feels anchored, yet everything seems gently held in place. The surface carries a sense of upward motion, though it never insists on direction. Layers soften into one another, leaving space for pause and return. Being with the work feels like standing between two currents, aware of movement on both sides, yet rooted in the stillness between them. It does not ask to be named. It remains open, quietly continuing its conversation.
    
    
    

Whispers Between Heaven and Earth

Poolamma XV

Artist Basuki Dasgupta's mixed media works include Raw canvas, hard board, fevicol, acrylic emulsion, texture white, acrylic paint, he also uses paper-pulp sometimes.

    
        
    
    
    
    
        
    

Moonriver Blues

Artist Basuki Dasgupta's mixed media works include Raw canvas, hard board, fevicol, acrylic emulsion, texture white, acrylic paint, he also uses paper-pulp sometimes.

    
        
    
    
    
    
        
    
    

Matriarch of Time

Artist Basuki Dasgupta's mixed media works include Raw canvas, hard board, fevicol, acrylic emulsion, texture white, acrylic paint, he also uses paper-pulp sometimes.

    
        
    
    
    
    
    
    

Ganesha - The Guardian of the Divine Path

Sacred Notes, Silent Flowers

Sanctuary in Sisterhood

Whispers of the Wild

Bronze

The scene feels like it is mid-breath, caught between glow and shadow. Branches heavy with red seem to sway through the space, guiding the eye into pockets of quiet light. Hints of buildings and pathways appear, then soften, as if remembered rather than seen. The air feels warm and unsettled, carrying the sense of a place that never fully stands still. Nothing here asks to be held in place. The moment drifts forward, leaving behind the feeling of having passed through something fleeting, yet gently alive.

Boulevard of Shimmering Dreams

The history of Goddess Dhana Lakshmi is rooted in ancient Vedic traditions, where she is often invoked by kings, farmers, and merchants seeking her divine favor to ensure a thriving, prosperous life. According to one tale, during the churning of the ocean (Samudra Manthan), Dhana Lakshmi emerged as a radiant goddess, bringing forth the wealth of the earth, including grains and treasures. This moment marked her as the provider of not just material wealth, but also the sustenance that nourishes life.
    
    
    
    
    
    
    

Dhana Lakshmi - II

Lord Padmanabha, a revered manifestation of Lord Vishnu, encapsulates the divine qualities of protection, creation, and infinite wisdom. The name Padmanabha means "Lotus-Naveled"—a reference to the lotus flower that emerges from Vishnu's navel, from which the universe itself was born. As the eternal protector and sustainer of all life, Lord Padmanabha symbolizes the divine force that governs the cosmos and sustains the cycle of creation, preservation, and dissolution.
    
    
    
    
    
    
    
    
    

Lord Padmanabha

The name "Vighnaharta" translates to "the one who removes obstacles" (Vighna meaning obstacle, and Harta meaning remover). His role in Hindu mythology is multifaceted, symbolizing not only the removal of physical or material hindrances but also spiritual obstacles that hinder growth, knowledge, and enlightenment. 
The story of Ganesha’s rise to prominence as Vighnaharta traces its roots to ancient Hindu texts, particularly the Puranas, where Ganesha is portrayed as the son of Lord Shiva and Goddess Parvati. One of the most popular narratives recounts how Ganesha was created by Parvati from clay to guard her chambers while she bathed. When Shiva, unaware of the new creation, tried to enter, Ganesha stopped him. In a moment of rage, Shiva severed Ganesha’s head. Upon realizing his mistake, Shiva, in an effort to restore balance, replaced Ganesha’s head with that of an elephant, symbolizing renewal and transformation. This act marked Ganesha as an eternal symbol of overcoming adversity and transformation through divine intervention.

Vighanharta Ganesha

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Vigneshwara 

She turns slightly, as if listening for something that has not yet arrived. The bowl of flowers rests in her hands with an ease that feels practiced, almost unconscious. Yellow gathers around her, not bright but steady, like a warmth that has learned how to wait. Patterns move softly through her clothing, then fade back into the surface, leaving only the quiet of the gesture. Nothing here asks to be completed. The offering is held, not given. What remains is a pause;one that seems to belong as much to the viewer as to her, carried forward without a name.

