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Mahabharata War - 8th Day

The Story

The 8th day of the Mahabharata War began with fury. The Pandavas (in white) commanded 7 Akshauhinis (a military unit, consisting of 1 elephant, 1 chariot, 3 horsemen and 5 foot soldiers, multiplied by a factor of 21870) and the Kauravas (in black) had 11. 

  • Bheeshma (the Kaurava Commander-in-chief) decided to employ the Koorma Vyuha or the defensive turtle formation, with himself at the forefront. Duryodhana, the eldest Kaurava prince was placed at the center of the formation, surrounded by the other generals and warriors such as Bhoorisravas, Shalya, Bhagadatta, Susharman, Kripacharya, Shakuni, Kritavarman, Dusshasana, Jayadratha and Ashwatthama on all sides. Karna unfortunately had to sit out the battle at this point because Bheeshma refused to share the battlefield with him and Duryodhana, needing Bheeshma's support, had to yield.

  • To circumvent his great grandfather Bheeshma’s battle prowess, Arjuna commanded the Pandava forces to form the Trishula Vyuha, or the tactical trident formation. Arjuna and his son Abhimanyu led one spike of the trident, backed up by Satyaki (of the Yadava Vrishni clan) and Virata (King of Matsya). Bheema and his son Gatotkacha led the other spike of the trident, backed up by Drupada (King of Panchala) and his son Shikandi. Drupada’s other son Drishtadyumna (also the Commander-in-chief of the Pandava forces) led the central spike, while also protecting King Yudhishtra (the eldest Pandava brother) and his youngest brothers Nakula and Sahadeva. By circumventing Bheeshma’s direct onslaught, the Pandava formation managed to wreak severe damage to the Kaurava forces.

Philosophy of the Formations

The Trident:

  • In Greek mythology, the trident is the symbol of Poseidon, the god of the sea. It was forged by the cyclopses to aid in his battle against the titans, and is associated with hurricanes and earthquakes. In Ancient Greece, the trident was employed as a harpoon for spearing large fish.

  • In Hindu mythology, the trident is the weapon of Shiva, the god of destruction. It is said to represent the three gunas of Sattvika, Rajas and Tams.

  • These philosophies may reflect the mental state of the Pandavas in their desire to destroy parts of the Kaurava army while also avoiding the terrifying power of their great grandfather Bheeshma.

The Turtle:

  • Turtles are often depicted in cultures as patient, and wise creatures. Due to their long lifespan, slow movement, and sturdiness, they represent longevity and stability in many cultures around the world.

  • These philosophies reflect the mental state of Bheeshma who was always reluctant to directly cause harm to his Pandava great grandchildren, and has resorted to a defensive stance with the intent of wearing out the enemy army.

Map of the Battlefield

tags: mahabharat, mythology, illustration, chess
Saturday 02.04.23
Posted by Karthik Nagarajan
 

My First Kickstarter Project: Golu Boxdolls!

My first Kickstarter Project, making Papercraft Golu Boxdolls from Indian Mythology

Read more

tags: papercraft, illustration, mythology, dolls, papercut, kickstarter, kickstartercampaign, crowdfunding, boxdolls
Sunday 11.05.17
Posted by Karthik Nagarajan
 

Mahabharata War - The 14th Day

The Story

The 13th day of battle between the Pandavas and Kauravas in the epic Mahabharata has just come to an end. While Arjuna was distracted on the far side of the battlefield, the Kaurava forces lured his son Abhimanyu into their Chakravyuha (Wheel-Formation) and brutally killed him. The Pandava forces were unable to follow Abhimanyu into the formation due to the insurmountable defense of the Sindhu King Jayadratha. 

Burning with rage, Arjuna makes a terrible promise: To kill Jayadratha before sunset the next day or to kill himself. This sets the stage for the most epic battle of the entire war: The 14th Day. 

The Kaurava Commander-in-Chief Dronacharya has assembled his forces into three battle formations. First is the square and solid Shakatavyuha (Cart Phalanx). Behind this is the Padmavyuha (Lotus-Formation), positioning himself at its head. Lastly, near the base of the lotus, he arranges the most powerful Kaurava warriors straight as a needle (Suchivyuha) with the precious Jayadratha at the eye of the needle. 

15 Kilometers separate Arjuna from his target: A hundred thousand horsemen, Sixty thousand chariots, three million foot soldiers, fourteen thousand elephants, and then six supreme warriors.

And so begins Arjuna’s glorious and terrible quest. With his golden chariot and four white horses ready, Krishna takes their chariot forward into the enemy’s cart formation. Warriors attack him from all directions but Arjuna has no patience for them. He draws his bow and waves of enemy warriors fall. 

