Mythology is a constant source of inspiration for artist Rayana Giridhar Gowd, originally from the Guntur district of Andhra Pradesh. With his ongoing exhibition ‘Dashavatara: Dialectics of Tradition’, presented by Gallery Art Positive in collaboration with Kalakriti Art Gallery in Delhi, he brings forth the nuances of existence through the 10 avatars of Vishnu. Gowda’s constant fascination with the epics dates back to his childhood when his father would read him stories from the epics. The young mind was soon attracted to the tales, and this later led him to bring it out on the canvas.
Gowd believes that every avatar of Vishnu has an emotional connect with us and at the centre of all this is Krishna. “Through this manifestation, I allow myself to freely question myself and find answers that serve my artistic purpose of sharing them with my viewers,” he says.
The show displays the artist’s zealousness for miniature paintings. In fact, the artworks have an uncanny similarity with the Lepakshi style of work. Traditional motifs, figures, landscapes—all find a mention. “Each work traces an overwhelming influence of epics that blends with puranic and mythical narratives.
These are rendered metaphorically,” Gowd says.
Elaborating on his work, he says, “These artworks are part of a larger body of work done over a period of two years. The usage of colour is according to the mood of the artwork—be it bright orange, golden, blue, or muted earthy shades.”
In this exhibition, Gowd showcases an entire body of work around ‘Dasama Skanda’, based on his conviction that Krishna avatar cannot be viewed as an avatar reincarnated for the mere redemption of the Dwarapalakas—Jaya and Vijaya—from their curse. “What emerged from repeated readings was that the Krishna avatar is a poorna avataram or complete avatar exhibiting all the qualities which were visible as parts in other avatars. This exhibition mirrors that thought process, reflection and findings,” says Gowd.
The expertise in varied media is aptly reflected in Gowd’s work. Inspired by his studies of the scriptures, his art is reminiscent of vintage portraits of Hindu gods and goddesses; glossy and at times, kitschy. These are not simply pieces of art made to be appreciated.
They are works aspiring to be internalised, believes the artist. The portrayal finds contemporary relevance in the way scenes are played out with the use of form and colour. Take the depiction of battles between Krishna and the demons. This corresponds to the artist’s worry surrounding violence in present society and how everything today has become politicised.
But not everything at the exhibition is so deeply thought-provoking. There are other light-hearted pieces such as the ‘Sri Krishna Janamam’ that takes one through the birth of Krishna. In another one, he is shown crossing the Yamuna to reach Gokul. There is also the elaborate depiction of ‘Aghasura Vadha’ or slaying of the demon Aghasura while Krishna was saving the cows and cowherds from danger; the ‘Agni Graha’ shows how the Lord is saving the cows and cowherds from the forest fire. There is also one with the popular depiction of Krishna lifting Mount Govardhan. Replete with imagination, every stroke is an illustration of a value lived and nurtured.