In Quiet Reverence

Color stretches outward, then folds back into itself, as if the surface is learning how far it can go. Warm yellows drift beside cooler blues and greys, touching briefly before shifting again. Nothing holds still for long. The layers feel carried by motion rather than placed by design, each mark listening to the one before it. Being with the work feels like standing at the edge of something wide, where direction is sensed more than seen. It does not point to a horizon. It keeps opening, quietly, leaving space for whatever the eye is ready to find.
    

Infinite Vistas

The tale of Lord Venkateshwara (an incarnation of Vishnu) and Goddess Padmavati (an incarnation of Lakshmi) is one of love, devotion, and divine providence, deeply rooted in the spiritual and cultural fabric of South India. Their union is celebrated as an eternal bond that intertwines prosperity and grace with devotion and duty. 
Lord Venkateshwara is enshrined at Tirumala, one of the most sacred pilgrimage sites in India. According to legend, Vishnu descended to Earth during the Kali Yuga to relieve humanity of its suffering. His divine journey led him to Narayanagiri, where he performed penance. It was during this time that Padmavati, born as the daughter of King Akasha Raja, entered his life, embodying grace, beauty, and fortune. 
The story of their meeting is as mystical as it is romantic. Legends narrate that Padmavati was found as a golden lotus in the temple pond and adopted by the king. Years later, Lord Venkateshwara, in his earthly form, encountered Padmavati during her excursion in a forest. Their love blossomed instantly, and the king, recognizing Venkateshwara’s divine nature, gave his blessings for their marriage. 
Their wedding, a grand celestial event, was witnessed by gods, sages, and celestial beings, symbolizing the union of divine energies. The divine couple’s relationship is seen as a perfect harmony of spiritual and material wealth—Venkateshwara, as the preserver of dharma, represents protection and benevolence, while Padmavati symbolizes abundance and prosperity. 
The legend of their union has been celebrated for centuries, not just in mythology but through temple rituals, festivals, and the visual arts. The annual Brahmotsavam at Tirumala commemorates their divine connection, drawing millions of devotees who seek their blessings for spiritual elevation and material well-being.

Venkateshwara with Padmavati

Hanuman's Journey in Sundarakanda

They lean into the blue as if into water, moving slowly enough that the surface seems to hold them. One extends her palm with a small gathering of white petals; another stays just behind, close but unspoken. The basket waits below, patient, already full. Nothing feels arranged. The gesture appears mid-thought, neither beginning nor ending. Lines drift through the space like remembered paths, then dissolve back into color. What remains is a quiet offering that may never be placed. It asks only for attention, for the kind of looking that stays a moment longer, and then carries the stillness forward.
    
    

Moments of Reflection

Artist Amol Pawar's mixed media works include acrylic, charcoal, pencil, and, in some cases, he also uses golden leaf sometimes.    
    
    
    

Divine Radiance of Shakti

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Padmagarbha

The teachings of Gautama Buddha, born over 2,500 years ago, resonate as timeless whispers of wisdom, inviting reflection on life’s impermanence, suffering, and the search for inner peace. Rooted in simplicity yet layered with profound depth, Buddha’s message arose from his journey—a prince who renounced privilege to seek the truth of existence under the Bodhi tree. 
Central to his teachings are the Four Noble Truths, which reveal the nature of suffering (dukkha), its origin, cessation, and the path leading beyond it. This path, known as the Eightfold Path, unfolds as a journey of moral, mental, and spiritual growth, where each step serves as a bridge between worldly entanglements and liberation. It is a vision of life, not bound by dogma but open to interpretation, offering glimpses of a way to transcend life’s chaos and find balance. 
Buddha’s philosophy does not seek to define existence but encourages an exploration of it. His emphasis on mindfulness and compassion reflects an understanding of humanity’s interconnectedness—an acknowledgment of the threads of suffering and joy that bind all living beings. His silence on metaphysical questions invites contemplation rather than answers, leaving space for each seeker to find their own truths. 
Through his teachings, Buddha does not preach escape but illuminates a way of seeing: a view where the fleeting nature of life becomes a canvas for presence, wisdom, and kindness. His legacy endures not as a set of rigid rules but as an open-ended narrative, where each individual might discern the echoes of their own quest for meaning.

The Sacred Teachings of Buddha

The image of Goddess Saraswati, seated serenely with a peacock at her side, unfolds a tableau rich with symbolism and storytelling. As the embodiment of wisdom, learning, and the arts, Saraswati is often depicted with her veena, the musical instrument she plays to weave the melodies of creation. The peacock, resplendent in its iridescent feathers, accompanies her as a silent yet evocative presence, a witness to her divine harmony.
 