Taking apart the cart formation, their chariot storms the edge of the lotus formation, where they encounter Dronacharya. They duel for hours with no end in sight, so Krishna quickly takes their chariot around and avoid further confrontation with the Acharya. 

They forge ahead deeper into the lotus formation, encountering Kritavarma, Duryodhana and many other Kaurava warriors. But today, Arjuna appears to be the God of Death incarnate and smashes through the last petals of the lotus formation, breaking it apart entirely. 

The powerful warriors of the needle formation surround Arjuna. Bhoorisravas, Karna, Ashwatthama, Kripacharya, Shalya and others attack Arjuna simultaneously. 

In the mean time, Dronacharya tries to capture Yudhistira. His efforts are thwarted by Bheema and Satyaki. 

Fending off several attacks, Krishna expertly guides Arjuna through the sea of enemy warriors. His eyes are constantly watching the west and Arjuna catches the message that there is little time to waste. 

Then suddenly, darkness sets across the battlefield. The enemy warriors start cheering at their victory and let down their guard. Krishna assures Arjuna that this is an illusion and instructs him to act. Arjuna invokes the power bestowed by Shiva and fires a flaming arrow from his bow, beheading Jayadratha in one swift strike. 

Before the enemy forces could protest at this treachery, the clouds part and the last rays of the blood-red sun bathe the battlefield. 

Arjuna has fulfilled his vow. 

The battle however did not stop at sunset as it had on the previous days. Under the blanket of night, the soldiers lit torches and continued fighting. Being of Rakshasa descent, Bheema’s young son Gatotkacha becomes more powerful under the cover of darkness and rains terror upon the enemy forces. 

Desperate to curb the violent destruction of their army, the Kaurava warrior Karna invokes his divine Shakti weapon, which he had been saving to use exclusively against Arjuna, and hurls it with all his might at Gatotkacha. Realizing what is about to happen, Gatotkacha grows to an enormous size. The Shakti lights up the night sky and crashes into the giant Gatotkacha. He falls upon the Kaurava army like a mountain and crushes thousands of them underneath. 

And so ends the 14th day of the Mahabharata battle. 

Philosophy of the Formations

  • In direct contrast to the Crescent Moon formation used by the Pandavas on the previous day, the 14th day channels the anger and rage of Arjuna into the laser sharp focus of the Eagle formation as it hunts for its prey, powerfully tearing through all obstacles and challenges in its path and keeping its eye only on its intended target. 
    In various mythologies, Eagles were often depicted as being very old and wise creatures, such as in the tales of Garuda or in Celtic folktales. They are also strong allies in The Lord of the Rings, rescuing Gandalf from his prison atop Isengard and later coming to the aid of Frodo and Sam when all hope seems lost. Eagle feathers represent courage and bravery in various cultures, where they are used to adorn clothing or headgear. The symbols of the Roman and German empires were both eagles. The eagle is also now prominently featured in the American iconography. 
  • The Kauravas on the other hand, try a combination of three different formations: The Cart, the Lotus and the Needle. 
    Carts in mythology take many interesting forms. The Gordian knot was a chariot in ancient Greece tied to a post with an impossible knot, which Alexander the great undid by simply cutting through the rope, foretelling his ability to find innovative solutions to complex problems. 
    The lotus on the other hand, represented the Sun and rebirth in ancient Egyptian cultures, owing to its behavior of closing up at night and almost receding into the water. In buddhism, the lotus represents spiritual awakening, owing to its ability to repel the marshy waters in which it grows and remain clean. In Hindu philosophy, the primordial lotus grows from Vishnu's navel and represents the birth of time and the creation of the universe. Greek mythology had an island of lotus-eaters who would consume a narcotic and remain in a state of apathy to the rest of the world. 
    And lastly the needle, which has an odd place in mythology. The spinning needle curses a princess to sleep for an eternity when she accidentally pricks herself in the story of Sleeping Beauty. The needle and spinner are also used by Rumplestiltzkin to spin straw into gold for the princess in exchange for her firstborn child. 
    Taking all of this symbolism into account, we could form an image in our minds of the Kauravas making a desperate promise to protect Jayadratha, trying to throw out seemingly impossible challenges at Arjuna and trying to keep him distracted and away from his true goal. 

The Map of the Battlefield

tags: mythology, indianmythology, illustration, battlefield, banner, flag, insignia, sigil, shield, mahabharat, epic, strategy, formation, chess, army, rts, hero, lonelyhero
Sunday 07.16.17
Posted by Karthik Nagarajan
Comments: 1
 

Mahabharata War - The 13th Day

Inspiration

It has been a long-time dream of mine to illustrate some part of the great Kurukshetra war features so prominently in the Indian epic Mahabharata. 

