The Thirupullamangai temple

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Part of the Thirupullamangai temple structure, located in Pasupathikoil near Kumbakonam. Oil paint on canvas 11″ x 15″

This is a side section of the main temple structure. The temple is referred to in the 7th century tamil shaivate hymns called the thevaram. The present structure was most likely built over a period of several decades, covering the reigns of some prominent Chola kings, starting from Parantaka I, his grandson Parantaka II (Sundara Chola) and Sundara Chola’s son, the illustrious Rajaraja I. If you are ever in the Kumbakonam area, a visit to one of the many Chola temples in the vicinity is an absolute must.

I have always shied away from painting Hindu temples given their highly intricate (and often overwhelming!) details that demand the utmost concentration. I finally summoned the courage to make an attempt. The painting was actually done using only two colors (yellow ochre + black) and white. The sky is actually black + white, which appears blue (cool) in relative contrast to the (warm) yellow of the structure. The under-drawing was done directly with the brush using mineral spirits to thin the oil paint. Two initial stages of the painting are shown below.

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Underdrawing in black paint over a yellow ochre wash (thinned paint with odourless mineral spirits)
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More details added over the underpainting, final stage before adding white to the mixes
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Maratha light cavalryman

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Maratha light cavalry charge. Oil on paper 12″X16″

Light cavalry was one of the mainstays of the Maratha army in the 17th and 18th centuries. Speed of movement and the ability to strike and break the ranks of enemy infantry dictated their appearance and armor. The elite Maratha light cavalryman shown here was clad in mail and carried a round shield and patta or gauntlet sword. Sometimes they were armed with a lance when thrusting through infantry lines. The gauntlet sword combined a gauntlet (hand armour) with a sword and offered excellent swiping ability at the expense of thrusting. If the cavalryman chose to thrust the patta he’d likely fall off his horse trying to retract the weapon. The elite light cavalry rode unarmoured horses (again for speed) and wore light chain mail underneath.

The painting is done on paper using liquin medium for quick drying. The preliminary drawing was executed using brown colored pencil underneath.

 

 

Vishwamitra

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A portrait of Kaushika by Kaushika. Oil on paper 11″x15″.

In Hindu lore, the sage vishwamitra holds a highly exalted position. Once a king (kaushika), he gave up his mighty kingdom to become a brahmarishi (best among sages). He appears often in the purANas as well as in the rigveda. Vishwamitra is perhaps best known as the guru of Srirama in the ramayana and as the one who revealed the gayatri mantra. A less famous account, that of the battle of ten kings in the rigveda, also pits him against the might of another stalwart vashishta. Vishwamitra is one of the central characters in K. M. Munshi‘s novel Bhagavan Parasurama

This imaginary portrait is painted in oil (alla prima) on paper. After a rough preliminary pencil sketch (mainly for placement of facial details), the paper was washed with an acrylic undertone of burnt umber and ultramarine blue. The paint palette  consisted of Cadmium Orange, Burnt Umber, Ultramarine Blue, Napes Yellow and Titanium White.

Bharata threatens a lion

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Bharata threatens a lion, casein and watercolor on paper 10″x14″.

Emperor bharata can well be considered the founder of the Indian state. His exploits have earned him near legendary status. First as a 6-year-old abandoned prince in the hermitage of the sage kaNva, bharata apparently tamed the wild lions and played with their cubs. Then, as emperor of hastinApura, he is said to have established a kingdom covering significant parts of modern India. Bharata is featured in the mahAbhArata (which derives its name from his descendants) as well as in kAlidAsa’s famous play Abhijñānashākuntala.

Painted in casein on watercolor paper 10″x14″. A thin layer of acrylic matte medium was first used to reduce paper absorbency and aid the flow of paint. The characters are based on several little studies, such as the one below:

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Head and lion studies, pencil on toned paper, 9″x12″.

Bhojadeva paramAra

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Imagined portrait of bhojadeva paramAra. Watercolor on paper 10″x14″

The year is 1010 CE. In south India, the great king rAjarAja has just finished and consecrated what is arguably one of the grandest temple projects in Indian history. His son rAjendra has already shown remarkable prowess in war.

