Krishna Delivering Gita-Sermon

Email

Whatsapp

Facebook

Pinterest

Twitter

Copy link

Na chainam kledayantayo na shoshayati marutah.

'This Self is eternal and incessant. Neither do arms pierce it nor does burn it fire; neither does it dissolve in water nor it dries in air'.

This Madhubani painting, with excerpts from the text of Bhagvata Gita, beginning with above sloka, inscribed on its left top, depicts Lord Krishna delivering the immortal message to Arjuna. The scene is laid in the battlefield of Kurukshetra. The Great War, Mahabharata, has begun much before in the minds of Kauravas and Pandavas. Kurukshetra is the slate where they have gathered to translate their minds into the language of arms and the acts of vengeance and killing. Everything is ready, armies to attack, conches to blow, swords to strike and arrows to shoot and pierce those bosoms which once cradled upon them the hands rose now to shoot them. Two mightiest of armies stand facing each other. They stretch farther than the human eye is capable to go through. On yonder side stand in the foremost line Pitamah, the great grandfather Bhishma, Acharya Drauna, Acharya Krapa, kith and kin, near and dear. Krishna is on the driving seat of Arjuna's chariot. Arjuna asks him to take his chariot to the centre of the battle-field to let him see fully the warriors he has to raise arms against. Krishna does accordingly.

Perceiving his close relations - uncles, maternal uncles, grandfather, great grandfather, teachers, in-laws, brothers, nephews, sons, grandsons, friends and others stand amongst the warriors Arjuna's heart fills with grief, pity and penitence. He moans - is it only for the enjoyment some land that he has to direct his arrows against them? Are not amongst them the ones who cradled him upon their bosom, loved him more than themselves and wept in his pain, smiled at his success, delighted in his happiness and prided in his achievements? Nay, they certainly are not the people his arrows may target. He says he will retire and leave his cause, land and power to let Duryodhana enjoy it. He declares that he would not kill his own dear and near just for just for petty things. He says he hasn't a desire to win land or worldly riches. He asks Krishna to take his chariot back.

Krishna consoles Arjuna and inspires him to do his part leaving it to Him to decide what is right or wrong. He says whether for pity and pain or for love, if he leaves battle-field, he will be seen only as a coward and impotent and Duryodhana will laugh at him. He says this is only his ego, which tells that he can kill or spare someone from killing. Does he know what he eliminates by killing exists truly or not ? He tells Arjuna whatever is true shall not be eliminated and what is untrue, fake, has to perish now or now-after by itself or by someone's hands. He says in the entire existence the spirit alone is true and is imperishable. It neither melts in water nor burns in fire. Neither it dries in air nor is pierced by weapons. The body to which he is feeling so attached and has all his ties with is a perishable thing. If he does not put it to its end it will end by itself. Hence, for such perishable thing he should not evade his 'karma', his duty. He asks Arjuna to do his 'Karma' unattached and beyond consideration of gain or loss, defeat or victory, right or wrong and the kingdom of God shall be bestowed on him.

Despite a larger canvas this Madhubani painting places its emphasis only on Krishna and Arjuna. The figures of a few warriors opposite them symbolise Kauravas' army. Typical of folk style this Madhubani artist has created a galaxy of colours, versatile and colourful motifs and patterns and all by using only a very few basic colours and those too in their primary tones. The multiplication of visuals is simply unique. The wheels of Arjuna's chariot are also the magnificent floral motifs, the colourful balloons and the decorative 'alpana', the floor designs. Excellent line-work gives to the painting most of its patterns and motifs. Simply drawn eyes are so expressive and the colour scheme extremely daring or who would draw the total figure of a horse in jet black or that of Krishna in deep blue without the variation of even tones or shades?

This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.

Free Shipping. Delivered by to all international destinations within 3 to 5 days, fully insured.

Of Related Interest:

Gita Updesha (Orissa's Paata Painting)

Gita Updesha (Water Color Painting on Marble)

Krishna's Gita Updesha (Batik Painting On Cotton)

Gita Updesha (Kalamkari Painting on Cotton)

Cosmic Form of Krishna as Revelaed in the Gita (Kalamkari Painting on Cotton)

Ready For War (Batik Painting On Cotton)

The Gita (Paperback Comic Book)

An Introduction to the Study of The Gita (Paperback Book)

Colors of Tradition: Exploring the Artistry Behind Madhubani Paintings

Madhubani painting is also known as Mithila art as it is practiced in the Mithila region of India and Nepal. It has specifically originated from the Madhubani district of the state of Bihar. Traditionally, the women of this region created these paintings and in recent years, it has become a widely practiced art and has now become renowned throughout the world. This art expresses the creativity and culture of the people of Mithila and is passed from one generation to another. In this way, the heritage of Madhubani art has been preserved for many decades. The subjects of these paintings are usually religion, love, and fertility. Sometimes, social events like festivals, weddings, and royal court are also depicted in the paintings. The most commonly painted designs and themes are the forms of Hindu Gods and Goddesses such as Ganesha, Shiva, Saraswati, Lakshmi, Krishna, and Ram. The characteristic features of Madhubani paintings are their vibrant colors and eye-catching geometrical patterns. The empty spaces are filled with traditional motifs such as floral and foliate patterns, animals, birds, geometrical structures, and other designs. The local artists create these paintings using a variety of items such as matchsticks, twigs, brushes, pens, or even their own fingers. The paints are usually made with natural dyes and pigments.
As simple as it may seem, the making process of the world-famous Madhubani paintings is certainly not easy and requires lots of hard labor.

Traditional Madhubani paintings are done either on cloth, handmade paper, or canvas. Select the medium of painting as per your choice. If you have chosen cloth, attach it to cardboard to make a solid base. The making of the painting begins with making a double-lined border. This is a very important step because the border is filled with various geographical shapes and patterns or other motifs. The average width of the border is 1.5 - 2 cm. Now that the border is created, you will be left with a blank middle space. This is the main workspace. Start drawing your choice of figure, designs, and shapes. These must be relevant to the Madhubani painting themes.

When the key design has been made, the empty spaces in between are filled with some designs.
Now is the time to color the painting using vivid shades and hues. Colors in Madhubani are sourced from nature; Indigo is used to produce blue, flower juice produces red, turmeric gives yellow, leaves produce green, cow dung mixed soot gives black, and rice powder gives white.

To paint these colors, the artist uses a bamboo stick and wraps cotton around it. This acts as a traditional brush.
The entire painting is now painted using this special brush with natural vibrant colors. · However, in modern times, the common brush is used and instead of natural colors, artists prefer to use acrylic paints.

Since the entire painting is made with natural materials and colors, it appears simple yet enriching. Originally, this art was created on mud walls or soil grounds but when it evolved over many years, the people of Madhubani started to make it on fabric and paper. Today, this art has become globalized and is receiving worldwide attention and appreciation.