The connection between Saraswati and the peacock finds its roots in mythology and iconography. The bird, with its celestial beauty, represents grace, beauty, and the rhythm of life—a reflection of Saraswati’s essence. Its feathers, fanned out in vibrant hues, seem to echo the spectrum of human creativity and knowledge that the goddess inspires. Yet, the peacock’s temperament, sometimes marked by vanity, reminds onlookers of the balance Saraswati teaches: that true wisdom arises from humility.
 
Ancient texts and art traditions have long celebrated this duo. In some tales, the peacock is said to represent the earth’s bountiful beauty, over which Saraswati’s wisdom reigns. In others, it is a metaphor for the soul’s yearning, enchanted by the divine melody of her veena. Across centuries, painters and sculptors have interpreted this motif in myriad ways, from intricate temple carvings in South India to vibrant Pahari miniatures, each adding layers to the relationship between the goddess and her feathered companion.

Saraswati's Serenade with Peacock

She meets the light without moving toward it. Reds gather around her like warmth held close to the body, while patterns drift across her form;half memory, half presence. One hand rests near the heart, where a small bloom seems to surface and settle, neither offered nor hidden. The face remains open, unhurried, as if listening rather than declaring. Nothing here feels resolved. Color hums softly, then quiets. What stays is not certainty, but a kind of steadiness;something felt inwardly and carried without display, asking only to be kept for a while, in whatever way the viewer is able to hold it.
    
    

Radiant Faith

Limited Edition Serigraph printed in 8 colors on archival paper. This serigraph was published in an edition size of 125. This item will be shipped unframed, in a roll. The paper size is 40 x 26 inches. The print is signed by the artist and comes with a certificate of authenticity.
    
    
    

Mother by M.F Husain

Serigraph

Poolamma - II 

Victoria Memorial Kolkata

  Limited Edition Serigraph printed in 37 colors on archival paper. This serigraph was published in an edition size of 125. This item will be shipped unframed, in a roll. The paper size is 40 x 30 inches, Image size is 35 x 25 inches. The print is signed by the artist and comes with a certificate of authenticity.
    
    
    
    
    
    
    
    

Ganesh - IV by Thota Vaikuntam

Limited Edition Serigraph printed in 35 colors on archival paper. This serigraph was published in an edition size of 125. This item will be shipped unframed, in a roll. The paper size is 40 x 30 inches, Image size is 32 x 19.5 inches. The print is signed by the artist and comes with a certificate of authenticity.
    
    
    
    
    

Krishna by Thota Vaikuntam

Limited Edition Serigraph printed in 31 colors on archival paper. This serigraph was published in an edition size of 125. This item will be shipped unframed, in a roll. The paper size is 40 x 30 inches, Image size is 35 x 25 inches. The print is signed by the artist and comes with a certificate of authenticity.    
    
    
    
    
    
    

Ganesh - III by Thota Vaikuntam

Limited Edition Serigraph printed in 16 colors on archival paper. This serigraph was published in an edition size of 125. This item will be shipped unframed, in a roll. The paper size is 40 x 30 inches, Image size is 31.75 x 21.75 inches. The print is signed by the artist and comes with a certificate of authenticity.
    
    
    
    
    
    

Ganesh - II by Thota Vaikuntam

 Limited Edition Serigraph printed in 16 colors on archival paper. This serigraph was published in an edition size of 125. This item will be shipped unframed, in a roll. The paper size is 40 x 30 inches, Image size is 31.75 x 21.75 inches. The print is signed by the artist and comes with a certificate of authenticity.
    
    
    
    
    
    

Ganesh - I by Thota Vaikuntam

Limited Edition Serigraph printed in 44 colors on archival paper. This serigraph was published in an edition size of 125. This item will be shipped unframed, in a roll. The paper size is 40 x 30 inches, Image size is 32 x 23.5 inches. The print is signed by the artist and comes with a certificate of authenticity.
    
    
    
    
    

Panditas

This dynamic painting captures the legendary moment when Lord Krishna tamed the fearsome serpent Kaliya Naag. A tale that resonates deeply within the heart of Hindu mythology, it symbolizes divine intervention, the triumph of good over evil, and the power of pure devotion. 

The story unfolds in the sacred waters of the Yamuna River, where the poisonous serpent Kaliya, whose venom had poisoned the river and caused devastation to the land, terrorized the inhabitants. The river, once a life-giving force, had turned deadly under Kaliya’s reign. In a divine act of courage and compassion, Krishna, as a young boy, confronted the serpent to restore harmony. 