The war, which takes place over a span of 18 days, covers nearly one-third of the entire epic and yields in-depth details about the preparations for the war, the big players, the battle formations and the epic encounters. 

Chief amongst my fascinations were the banners that flew atop each hero's chariot, sort of like a pirate ship or naval armada flying their colors of allegiance.

The second angle of my fascination comes from my love of strategy videogames such as Age of Empires 2, Heroes of Might and Magic 3 and Warcraft 3, which represent giant armies from a top-down view.

The third inspiration came from the descriptions of the armies in the Mahabharata. The text goes into detail explaining that the units of warfare such as the Footman (Padha), Horseman (Ashwa), Chariot (Ratha) and Elephant (Gaja) formed the foundation of the strategy game Chaturanga which later evolved into the modern game of Chess. 

The last part of my inspiration came from a visit to the German History Museum here in Berlin, where I saw a shield that was presented to the King, painted with the various sigils of the houses that stood in support of his rule. 

And with this final piece of inspiration in hand, I set off with my drawing. 

Research

I spent a lot of time researching the heroes, their banners, their armies and the various battle formations they employed. There were some cases where I just wasn't able to find any specifics and had to take a bit of artistic license in interpreting the information. Here's what I found:

  • The Kurukshetra war was fought between the forces of the Pandavas (5 brothers, sons of Pandu) and the Kauravas (100 brothers, sons of Dritharashtra) over a dispute of who had the right to rule the kingdom. 

  • The sizes of the armies were measured in a unit called an Akshauhini, which consisted of a combination of forces in the ratio 1 Elephant: 1 Chariot: 3 Horsemen: 5 Footmen multiplied by a factor of 21870

  • The skill level of a warrior was scaled as follows: Rathi (capable of fighting 5000 warriors at once), Athirathi (capable of fighting 12 Rathis or 60000 warriors), Maharathi (capable of fighting 12 Athirathis or 720000 warriors)

  • The Pandava army was composed of 7 Akshauhinis

  • The Kaurava army was composed of 11 Akshauhinis

The Story

Despite being massively outnumbered, the Pandava army has a secret weapon who goes by the name of Arjuna. This Pandava warrior is clearly the hero of the war. He features prominently in a vast portion of the battles and rallies everyone behind him with his feats of skill in warfare. 

After 12 days of intense bloodshed, the realize that the best way to end the war swiftly is to distract Arjuna and capture the eldest Pandava brother Yudhistira. And so they enlist the aid of the Samsapthaka armies of Trigartha and the Narayani Sena of the Yadavas to challenge Arjuna and drag him out to a remote part of the battlefield. The Kaurava commander-in-chief Dronacharya, then employs the Chakravyuha or the Wheel battle formation, since it was rumored that only Arjuna knew the secret of entering and breaking it. 

The confounded and desperate Pandava forces first try a counter-attack through the Crescent Moon formation but then turn to Arjuna's young son Abhimanyu, who knew the secret of entering the Chakravyuha but knew not how to exit or break the formation. With strong reassurances from the other Pandava heroes that they would follow him and give him support, Abhimanyu set forth entering the maze-like rotating wheel formation. 

However, the Pandava forces are halted by the insurmountable defense of Jayadratha, the king from Sindh, and are unable to follow the young prince. 

Trapped away from his army and with no escape route in sight, Abhimanyu strengthens his resolve and goes on a rampage, defeating many enemy heroes and decimating a vast array of Kaurava forces. In the end, feeling like they set a trap for a kitten and caught a lion instead, the desperate Kaurava forces surround Abhimanyu on all sides, abandon all rules of chivalrous warfare and succeed in killing him. 

There are three direct consequences to this:
- All the rules of chivalry and ethics of warfare are completely abandoned
- The death of Abhimanyu spurs the noble Pandavas onward to finish the fight by any means necessary
- It sets up an even more epic 14th day of battle, with Arjuna swearing a terrible oath to kill Jayadratha or end his own life

Philosophy of the Formations

  • The Moon has very many symbolic meanings in different cultures of the world. The Waning Moon represents surrender, contemplation and meditation. The New Moon represents new beginnings and rebirth. The Waxing Moon represents growth and manifestation. The Full Moon represents clarity and fulfillment. 
    In this case, the crescent moon takes on a very special meaning. Having two tips, it could represent for the Pandavas, a lack of desire to tackle their problem head-on and instead trying to circumvent it somehow. They were always hesitant about fighting with their cousins, relatives and teachers, and constantly doubting whether they were doing the right thing. This strong desire to avoid the primary conflict led to the death of Abhimanyu, which in turn had a dramatic impact on the course of the battle as well as the formation used by the Pandavas the very next day. 
     

