Posted in paintings

Mahavidya Matangi

The Goddess Matangi is a mix of the quiet and the savage from the Hindu pantheon of goddesses. She is the shyaam-rang (dull complexioned) type of the Goddess Saraswati Herself, Who showed herself as the girl of the chandala, Rishi Matang. This was a result of his exceptional goal to Brahminhood through the procurement of information (Saraswati is the goddess of learning). Mahavidya Matangi (of extraordinary learning) uses in her four hands the sickle demonstrative of her savagery, a kapala representative of her relationship with incineration grounds (chandalas have customarily been in charge of the ceremonies following passing), and a thin veena that compares Her to Saraswati. As it were, Mahavidya Matangi is the Tantric type of Saraswati.

Mahavidya Matangi

In this unique watercolor, She sits on a fragile pink lotus in full blossom, Her novice laid on a lotuspad. Her figure is full and wide, decorated with abundant golds and pearls and gems. From underneath Her detailed ruby-and emerald-studded gold crown develops an ocean of eminently wavy, crimped dark tresses that apparently have their very own existence. Note the gleam of the third eye that suffuses the Devi’s even sanctuary.

Undulating slopes, their verdant coat set off by the finesse of the sundown sun, comprise the foundation, together with two or three sanctuary like structures to one side of the artwork.

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Posted in paintings

At The Potter’s Workmanship

This oil painting has a finish bordering on the surreal. The brushstrokes are rough-hewn, like lines from a receding memory. The tone of the composition is captured in the cowdust hour light that pervades the painting. The same is cut through – coldly, in an almost bizarre fashion – by a collection of delicate, pristine compositions at the potter’s shop.

Potter’s Workmanship

In fact, it is what dominates the centre of the composition, its peculiarity enhanced by the scantily clad street-entertainer who stands afore the shop and looks on at those works. This painting is of a moment of wonder, of an extent only possible in dream-frame.The rest of the men in the frame pay no attention to her – they are used to her presence, having probably seen as much of her as there is to be seen. The surreal appeal of the painting is complemented by the realistically portrayed earth that dominates a major part of the foreground.