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Gopala Krishna£ 160.00 – £ 850.00 BUY
Gopala Krishna is the younger form of Lord Krishna who was the protector of the cows and who played his flute, catching the attention of all of the Gopis (maidens) including Radha and making mischief with playful antics.
However you consider Krishna, either as the Supreme God or the 8th avatar of Vishnu, in this beautiful artwork by Giampaolo Tomassetti he is shining the Brahman light from his self-effulgent body. The grace of his form enchants all the living beings around him – notably the calf and the lotus flower. The music of the flute emanates notions of delicate forms of leaves all around and the golden background reminds us of the sheltering Brahmayoti sky (spiritual sky), not dissimilar to the gold background used in medieval gothic art when showing the holy mother and child, reminding once again of the intuition that all world religions had in history.
Mahabharata – A Strange Charioteer£ 180.00 – £ 710.00 BUY
This painting is set within a fabulous landscape, the beautiful town of Dwarka – the kingdom of Lord Krishna. The painting captures the moment lovers flee the town. The excitement of two souls running away in full complicity with one another. But the story is deeper than a runaway chariot driven by a strange charioteer.
A woman named Subhadra, Krishna’s sister, and beside her, Krishna’s best friend Arjuna. Subhadra is promised to another and therefore she planned for Arjuna to kidnap her. They break through the doorway of the city, the guards are pushed aside, as their duty fails short of their destiny.
The artist captured the energy of the moment by depicting the dynamic movement of galloping horses through the city, which is the main focus of this scene.
Mahabharata – Krishna entering Dwarka£ 145.00 – £ 580.00 BUY
After His travelling around Bharata Varsa Lord Krishna was routinely coming back to his Kingdom of Dwarka. This painting is a tribute of love to Him manifested in the faces and actions of his citizens. Krishna is named also known as Bhagavan, the One that has all transcendental qualities like beauty, power, strength, wealth, fame and compassion.
Here the return of Lord Krishna aroused enthusiasm and joy in the whole city. You can see that all social classes of the Varna-Ashram Dharma are present on the scene, and despite the differences everyone was present. Everyone showing their love and admiration to their Lord. This is to testify the all including society of that time. The three-quarter composition gives the scene a very wide, almost stereoscopic view.
Mahabharata – Krishna in Indraprastha£ 160.00 – £ 705.00 BUY
Before Indraprastha became the capital of the Pandava’s kingdom, it was the ancient capital of the Kuru clan of which the Pandavas and Kauravas are a part.
At one point in the epic, the Kurus gave the Pandavas a piece of desert land. It had been abandoned for many years and did not look like a place fit to become a capital city. But the Pandavas with the help of Krishna, hard work, determination and skill transformed this wasteland into a beautiful city that would compete with the beauty of Hastinapura, the capital of the empire.
Krishna called upon the heavenly architects Vishvakarma and Mayadhanava, the top designers during that time to transform it into a city fit for the Pandavas. As you can see in the artwork, the architectural accuracy and sophistication made Indraprastha a unique utopia and the perfect example of how cities should be built. Here we can see, in the foreground Maharaj Yudhishthira showing Lord Krishna the great view from the royal palace, as to let us take part in their glance.
Mahabharata – My Dwarka£ 155.00 – £ 795.00 BUY
Cities are a reflection of the ones who built them. The prosperous city of Dwarka, which was capital of Lord Krishna’s kingdom, was a gateway to heaven. Located in modern day Gujarat, the city of Dwarka is often compared to the city of Atlantis, maybe because they both suffered the same fate of being plunged into the depths of the sea.
This painting represents a moment in the daily life of Dwarka. It was described as a vast area in which architecture, palaces and houses are fully merged in the natural landscape of the west coast of India. You can see Krishna and Balarama in a relaxed conversation, framed by marble and bronze. The sky is painted with lightful strokes creating a wide space for legendary figures and flying creatures that break through a banal perception.
Mahabharata – Parthasarathi£ 155.00 – £ 755.00 BUY
This is the very heart of Mahabharata, this is the moment that decides how the game will be played. This is the very moment upon which the entire Mahabharata has been written.