  • The Kauravas on the other hand, utilized the Chakravyuha or an ever-twisting snake-like circular maze formation. The ancient Egyptian and Greek philosophers viewed the world as a constant cycle of life-death, creation-destruction and imagined it as an Ouroboros, the snake swallowing its own tail. In Alchemy, the Ouroboros is associated with the Philosopher's Stone, which is said to hold the secret to immortal life. In Norse mythology, this takes the form of the world-snake Jörmungandr, which grew so large that it could encircle the entire world and hold its tail between its teeth. Jörmungandr was also foretold to bring about Ragnorok, or the end of the world and the destruction of the Gods. In Vedic philosophies, it is believed that the power of the Kundalini lies coiled like a snake holding its own tail. 
    This symbolism could be taken to imply that the Kauravas strongly believed that they were going to bring about the destruction of the God-like Pandavas and award themselves eternal glory by winning this battle. 

Pandava Forces

Yudhistira - Crescent Moon with 5 Planets
Yudhistira - Crescent Moon with 5 Planets
Bheema - Golden Lion with Sapphire Eyes
Bheema - Golden Lion with Sapphire Eyes
Arjuna - Hanuman
Arjuna - Hanuman
Nakula - Red Antelope
Nakula - Red Antelope
Sahadeva - White Swan
Sahadeva - White Swan
Satyaki - Yali
Satyaki - Yali
Ghatotkacha - Wheel
Ghatotkacha - Wheel
Krishna - Garuda
Krishna - Garuda
Drishtadyumna - Fire Altar
Drishtadyumna - Fire Altar
Shikandi - Flower
Shikandi - Flower
Drupada - Vajra
Drupada - Vajra
Virata - Matsya Fish
Virata - Matsya Fish
Abhimanyu - Golden Karnikara Tree
Abhimanyu - Golden Karnikara Tree
Pandava Tent
Pandava Tent
Hastinapur
Hastinapur
Ashwa
Ashwa
Gaja
Gaja
Padha
Padha
Ratha
Ratha

Kaurava Forces

Bheeshma - Palm Tree with 5 Stars
Bheeshma - Palm Tree with 5 Stars
Drona - Beggar Bowl & Bow
Drona - Beggar Bowl & Bow
Karna - Sun
Karna - Sun
Kripa - Bull
Kripa - Bull
Dusshasana - Mace
Dusshasana - Mace
Duryodhana - Cobra
Duryodhana - Cobra
Ashwatthama - Lion Tail
Ashwatthama - Lion Tail
Shalya - Spears
Shalya - Spears
Bhagadatta - Elephant
Bhagadatta - Elephant
Bhurisravas - Lotus
Bhurisravas - Lotus
Shakuni - Owl with Dice
Shakuni - Owl with Dice
Jayadratha - Horse
Jayadratha - Horse
Kritavarma - Helmet
Kritavarma - Helmet
Susharman - Pearl
Susharman - Pearl
Kaurava Tent
Kaurava Tent
Ashwa
Ashwa
Gaja
Gaja
Padha
Padha
Ratha
Ratha

 

The End Result

tags: illustration, mythology, mahabharat, shield, sigil, banner, flag, war, warrior, hero
Sunday 07.09.17
Posted by Karthik Nagarajan
Comments: 1
 

Garuda's Life

The Character

Garuda is the great eagle mount of Vishnu. His name means one he is capable of lifting great weights and moving very fast. He is named thus by hermits who are hanging upside down on a tree branch. When the great winged deity sat on the branch to eat a elephant and tortoise, the branch broke, but Garuda quickly snatched the branch from the air despite already carrying a heavy load.

The Story

After defeating the devas and taking their divine nectar, the mighty bird Garuda doesn't taste even a drop of it, because he's trying to use it to buy his mother's freedom from the nagas. An amazed Indra (King of the Devas) goes to Garuda, asks to be his friend and enquires about the extent of his strength.

To this, Garuda narrates his story. The sage Kashyapa had two wives, Vinata and Kadru, daughters of Daksha Prajapati, who was the son of Brahma. Through divine boons, Kadru asked for a thousand snakes for children and Vinata asked for just two, who would surpass all others in their glory. Kadru's snakes were born quickly. In her impatience, Vinata broke open one of her eggs to reveal a half-formed child who later became Aruna, the charioteer of Surya. Vinata then lost a foolish bet with Kadru and thus became her slave. It was then that Garuda burst forth from his egg with divine splendor. Learning of his mother's fate, he made a deal with the nagas to bring back the nectar of immortality from the heavens where the Devas guarded it fiercely. He defeated their entire army, quenched a wall of raging flames, surpassed an ever-spinning bladed discus, fought off poisonous serpents and retrieved the nectar. 

He then explains that on each of his feathers he could carry the entire Earth with all of its contents and Indra himself on top of it.

