Other themes portray the grandeur and breath-taking acts of heroism and valor enacted by the kings and queens and heroes and heroines who walked onto the stage in the remote recesses of pre-history. Still other themes portray Sri Caitanya Mahaprabhu, who made His advent 500 years ago, along with His eternal personal associates. All themes exemplify and embody the highest of ideals that are increasingly yearned for in this modern age.
Inside you'll find - conversations with the artist's self-realized spiritual masters, along with some of their letter exchanges - an inter-view with the artist as well as descriptions and examples of her creative process - colorful charts - samples of associate and contemporary bhakti artists, along with some of their collaborative works - and more.
Readers require no prior base of knowledge to unlock the pro-found mysteries within the art. Bhakti Art Illuminations reveals the philosophic and esoteric aspects of the work, with an in-depth analysis vis-a-vis the ancient Vedic scriptures they elucidate, such as the Bhagavad-Gita and the Srimad-Bhagavatam, as well as classic poems and songs in the Gaudiya Vaisnava tradition.
Each pain' ting has its individual meaning, g, as well as its contextual meaning in relation to a greater body of work. The art in each gallery highlights stories (true histories), teachings, meditations, and secrets.
The stories accompanying the art are taken directly from authentic Vedic and Gaudiya Vaisnava scriptures. Some of the most prominent teachings transmitted through the stories are spotlighted, while others are only hinted at. The meditations are alluded to through verses, kirtanas, or prayers that are the basis of the paintings. Many of the secrets, the deeper meanings of the paintings, are also revealed herein.
Included is a glimpse into to the artist's creative process, detailing the stages of a painting's development from start to finish, including letters and conversations with her spiritual teachers.
TYPOGRAPHICAL FEATURES
CHARTS
Various expansions of Sri Radha-Krsna are depicted throughout the galleries and are also discussed in the quoted texts. To show the relationship between Sri Krsna's associates and expansions, we have included an appendix of beautifully illustrated charts.
ELLIPSES
The philosophy and chronicles within the transcendental texts presented by Srila Bhaktivedanta Swami Prabhupada and Srila Bhaktivedanta Narayana Gosvami Maharaja are often detailed and extensive, too lengthy to include in a coffee-table art book.
Therefore, to ensure the potency of their direct words, instead of writing our own summary for each painting, we have chosen to use ellipses to indicate the larger body of text that is their source. Ellipses are not used at the beginning or the end of a quoted text; they are used only when paragraphs or sentences have been omitted.
BRACKETS
Words in square brackets are clarifiers added by the editors of Srila Prabhupada books (published by Bhaktivedanta Book Trust - BBT) or by the editors of Srila Narayana Gosvami Maharaja's books (published by Gaudiya Vedanta Publications - GVP). Because the excerpts we have used have been separated from their complete context, further clarification is required. The editors of Bhakti Art Illuminations have thus enclosed their editorial insertions in squiggly brackets, { ), to mark the difference.
GLOSSARY
Sanskrit words and terms are usually explained in parentheses or brackets. In addition, since there are many Sanskrit words and terms throughout Bhakti Art Illuminations, a glossary has been included.
DIACRITIC MARKINGS
We chose to use standard diacritic spelling and markings (rather than phonetic spelling), as used in all the books of Srila Prabhupada and Srila Narayana Gosvami Maharaja.
These standard diacritic markings indicate the pronunciation of Sanskrit and Bengali words. Pronounce a like a father, I like ea in neat, You like of in root, r like ri in rip, m and n like ng in hung, s and s like sh in shy, and c like ch in chap.
TEXT
There are several editions of Srila Prabhupada books, as well as several editions of his Veda base Folio. In most cases, we have taken text from the most recent Veda base.
Despite our best effort to present Bhakti Art Illuminations, we are aware that mistakes probably still crept in. We pray that you kindly excuse us for them.
We are convinced that, because the art within it was inspired and directed by transcendental personalities, and because the translations and commentaries of these personalities within it are without mistake, this book is sure to enliven and enlighten inquiring, minds and spiritual seekers for all time.
Srila A. C. Bhaktivedanta Swami Prabhupada thereafter directed her to create paintings, to illustrate his translations and explanations of ancient Vedic texts. Her life was now a vibrant combination of devotional practice and sacred art. She completed hundreds of paintings under his guidance until he left this mortal world in 1977.
In 1992, on her pilgrimage to the holy land of Vrndavana, India, she met 8rila Bhaktivedanta Narayana Gosvami Maharaja, who was able to ignite and fan the same spiritual zeal in her heart that 8rila Prabhupada had, further inspiring her practice of bhakti-yoga and developing her artistic talent. Upon the completion of her renowned Seva-kurija painting of Sri Radha-Syamasundara (Krsna), he affectionately nicknamed her Syamarani dasi.