Meanwhile, in central India, the kingdom of mAlava is going through a period of change. The ruling king sindhurAja is dead. Enemy kings threaten the kingdom’s borders on all sides. To the west, the solanki king vallabha is looking to avenge an earlier defeat. To the south, mAlava’s eternal foes, the chAlukyas, are determined to recover lost territory. An even greater threat looms in the north-west. The turuShka king Mahmud has grand imperial ambitions. He wishes to overrun the entire Indian subcontinent and has pledged to plunder and seize her vast wealth and riches. He has already sacked and annexed large parts of north-western India and modern day Pakistan.

It is at this junction in history that a young and erudite prince ascends the throne of mAlava. His name is bhojadeva paramAra. He will go down in history as one of the great military strategists and a noble philosopher king. Forging an alliance with the equally remarkable rAjendra chola, bhojadeva will crush the chalukya threat in years to come. His military might will intimidate Mahmud’s forces and dent hopes of an easy conquest. To rival rAjarAja’s temple in the south, he will embark on the grandest shivA temple yet conceived, near present day Bhopal (central India).

Bhoja’s military expeditions are perhaps outdone only by his contributions to society. See this link for an excellent list of his public construction and literary works (esp. the champU rAmAyaNa). In dhArA (bhoja’s court), poets sing his praise unabashedly thus:

अद्य धारा सदाधारा सदालम्बा सरस्वती। पण्डितः मण्डितः सर्वे भोजराजे भुवं गते।

“Today dhArA (bhoja’s capital) is ever supported, and the Goddess Sarasvati is ever propped up. All the pundits are adorned with the coming of king Bhoja on this earth.”

The maker of arrows

Today we travel back in time, some 3500 years into the past. The location is the outskirts of a small village near the bank of a little rivulet in northern India. We stand outside the hut of Astrakaaraja, the local weapon-smith. After much persuasion, he has agreed to teach us the time-tested art of arrow making.

“Listen carefully”, Astrakaaraja says, “If you do not follow the rules explicitly laid down in the scriptures, your arrows will be worthless. They will not even pierce the flesh of a rabbit.” He then goes on to explain, meticulously showing us every step in vivid detail.

“First, you must find the perfect shaft. This does not come easily.The best shafts may be obtained from the branches of the ambuja (Indian oak) tree, such as the one here”, he says and proceeds to carefully pick up one shaft from a pile near him.

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“The shaft must first be checked for straightness. A curved arrow is as useful as a broken wooden sword”. Watercolor on paper, 7″x10″.

“The shaft must first be checked for straightness. A curved arrow is as useful as a broken wooden sword” so saying, he places one end of the arrow on the thumb of his outstretched left arm. Balancing the other end at the tip, he looks down the length of the shaft. “If the arrow is only minimally bent, one can straighten it by heating it a little in the fire. But you must be careful, too much heat and the shaft will be burnt and will crumble.”

Then, like the experienced hand that he is, Astrakaaraja proceeds to the next step. “This is the most important one – the fixing of the arrow head”, he cautions us. “This is how the arrow gets its potency and strength. An arrow without a head is like a snake without its teeth – dead.”

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Our simile-and-metaphor-embracing friend then starts the painstaking process of adding the arrow head. Watercolor on paper, 7″x10″.

Our simile-and-metaphor-embracing friend then starts the painstaking process of adding the arrow head. First, one end of the shaft is carefully chiseled to form a groove. Then, Astrakaaraja opens his little pouch of arrow heads and picks one made of flint among several others fashioned in metal or stone. He seems to keep these pre-prepared heads just for demonstrations like these. He matches the chosen arrow head with the groove he has just made.

“The groove must be a little smaller than the head, otherwise it will fall out.” Once he is satisfied with the dimensions, he proceeds to fix the head in place using torn out animal skins and sinew. He pulls at it several times to make sure it is intact.

To the other end of the shaft, our friend carefully fastens some (presumably chicken) feathers on all sides. One quick look up and down the shaft and he is satisfied. He hands the arrow to us with a hint of a smile. “You are lucky I had all the materials with me. Just looking for the right arrow head could take you days. Obtaining stocks of the correct shafts could take a month’s journey to the mountains. Even then you are not certain of finding them.”

“Here, you can keep this arrow as a token of my respect. I hope you have learnt something from me. You may now leave.”, cautions Astrakaaraja, with some apprehension. Seeing his stern demeanor and the terrible looking weapons he has handy, we’d better be going on our way!