Rama-Durbar Amidst Tropical Verdure

Mysore's paintings are halfway between classical and popular Indian artistic traditions. The paper equivalent of the paintings of Tanjore the paintings of Tanjore employ a cloth of fabric, is characterized by an eloquence that is possible only for the artisans of the south. Like the fine example you see on this page, Mysore's art includes highly expressive paintings. 

The traditional painter draws on the wealth of images provided by Indian mythology and infuses his work with devotion in his simple heart. The theme of this is the much discussed Rama-durbar, composed of Purushottam Rama, his beautiful Seeta and the devoted duo of Lakshaman and Lord Hanuman, each of whom is very much idolized in the Indian tradition, their glorified journeys, shining examples of the their characters that are completely revived in the Indian psyche.

Dandapani Two Armed Pangarnatha Mahakala

Grinning wildly and with fiery eyes, this monumental image of the Great Mahakala rises heavily on the body of a corpse. He is holding a huge vajra helicopter and a large bowl of white skull full of blood and guts of demons turned into an elixir. Bring through the elbow of the elbows a decorated wooden gandi gong, used in Buddhist monasteries to call Buddhist monks to assemblies, to symbolize his vow to protect the monastic university of Nalanda and, by extension, all Buddhist monasteries.

Pangarnatha Mahakala

 The ornaments so elegantly worn on his plump body and giant head include a crown, necklaces, earrings and anklets in gold encrusted with jewels. A garland of severed heads and snakes and the five-plastered white crown complete the ornaments, its luminous eyeballs and shining teeth. Each of these specifically symbolizes the conquest of a particular type of obstruction of illumination. Mahakala takes a formidable form and conquers the most horrible realms of existence.

 As a ferocious manifestation of Avalokiteshvara, the Bodhisattva of Compassion, Mahakala helps beings overcome all negative elements, particularly spiritual ones, personified and symbolized by the panoply of fearsome creatures on which he becomes lord. He wears his macabre ornaments to show his tireless determination to also redeem the horrible. This particular form of Mahakala, easily recognizable by the wooden gong he carries in his arms, is the favorite protector of the Sakya Order.

Warli Landscape with Tarpa Dance

On Diwali, the festival of lights, as the lamps are lit, the TARPA is used to summon young couples in the village to dance in a ring. (TARPA is a long bulbous musical instrument made from dried gourd) Dancing in a circle around the tarpa player-it is life seen as a celebration of human endeavors. It is a breathtaking round of swinging, swirling movement- a merry-go-round of light and sound festivity. There is an atmosphere of lush celebration around the central theme

Warli Tribe

Animals consist of two sharply formed triangles. The horse with the rider, especially, is fully etched out, sharp and confident in its angularity. The emergence of huts, animals, humans, show signs of domestication. That they are engaged in activity, suggest a primitive level of development.

In this painting, we see a whole wave of movement of humanity as it swirls one way and then another with the ebb and flow of life. This description by Renu Rana. References:

Dalmia, Yashodhara. The Painted World of the Warlis: New Delhi, Lalit Kala Akademi, 1988.