Vastra-Haran, or Celestial Stripping (detail) : Anonymous ~ 19th century. National Museum New Delhi.
543 notes
·
View notes
Bhumi, Goddess of Earth, taking her daughter Sita away,by Sagar Verma
434 notes
·
View notes
Detail from "Descent of the Ganges." Mamallapuram, India. Sculptures çivaïtes. 1921.
235 notes
·
View notes
Something I find fascinating about the Critical Edition of the Mahābhārata is that the characters sporadically move from addressing Kṛṣṇa as an embodied mortal (as their friend, cousin, son-in-law etc) to addressing him as the Godhead; as Viṣṇu, as the Supreme Being, and as Īśvara. The succession of change between the modes of address can sometimes even happen on the same page, at a distance of a few lines. The veil is lifted, and the characters see through Kṛṣṇa’s illusion, and, through that, they become immersed in the nature of Reality; the veil promptly drops back, and God is lost. An argument for this could be that the divine modes of address are interpolations, a theory being that Kṛṣṇa became identified with Viṣṇu only in later renditions of the Mahābhārata. While this could be true at the level of historical analysis of the epic, for me, there is a subtler teaching encased here: how all of us, without exception, glimpse into the nature of Reality as we move through life, yet we perpetually proceed to return to becoming engrossed in the superimpositions we project upon Reality; and the dance continues. From Truth to dream, from dream to Truth. It is quite endearing, really. What committed and imaginative dreamers we are!
Adyashanti once talked about how one inadvertently glimpses truth; it is, after all, inescapable as it is our nature; the trick is not forgetting / losing the glimpse.
Gorgeous artwork of Kṛṣṇa: Awedict.
121 notes
·
View notes
Krishna, Balram and Subhadhra
115 notes
·
View notes
Amorous Couple, Miniature Painting, Nepal, 15th Century
903 notes
·
View notes
For #FishFriday:
The Goddess Ganga
c. 1650-75
India (Mandi, Himachal Pradesh)
opaque watercolor, gold, & silver on paper
on display at Philadelphia Museum of Art
“The Hindu goddess Ganga personifies India's most important river, the holy Ganges, that begins high in the Himalayan mountains and flows south into the Bay of Bengal. Here she holds a vessel brimming with Ganges water while sitting atop an enormous fish — the humpback mahseer, a species of carp native to the Ganges.
Ganga also holds a lotus flower, a symbol of purity and abundance. Mythical creatures peek from the waves and waterbirds soar across dark monsoon clouds.”
35 notes
·
View notes