The Art

The part of the story where Garuda explains his strength to Indra always fascinated me in an Atlas sort of fashion (except that Atlas carries the heavens and not the Earth). This inspired me to show Garuda in the place of Atlas, shouldering a globe which contained in it his entire life story. 

Hope you like it!

‪#‎garuda‬ ‪#‎illustration‬ ‪#‎mythology‬ ‪#‎art‬ ‪#‎cosmology‬

tags: garuda, illustration, mythology, art, cosmology, indianmythology, indianstories, mahabharat
Saturday 04.16.16
Posted by Karthik Nagarajan
Comments: 1
 

Spearwoman, Museum Island

SpearwomanThe statue of an Amazonian Spearwoman fighting a lion, situated before the Altes Museum on Museuminsel in Berlin

Spearwoman

The statue of an Amazonian Spearwoman fighting a lion, situated before the Altes Museum on Museuminsel in Berlin

tags: illustration, berlin, postcard, statues
Saturday 09.19.15
Posted by Karthik Nagarajan
 

Märkisces Museum

Märkisches MuseumThe Märkisches Museum was founded in 1874 as the Museum of the City of Berlin and its political region, the March of Brandenburg. It occupies a building on the northern edge of Köllnischer Park, facing the Spree. 

Märkisches Museum

The Märkisches Museum was founded in 1874 as the Museum of the City of Berlin and its political region, the March of Brandenburg. It occupies a building on the northern edge of Köllnischer Park, facing the Spree. 

tags: berlin, illustration, postcard, museum
Saturday 09.19.15
Posted by Karthik Nagarajan
 

The Fountain of Neptune

NeptunebrunnenThe Neptune Fountain in Berlin was built in 1891 with the Roman god Neptune in the center. Four women around him represent the four main rivers of Prussia at the time the fountain was constructed: the Elbe (with the allegorical figure …

Neptunebrunnen

The Neptune Fountain in Berlin was built in 1891 with the Roman god Neptune in the center. Four women around him represent the four main rivers of Prussia at the time the fountain was constructed: the Elbe (with the allegorical figure holding fruits and ears of corn), Rhine (fishnet and grapes), Vistula (wooden blocks, symbols of forestry), and Oder (goats and animal skins). The Vistula is now entirely in Poland, while the Oder forms the border between Germany and Poland.

The fountain was moved in 1969 to its present location between the St Mary’s Church and the Rotes Rathaus.

tags: berlin, illustration, neptune, neptunebrunnen
Saturday 09.19.15
Posted by Karthik Nagarajan
 

Soviet War Memorial in Berlin

Soviet War Memorial in BerlinAt the conclusion of World War II, three Soviet war memorials were built in 1949 Berlin to commemorate Soviet deaths in World War II, especially the 80,000 that died during the Battle of Berlin. The memorials are not onl…

Soviet War Memorial in Berlin

At the conclusion of World War II, three Soviet war memorials were built in 1949 Berlin to commemorate Soviet deaths in World War II, especially the 80,000 that died during the Battle of Berlin. The memorials are not only commemorative, but also serve as cemeteries for those killed.

tags: berlin, postcard, illustration
Saturday 09.19.15
Posted by Karthik Nagarajan
 

Allegory of Science & History

tumblr_nuxr8f6rya1tu1v0mo1_1280.jpg
tumblr_nuxr8f6rya1tu1v0mo2_1280.jpg

The “Allegory of science” and “Clio – The Muse of History”, are two figures located in front of St. Nicholas Cathedral in Nikolaiviertel in Berlin. The two 3m high bronze figures were moved to the Nikolai Quarter in 1987. The “Allegory of science” represents a thoughtful man who braces reading a great book with the right hand against his thigh. With his left hand he holds a globe on the other leg. Another figure which was part of the original ensemble, “Genius of Science”, is now at the Heinrich-von-Kleist Park in Schöneberg.

tags: illustration, berlin, postcard, science
Saturday 09.19.15
Posted by Karthik Nagarajan
 

Agni

Agni, the God of FireIn Indian mythology, Agni was considered to be the messenger of the gods, linking the earth to the heavens, conveying all the mortal offerings to the gods. Agni was instrumental in all rituals in the vedic period, with priests p…

Agni, the God of Fire

In Indian mythology, Agni was considered to be the messenger of the gods, linking the earth to the heavens, conveying all the mortal offerings to the gods. Agni was instrumental in all rituals in the vedic period, with priests performing a Yagna with fire to invoke the blessings of the gods. Agni was considered at once, the devourer and purifier of all things with his seven tongues of flame.

Agni was also identified with the sun god Aditya as the giver of life and sustenance. Agni was also considered to be timeless and immortal because fire can always be rekindled and rejuvenated even after it goes out.