Her almost 400 devotional works have inspired thousands of people over the years in their spiritual practice. She is one of Gaudiya Vedanta Publications' senior editors and also regularly travels the globe, teaching the philosophy and practice of bhakti-yoga, all the while continuing to paint "windows to the spiritual world."
The last thing I would have imagined myself doing is publishing my own art book. From the mid-1970s - when my colleagues and I were pain' ting for Srila Prabhupada translations of the Vedic classics - up until 2006, it was the furthest thing from my mind.
Even after I received the personal request from my diksa-guru Srila Narayana Gosvami Maharaja to publish an art book of my own paintings, I hesitated. I was reluctant to compile and display my own work. I did not want to show off. My work was clearly not superior to the work of my fellow bhakti artists. Moreover, I also knew that any merit my work possessed was due to Srila Prabhupada, Srila Gurudeva, and my associate artists. I thought, "If I personally create, an art book of my own works, I will surely get lost in false pride, which is one of the main causes for becoming weak in spiritual life."
‘Nevertheless, on several occasions, Srila Gurudeva requested me to publish an art book, He told me, "Just as other coffee-table books of devotees' artwork have been published, I want you to create one with all the paintings you did for your Prabhupada and for me." Then, in Hawaii, while looking over some computer printouts of his art team's bas-relief murals, he reiterated his desire and told me to give a copy of the art book to the prime minister of India.
Regarding the purpose for Srila Gurudeva's request, my under-standing is this:
(1) To inspire people to learn more about Sri Krsna's glory.
(2) To encourage readers, through art, to go deeper into the bhakti philosophy, whether they are already engaged in the practice of bhakti or not. A picture is worth a thousand words.
(3) To show the glory of my gurus, the real artists. I am but one of their paintbrushes. It is they who manifested the paintings - by their mercy, empowerment, guidance, and teachings.
(4) To give a sense of peace and happiness to viewers, by which, as if magically, worldly problems automatically reduce.
FOLLOWING A NEWER INSTRUCTION
One day in 1974, Srila Prabhupada commented about the extremely long hair that a couple of my fellow artists and I were sometimes painting on Krsna and His associates. Visibly disturbed, he made statements like, "They are painting Krsna with too much hair, like a hippie. They have this tendency." And, "This painting is not good. It is like a hippie dance. It is like a plaything. They have painted crows in the picture."
I understood that we were small children and that he was encouraging us in the beginning to paint in any way we could. Later, in 1974, once we were able to accept more instruction, he corrected us. I tell this history in more detail in my memoir, The Art of Spiritual Life.
While those pre-1974 paintings are still present in Srila Prabhupada earlier published books, most have been substituted for improved versions in later editions. For this publication, in order to please him, I requested my friend Kamala Melaka, a graphic designer, to help me to trim the hair of Krsna and His associates.
INSPIRED BY LORD BRAHMA'S PRAYER
When Sri Krsna ordered Brahma to create this universe, Brahma beseeched Him, "I pray that I not be materially affected by my works, for thus I may be able to give up the false prestige of being the creator." He prayed that the residents of this universe would be able to see Sri Krsna in the Creation, and not himself.
I am an insignificant atom in comparison to the great Brahma, but I have a similar prayer. I pray that the readers appreciate that I am not the 'doer' of the art in Bhakti Art Illuminations. Any mistakes in the book are mine, but anything good about it belongs to my spiritual masters. If the respected reader is inspired to make a deeper connection to Sri Krsna and His associates and thus feels spiritual happiness, then my gurus' purpose is fulfilled. If they are satisfied, they will bless us all to progress on the path of that yoga which connects us with the Supreme through loving service. It is this that brings happiness and harmony. Once the root of the tree is watered, automatically the leaves, twigs, and branches receive nourishment.
Like their brothers and sisters following other authentic traditions, Vaisnava do not sanction revering images of Divinity that are based on speculation. They explain that if the Supreme Entity were to personally reveal His form, that form would never be considered a mere idol but the Absolute Divinity Himself. In this regard, in his summary study of Srimad-Bhagavatam's Tenth Canto, Srila Bhaktivedanta Swami Prabhupada refers to the Sanskrit treatise Sri Brahma-samhita, which was spoken by four-headed Brahma at the dawn of Creation:
The appearance of Krsna is the answer to all imaginative iconography of the Supreme Personality of Godhead. Everyone imagines the form of the Supreme Personality of Godhead according to his mode 'of material nature. In the Brahma-samhita, it is said that the Lord is the oldest person. Therefore, a section of religionists imagine that God must be very old, and therefore they depict a form of the Lord as a very old man. But in the same Brahma-samhita, that is contradicted; although He is the oldest of all living entities, He has His eternal form as a fresh youth.... Krsna's form, Krsna's flute, Krsna's color - everything is reality.