Without fear, Krishna leapt onto the back of Kaliya, dancing gracefully atop the multi-headed serpent. His divine dance, known as the "Kaliya Mardan", was not a battle of brute force, but an expression of divine play (Leela). As Krishna danced, the serpent’s multiple heads swayed and struggled, unable to resist his divine rhythm. With each step, Krishna calmed Kaliya, forcing the serpent to surrender. Eventually, Kaliya, humbled and subdued, sought Krishna’s forgiveness, and the river was purified, returning to its peaceful state. 

This artwork freezes the tension and beauty of the moment when Krishna’s feet, delicate yet powerful, step upon Kaliya’s heads, each one representing the forces of evil and chaos. Krishna’s graceful posture, the bright aura surrounding him, and the serpentine form beneath him, all evoke a sense of divine control and playful triumph.

Lord Krishna Dancing on Kaliya Naag

<ul>
 <li>Limited Edition Serigraph printed in 49 colors on archival paper.</li>
 <li>This serigraph was published in an edition size of 100. This item will be 
shipped unframed, in a roll. The paper size is 40 x 30 inches, image size 
is 24 x 24 inches.</li>
 <li> The print is signed by the artist and comes with a 
certificate of authenticity.</li>
</ul>

This work, suggests a blend of Raza’s two distinctive styles of paintings, one being his gestural strokes, and other being his Abstractionism, using his vocabulary of pure geometry to express the fundamental elements of life.
 
Titled ‘Fire’, the palette of this work, consisting of the hot oranges, yellows, reds, with hints of green, impart the heat and burning blaze of fire. Fire, also known as agni reflects the primordial powers to consume, transform and convey. The gestural brushwork imparts the experience of agni, while the faint triangles and the dense orange nucleus, gives away many interpretations of ancient philosophy. Firstly, Tantra calls the triangle the cone of fire, a reference to its shape. This is the fire of aspiration which is ever burning in the heart of the spiritual seeker. Secondly, the threefold structure of the triangle is interpreted over multiple levels. Some of these visualizations are: Creation, Preservation, and Destruction, i.e. Brahma, Vishnu and Shiva; three tendencies: the neutral, the positive and the negative - Sattva, Rajas, and Tamas; three Vedas: Rig, Yaju and Sam. Lastly the intersection of two geometric forms (lines and triangles) represents forces that are even more intense than those generated by the simple forms. Such interpenetration indicates a high level in the dynamic interaction of the correspondent energies, and the bija encased inside these triangles, thrives with condensed energy.

Fire

<ul>
 <li>Limited Edition Serigraph printed in 22 colors on archival paper.</li>
 <li>This serigraph was published in an edition size of 100. This item will be 
shipped unframed, in a roll. The paper size is 40 x 26 inches, image size 
is 34 x 17 inches.</li>
 <li> The print is signed by the artist and comes with a 
certificate of authenticity.</li>
</ul>

Immanence (sometimes also called Bharat) is a work drained of all colors, reduced essentially to black and white. In contrast to the colorful works of Raza, the monochrome here reduces the picture to its bare essentials.
 
A large black Bindu, against the white square in a diagonal fashion, reflects the geometrical forms of Raza’s vocabulary from the ’80s, which signified the earth and the sky. The elements seem to shimmer against the radiation of concentric squares around the white square. The faint white horizontals expanding outwards suggest the unity of coming together of hundreds of individual voices, conveying the secular spirit of ‘anektameinekta’.
 
This work is a synthesis of the history and the agony of people, especially reflective of the time of India’s independence. Further inscribing the words of Mahatma Gandhi, it arises hope from the depths of despair and aspires to change.

Immanence

<ul>
 <li>Limited Edition Serigraph printed in 19 colors on archival paper.</li>
 <li>This serigraph was published in an edition size of 100. This item will be 
shipped unframed, in a roll. The paper size is 40 x 40 inches, image size 
is 34.75 x 34.75 inches.</li>
 <li> The print is signed by the artist and comes with a 
certificate of authenticity.</li>
</ul>

Trishna meaning ‘thirst’, reflects Raza’s ceaseless quest to develop his painterly vocabulary beyond mere Expressionist landscapes. 
 
Here the artist brings out the Indian summers in a dazzling solar palette of yellows and oranges, reminiscing his childhood. Trishna communicates an experience rather than superimposing the realities or individual perspectives on it.

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