Just like the story of Prometheus, when fire came to be domesticated for use in cooking, warming or metallurgy, fire acquired a trinity of personalities: that of the domestic fire that serves mankind, that of the forest fire that roams free and that of the heavenly fire that connects mankind with the heavens by carrying their offerings during ceremonies or burning the dead and carrying their souls to heaven.

The constellation of the Krithika or the Pleidas was associated with Agni. According to the epic poem ‘Kumarasambhava’, along with the 6 celestial Krithika maidens, Agni was instrumental in the birth of the War God Karthikeya.

Agni was also associated with the human physiology and Ayurveda, with the stomach being considered a furnace which consumes nutrients and transmits energy to the rest of the body.

The sanskrit root for Agni oddly sounds similar to the latin root for the same word ‘Ignios’, both implying the 3 forms of fire, lightning and the sun, giving it the meaning ‘that which shines forth’. As a result, fire is associated with time, protection, hunger, anger and knowledge.

Agni in indian mythology is depicted as a red, two-faced being, with seven hands, three legs and seven fiery tongues to lick the sacrificial butter. He rides a ram or a chariot drawn by fiery horses.

When it came to drawing Agni, I stuck to the simplest aspects of him, with 2 faces and 7 hands, wielding a fiery lance, emerging from the sacrificial fire and carrying the offerings to the heavens. 

tags: illustration, mythology, agni, fire
Monday 07.27.15
Posted by Karthik Nagarajan
 

Arjuna & Shiva

Arjuna & ShivaThe StoryThe Kiratarjuniya is a sanskrit epic poem written by Bharavi in the 6th Century AD, describing the interaction between Arjuna and lord Shiva in the guise of a kirata or mountain-dwelling hunter.The poem is set during the p…

Arjuna & Shiva

The Story

The Kiratarjuniya is a sanskrit epic poem written by Bharavi in the 6th Century AD, describing the interaction between Arjuna and lord Shiva in the guise of a kirata or mountain-dwelling hunter.

The poem is set during the period of forest exile of the Pandavas within the story Mahabharata. Facing the prospect of war against the Kauravas at the end of their exile, Arjuna is advised by the sage Vyasa to seek divine weapons. Reminded of the humiliation that his brothers and his wife Draupadi faced during the dice game where they lose their entire kingdom, Arjuna decides to perform an austere penance.

Arjuna is guided by a yaksha to the Indrakila mountains near the present-day region of Vijaywada and prays to Shiva. Here, Arjuna endures the hardships of the weather and overcomes many temptations, standing steadfast in his goal.

Pleased with his penance, Shiva decides to test his valor by appearing as a hunter, with both of them shooting a wild boar simultaneously and arguing over who shot first. Upon realizing that he is unable to win, Arjuna at last recognizes Shiva and surrenders to him. Shiva then grants him the powerful Pashupatastra, whose descriptions parallel that of a modern day thermo-nuclear weapon.

The Myth

I think of This episode from the Mahabharat as a transitionary period. Until this point in the story, the main characters of the story (the 5 Pandava brothers) have had a moderately comfortable upbringing, survived treachery via the burning wax palace courtesy of their cousins, had their new kingdom handed to them on a silver platter by their uncle the king, cultivated the land with the help of Krishna and Balarama, built a fabulous palace with the help of the architect Mayavi, lost the entire kingdom in a game of dice and been exiled for 13 years in the forest. 

They interactions have been only with other human characters so far and have only been accumulating either moral teachings or alliances with other kingdoms through marriage. 

This is the first divine encounter that they actively seek out that also manifests in the form of a tangible object they can make use of. (I’m not counting their meetings with Krishna since an Avatar is a bit of a complicated person who is sometimes considered either wholly divine, wholly mortal, a bit of both, or neither). Considering that Arjuna receives an enormously powerful weapon that he is immediately warned to never use due to its terrible effects, and the fact that the weapon is never mentioned again for the rest of the epic leads us to question the purpose of this episode. 

Is it to tell us that the Pandavas were righteous by divine ordnance? Or is it just a confidence boost for Arjuna to have an unusable powerful weapon in his quiver, just like he has Krishna on his chariot in the battlefield? Or is it to mirror the adventures of his brother Bhima meeting Hanuman or Yudhisthira meeting the crane who turns out to be a Yaksha who turns out to be his father Yamadharmaraja, the god of death and divine justice, which also serve as lessons in humility and wisdom? Perhaps all of these and perhaps none. 

The Drawing

When it came to drawing the piece, I made Shiva seem like a giant bestowing an enormous weapon capable of tearing apart the very fabric of the universe to the tiny insect-like Arjuna to show the parity in stature between them.