The majestic chariot enters the battlefield of Kurukshetra, where the armies are lined up, ready to clash. In these circumstances, Krishna reveals to his friend and devotee Arjuna the secret of Vedic knowledge. The fundamentals of wisdom are conveyed, as he speaks of truth and deception, illusion and reality, virtue, passion and ignorance. The deeper aspects of the psyche, the transcendental nature of the self, the relationship with the Godhead and with other living beings, all come to light very clearly in this dialogue whispered in front of the two armies, and recorded in the Bhagavad Gita (the song of God), one of the primary texts of mankind’s spiritual history.
Mahabharata – Save my Honour£ 160.00 – £ 770.00 BUY
Of all the events in the Pandava’s lives, this must be one of the lowest.
Right after having lost the Kingdom and Draupadi’s dignity at the dice contest the Pandavas went into exile in the forest. Krishna saved her honour, by performing a miracle. He provided her unlimited fabric of her sari to prevent her from being disrobed in public.
The nocturnal setting and the light cutting through the darkness, in this moving artwork, contributes to enhance the drama. Krishna consoles Draupadi promising her that everything will be remedied. The desperate face of the woman right in front of the self-effulgent blue God. King Yudhishthira on the right side is the most afflicted, feeling guilty for the big defeat. The painting is in continuity with the “Pandavas were cheated” artwork.
This is the moment when the idea of war mounts seriously although they continued for another 13 year in exile.
Mahabharata – Shishupala insulting Krishna£ 160.00 – £ 775.00 BUY
The great proprietary sacrifices were celebrated in rich pavilions specially built by the great architects. The show of opulence was part of the ritual, offered in gratitude to the Lord, to acknowledge His supremacy and invoke protection and prosperity for every citizen. Maharaja Yudhisthira asked Lord Krishna to preside the great Ashwamedha Yajna (the ancient Horse Sacrifice).
The painting depicts the liberation of Shishupala, a powerful and cruel character. You can distinguish the main character of the epic event such as Yudhishthira on Krishna’s left with imperial garments, in the foreground Arjuna with his bow and Bhima with the mace. Right behind them are the two great sages – Bhishmadeva, the great grandfather of the Mahabharata; and the ancient Parashurama, the mystic presence of another Vishnu avatar coming from another era.
Mahabharata – The Choice£ 160.00 – £ 790.00 BUY
It is the eve of the great battle of Kurukshetra, when the whole Mahabharata epic is about to be resolved. Sitting on His bed, Krishna announces that He is not going to side with either opponent. He leaves them the choice as to whether to incorporate his powerful personal army into their ranks, or to have Him alone, unarmed and in a secondary role.
Duryodhana, chief of the Kurus, has no hesitation in picking Krishna’s army, where as the Panadavas only desire was to have their dear friend Govinda, Krishna on their side. They are fully convinced that His mere presence on their side will ensure them final victory.
So it is, that Krishna accepts the humble role of driver of Arjuna’s chariot, and thus comes to be known as Parthasarathi.
Mahabharata – The Universal Form – Vishva Rupa£ 165.00 – £ 640.00 BUY
In two moments of the Mahabharata Lord Krishna showed the Vishva Rupa revealing his Divine Nature as Vishnu, the Supreme God. In this painting the artist tries to elaborate His first performance of the so called Universal Form. It is a complex vision explained in an entire chapter of the Bhagavad Gita. The Supreme Being expands in infinite dimensions and entities. The immensity of the universe and the complexity of its constituents are impossible to understand in full. The resulting unusual perception is a network of chaotic and apocalyptic elements, viewed from multiple angels and unusual perspectives as Lord Krishna manifests His Universal Form for the first time.
Mahabharata – Virat Roop£ 1,200.00 BUY
This is the second time Krishna manifests the Virat Roop, but it is at the most important time in the Mahabharata. The Speech of the Bhagavad Gita, is the moment Krishna comes out from the role of Arjuna’s best friend and reveals Himself as the Supreme God Vishnu with all this expansions and that the circumstances of the war was pure illusion, Maya. Arjuna learned that his grief was useless, it was useless to lament. ”Just accept your duty and fight!”.
When Lord Krishna manifests His Universal Form, the world is no longer the same place, the dimensional planes are confused and one becomes lost in amazement. The secure perimeter of the frame contains and holds back the inconceivable universal form, soothing our fears and leaving us in awe.