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Motifs and stories rooted in centuries-old devotional tradition.
9 Artworks
Mayuri
Framing available
Govinda and the Peacock places a single peacock beside Krishna, its plumage in quiet dialogue with the feather worn i...
Govinda's Melody surrounds a flute-playing Krishna with peacocks, their feathers echoing the peacock plume traditiona...
Krishna leans into his flute in the last blue light of evening, a single peacock feather catching what remains of the sun. The palette holds to deep indigo and slate, with gold used sparingly at the jewellery and the rim of the horn — restraint that makes the piece read as devotional rather than decorative. Suits a living room wall that already has warm wood or brass to answer the gold.
Rama at rest rather than at war — bow set aside against the rock, the forest closing in green and gold behind him. The saffron of the robe is the only high-chroma note in the composition, which is what gives the figure its stillness. A quiet, upright piece for an entryway or a study, where a single strong vertical is worth more than a busy wall.
A monochrome study of Shiva with Nandi, worked entirely in graphite tones against carved temple stone. Stripping the colour out pushes everything onto line and weight — the fall of the bull's shoulder, the tension in the seated figure. Reads as drawing rather than painting, which makes it an easy piece to live with in a room that is already colourful.
Shiva and Nandi against a wash of burnt ochre, the whole canvas held in a narrow band of earth tones — rust, clay, muted saffron. There is almost no cool colour anywhere in it, which is unusual for the subject and gives the piece an enveloping warmth. Best on a pale wall, where the ochre can do its work without competition.
Shiva in meditation with Nandi, the Himalaya rising cold and blue behind them and wildflowers scattered across the foreground rock. The piece works on depth: three distinct planes, each cooler than the last, so the eye travels back into the mountains rather than resting on the figure. A large-feeling work that suits a wall with room to be viewed from across a room.
Sita seated alone beneath a broad tree, the yellow of her sari the single warm point in a composition otherwise given over to green shadow. The wide format leaves a great deal of empty space to her left, and that emptiness is the subject as much as the figure is. A contemplative horizontal piece, well suited above a low console or a bed.
A second reading of the same grove, warmer and closer than the first — the light has moved, the greens have gone golden, and the figure sits nearer the picture plane. Hung as a pair with Waiting Under the Ashoka it reads as a passage of time; hung alone it is simply a very quiet landscape with a figure in it.
