Study for Indra. The attire is based on sculptures from the Pitalkhora caves in central India. Drawn in ink with white gouache highlights
Final study of the pose for the final painting.
Final painting. The surface was oil paper with a thin layer of acrylic gesso.
Indra and Vritra. Studies (Top row) in ink and gouache, about 9″x12″ each. Painting (bottom row), oil on paper, 11″x15″.
The episode of Indra fighting the demonic vritra that appears in the rig veda has numerous parallels in other ancient cultures (Hittite, Eastern European).The serpentine vritra swallowed all the waters, causing draught to the land. Seeing this, the king of the devas Indra, brimming with confidence and the soma drink, takes him on with his divine weapon (the vajra or thunderbolt), astride the mighty airAvata (the king of elephants). The fight lasts long but vritra is utterly vanquished in the end.
This aspect of Indra and the very form of vritra have undergone significant changes over the millenia, to attain the foms they have in modern Hinduism. Nonetheless, they refer to an ancient time when songs of valour and courage occupied the minds of the common-folk and battles with mighty enemies captured their imagination.
dwArapAlaka, Gouache and pencil on paper 7″x10″.
At the entrance to the inner sanctum of any Hindu (Shiva/ Vishnu) temple are the mighty dwArapAlakas (dwAra = gate, pAlaka = protector) or gate keepers. The keepers of a Vishnu temple and those of a Shiva temple are distinct and over the millennia they’ve come to feature in many a mythological story.
This particular one is from the thyAgarajar kovil (a Shiva temple) in the little town of Thiruvarur in South India. Sculpted in brass and standing over 4 feet tall, it simply had to be recorded in a sketchbook.
Painted in gouache over a gesso primed, green tinted 300 gm watercolor paper in a sketchbook 7″x10″.
Location: thyAgaraja temple, Thiruvarur, Tamil Nadu, India