Vaisnava scholars elaborately discuss the teachings of the 5,000-year-old Srimad-Bhagavatam and Mahabharata of Vedavyasa, as well as the Ramayana of the sage Valmiki. They explain that these timeless works are the unabridged encyclopedia of all religious teachings. The Lord sends His representatives to teach according to the time, place, and circumstance, though the essence of these teachings is always the same. The Vaisnava texts richly elaborate on the greatness of the Supreme Being and offer stunning detail about His kingdom, His form, and His activities.
The Deity form is always cinmaya spiritual and conscious for those who are on the highest platform of eligibility. Those on the intermediate level see the Deity as endowed with perception and awareness. This means that the intermediate devotee has faith that the Deity is conscious of his thoughts and prayers and accepts his mood of worship. However, the intermediate devotee, unlike the advanced devotee, does not directly perceive the Deity as the spiritual all-conscious form of the Supreme Lord.
Those on the lowest level initially see the Deity as material, but in time, the Deity reveals His pure spiritual form to the intelligence purified by spiritual love. Consequently, the Deity form is suitable to be worshiped and served by all classes of devotees. It is unnecessary to worship an imaginary form, but it is highly beneficial to worship the Lord's eternal Deity form.
The Brahma-samhita summarizes Krsna's form and color as articulated in the Vaisnava tradition:
I worship Govinda (Krsna), the primeval Lord, who is adept in playing on His flute, with blooming eyes like lotus petals and head bedecked with peacock's feather, with the figure of beauty tinged with the hue of blue clouds, and His unique loveliness charming millions of Cupids.
Wearing a peacock-feather ornament upon His head, blue kamikara flowers on His ears, a yellow garment as brilliant as gold, and the vaijayanti garland, Lord Krsna exhibited His transcendental form as the greatest or dancers as He entered the forest of Vrndavana, beautifying it with the marks of His footprints. He filled the holes of His flute with the nectar of His lips, and the cowherd boys sang His glories.
The Srimad-Bhagavatam gives descriptions not only of Krsna's original form, but also of His transcendental abode. For example, the chapter entitled Venu-gita states: Thus, the Vrndavana forest was filled with transparent autumnal waters and cooled by breezes perfumed with the fragrance of lotus flowers growing in the clear lakes. The infallible Lord, accompanied by His cows and cowherd boyfriends, entered that Vrndavana forest. The lakes, rivers, and hills of Vrndavana resounded with the sounds of maddened bees and flocks of birds, moving about the flowering trees.
Its description of the demigods worshiping Krsna in one of His four-armed Visnu expansions is equally striking:
Lord Brahma, along with Lord Siva, saw the crystal-clear personal beauty of the Supreme Personality of Godhead, whose blackish body resembles a mahabharatam, whose eyes are reddish like the depths of a lotus, which is dressed with garments that are yellow like molten gold, and whose entire body is attractively decorated. ... The Lord has attractive eyebrows, and His cheeks are adorned with earrings. Lord Brahma and Lord Siva saw the belt on the Lord's waist, the bangles on His arms, the necklace on His chest, and the ankle bells on His legs. The Lord is bedecked with flower garlands, His neck is decorated with the Kausturbham, and He carries with Him the goddess of fortune and His personal weapons, like His disc and club.
When Lord Brahma., along with Lord Siva and the other demigods, thus saw the form of the Lord, they all immediately fell to the ground, offering their obeisances.
Even the airplanes in the spiritual world are described in the Vedic texts. For example, in Srimad-Bhagavatam (3.15.20), it is stated, "The inhabitants of Vaikuntha travel in their airplanes made of lapis lazuli, emerald, and gold."
THE KEY TO SEE GOD AND GODDESS
Although the form of Krsna as presented in illustration and sculpture is non-different from Him, such form and color are nevertheless just indicators of a purified spiritual perception that only advancement in bhakti can afford.
In the words of Srila Prabhupada Bhaktivedanta Swami Maharaja:
Then how is it possible to see Him? Sevonmukhehi jihvadau: If we train our senses, if we purify our senses, those purified senses will help us see God. It is just as if we had cataracts on our eyes. Because our eyes are suffering from cataracts, we cannot see.
But this does not mean that there is nothing to be seen ... if our cataracts are removed, we can see Him.
The Brahma-samhita says, premanjana-samhita-bhakti-updesha santah sadaiva hrdayesu vilokayanti - the devotees whose eyes are anointed with the love-of-God ointment see God, Krsna, within their hearts twenty-four hours a day."
So, we require to purify our senses. Then we'll be able to understand what the form of God is, what the name of God is, what the qualities of God are, what the abode of God is, and what the paraphernalia of God are, and we'll be able to see God in everything.
Book's Contents and Sample Pages
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Vedas (1294)
Upanishads (548)
Puranas (831)
Ramayana (895)
Mahabharata (329)
Dharmasastras (162)
Goddess (473)
Bhakti (243)
Saints (1280)
Gods (1287)
Shiva (330)
Journal (132)
Fiction (44)
Vedanta (321)
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