For the border, I was inspired by the story of the river/celestial maiden Ganga (who is trapped in Shiva’s matted hair) riding a mythical creature called a Makara (which is a half-elephant/half-ram, half-fish type of creature, which is also the zodiac equivalent of Capricorn)

And for the border’s border, I decided to put a composite statue of Nandi, which is the bull that serves as Shiva’s ride.

tags: illustration, mythology, art, mahabharat, shiva, arjuna
Monday 07.20.15
Posted by Karthik Nagarajan
 

The 10 Avatars

The Ten AvatarsWe all know the common story about the ten avatars that the Indian God Vishnu takes to protect the world, but more on that in just a minute. When I was making a drawing of Ravana, I wanted to originally draw him with ten hands playing…

The Ten Avatars

We all know the common story about the ten avatars that the Indian God Vishnu takes to protect the world, but more on that in just a minute. 

When I was making a drawing of Ravana, I wanted to originally draw him with ten hands playing the Veena. But ten hands for one instrument seemed excessive. So I thought I’d make each hand play a separate instrument, but that looked a bit awkward. Then I had a flash of an image with something related to each of the ten avatars of Vishnu in Ravana’s ten hands. While that made an interesting image, that made no sense at all. Why would Ravana of all people pay homage to Vishnu’s avatars? And then it hit me, I could just draw a ten-armed Vishnu with each arm paying homage to each of the ten avatars. 

And so I started off sketching the figure and the various arms, but then I hit upon another problem. Seven of the avatars were human or humanoid and could have arms, but the first three were animals. How was I supposed to have meaningful arms for these? 

This I sort of managed to address by giving them humanoid-like hands or just using their limbs as-is. 

Then came the dilemma of how to make each hand unique enough to be identifiable. So here’s what I did from the last avatar backwards:
Kalki-sword in hand
Krishna-considered chakra but settled on flute
Balarama-plough
Rama-bow
Parashurama-axe
Vamana-umbrella
Narasimha-was a bit of a puzzle, because the avatar doesn’t hold anything, the nails are supposed to be the weapons. Briefly considered intestines of Hiranyakashipu but felt that would be too gory
Varaha-this one was a little challenging since this was essentially a wild boar whose hand isnt supposed to be articulate. The story has the wild boar carrying the earth to safety on its snout so I settled on the earth on its hoof. 
Kurma-this was even more challenging since a tortoise’s hand is even less articulate. In the story, the tortoise carries the mountain Mandhara on its mountain, so I settled on a tortoise arm carrying a mountain. 
Matsya-this was the most challenging, since fish have no hands and I didn’t want to make a tentacled cthulu-esqe monster. In the end I settled on a mer-man type arm to give the semblance of an aquatic creature carrying the vedas that were stolen by the demon Hayagriva from Brahma.

Then came another dilemma - some count Balarama as one of the ten avatars and some count Buddha as one of the ten avatars. Which would I follow? In the end I decided upon Balarama because his plough-in-hand was a lot more interesting visually. 

tags: mythology, illustration, art, dashavatar
Saturday 07.11.15
Posted by Karthik Nagarajan
 
The Cathedral of St. VitusA postcard illustration of the St.Vitus Cathedral in Prague, from my recent holiday trip there in 2015. A visit inside is well worth the ticket price. The stained glass windows are absolutely gorgeous and the massive flying…

The Cathedral of St. Vitus

A postcard illustration of the St.Vitus Cathedral in Prague, from my recent holiday trip there in 2015. A visit inside is well worth the ticket price. The stained glass windows are absolutely gorgeous and the massive flying buttresses outside are simply magnificent to behold. 

tags: illustration, prague, art, postcard
Wednesday 07.01.15
Posted by Karthik Nagarajan
 
The ColosseumA postcard illustration of the Colosseum in Rome, from my recent holiday to the city of Rome in 2015. It was constructed in 72AD by the Emperor Vespasian and his successor Emperor Titus. It could hold an estimated 50000-80000 spectators…

The Colosseum

A postcard illustration of the Colosseum in Rome, from my recent holiday to the city of Rome in 2015. 

It was constructed in 72AD by the Emperor Vespasian and his successor Emperor Titus. It could hold an estimated 50000-80000 spectators. 

This impressive colossus, despite undergoing a series of restorations, never fails to astound me with it’s sheer presence and absolute magnificence. What’s harder to believe that there’s as much of it still standing, despite being nearly 2000 years old. 

Nothing else represents the utter descent into an absolutely decadent lifestyle like the Colosseum, as visitors would pour in from all corners of the empire to witness bloody gladiatorial tournaments, animal hunts, public executions, simulated naval battles, re-enactments of famous battles and dramas from classical mythology. 

tags: illustration, postcard, art, rome
Wednesday 07.01.15
Posted by Karthik Nagarajan
 
The Mother Wolf of RomeA statue of the mother wolf that is said to have taken care of the infants Romulus and Remus, who later became the founders of the city of Rome

The Mother Wolf of Rome

A statue of the mother wolf that is said to have taken care of the infants Romulus and Remus, who later became the founders of the city of Rome

tags: illustration, mythology, art, rome
Wednesday 07.01.15
Posted by Karthik Nagarajan
 
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The Angels of St Angelo’s Bridge 

I was inspired by the variety and beauty of the Angels of St. Angelo’s bridge and castel from Rome to draw them as postcards. 

Here I’ve just used pencils and faber castell black pens of varying thicknesses to ink/shade them. 

tags: illustration, postcard, art, Rome
Wednesday 07.01.15
Posted by Karthik Nagarajan
 
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A Roman Holiday 2015

Was inspired by my trip to Rome in Italy in June this year to illustrate some of the beautiful sculptures and buildings that I saw there. Sources are from Piazza Navona, St.Angelo’s Bridge, Church of St.Louis of the French and the Colosseum. 

tags: illustration, postcards, art, rome, italy, colosseum, statues
Thursday 06.11.15
Posted by Karthik Nagarajan
Comments: 1
 
Here’s another post in the series of “How did I draw that?”. I have tried combining my neat flowchart skills with my messy drawing style (I’m told it’s a terrible combination). But I hope this sheds some more light on t…

Here’s another post in the series of “How did I draw that?”. I have tried combining my neat flowchart skills with my messy drawing style (I’m told it’s a terrible combination). But I hope this sheds some more light on the process :-)

tags: illustration, mythology, instruction, howto, drawing, sketch
Tuesday 05.05.15
Posted by Karthik Nagarajan
 
Questions of the YakshaDuring the exile of the Pandava brothers in the forest after their loss in the game of dice, Yudhishtira finds all of his brothers dead/with their spirits trapped next to a lake by a stork who owns the lake. They have been tra…

Questions of the Yaksha

During the exile of the Pandava brothers in the forest after their loss in the game of dice, Yudhishtira finds all of his brothers dead/with their spirits trapped next to a lake by a stork who owns the lake. They have been trapped as punishment for drinking water without the stork’s permission.

The stork (which reveals itself to be a Yaksha, a subterranean dweller and hoarder of wealth), then proceeds to ask questions to Yudhishtira about the nature of life, the universe and everything in it (way before the Hitchhiker’s Guide to the Galaxy decided to tackle the subject). 

The story often puts Yudhishtira in moral dilemmas where he is often forced to choose between an option which will require him to bend/break the rules and  help his family but will make him look bad vs. an option which will require him to follow the rules and hurt his entire family but would make him look good. As a result, we often find him sitting and analyzing the intricacies of what the morally right thing to do is, always fearful of doing something rash instead of taking necessary action. 

This incident appears to be the turning point for Yudhishtira where his brothers have been incapacitated and he has to logically come out of the problem on his own. And for the first time in the epic, when forced with a life or death situation, when pushed to act and make a decision, he is able to understand the meaning behind the sufferings his family undergoing, review the events of his life dispassionately, reflect on his duty, gain renewed drive and purpose and solve the problem on his own. 

Only in the end does the stork reveal itself to be Yudhishtira’s father Yamadharmaraja, the god of death and justice. This dialogue is called ‘Yaksha Prashna’ or the questions of the Yaksha.

Here are the last three questions that really make you think.

Q: What is the biggest wonder?
A: Day after day countless people die, yet those who remain either believe themselves to be immortal or cannot accept death. What greater wonder can there be?

Q: What is the correct path?
A: Arguments can lead to no certain conclusion. The srutis are all different from one another. There is not even one Rishi whose opinion can be accepted by all. The truth about Dharma and Duty is hidden inside our hearts, therefore that alone is the path that the great have followed. 

Q: What is the eternal news?
A: This world full of ignorance is like a pan. The sun is the fire, the days and nights are the fuel. The seasons are the wooden ladle. Time is the cook that is cooking all creatures with these aids. This is the eternal news.

As a design, I chose to show this in contrasting colors of dark purple signifying night with the four brothers trapped as four orange flames, burning and crying out for help at the base of the tree where the stork resides, something that is especially apt considering the last question. The stork with it’s wings spread against the moon is very reminiscent of a Dracula-like figure who is both intelligent and dangerous. 

I considered making a drawing with the questions and answers in them, but realized that a lot of the answers are not simple riddles, they are very metaphorical in nature and translating them into appropriate imagery would be quite challenging!

tags: mythology, philosophy, art, drawing, sketch, illustration
Tuesday 05.05.15
Posted by Karthik Nagarajan
 
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