In a small coastal town called Chirala in Andhra Pradesh, a young boy once spent his days between molten gold and ink-stained paper. Today, that boy is an ace illustrator whose work spans Indian mythology, western classics, biographies, murals, and augmented reality installations.
For Rajesh Nagulakonda, art did not start as a hobby. Nor was he trained at a haloed art school. It was more about livelihood. It was inheritance.
However, over the past three decades, he has worked on numerous graphic novels including Magical Animals, Krishna, The Little Alien, Ganesha, Pride and Prejudice, Alice in Wonderland, and Buddha: An Enlightened Life.
And notably, after his mythological illustrations gained widespread attention online, he was asked to create concept artworks for the large-scale murals that now adorn the Dharmapath stretch leading to the Ram Mandir at Ayodhya.
The Ayodhya project, he says, was not about commercial gain but an opportunity to contribute his skills to something historic. He calls it a “prayer” from deep within.
The beginning
Born into a goldsmith family, Rajesh grew up watching his grandfather mould intricate ornaments from precious metal, while his father ran a printing press. Both professions demanded artistry, and as a child, he assisted in both.
“I had to work from childhood,” he recalls. “My school days were divided between assisting at the printing press and observing the detailing of goldsmith work.”
In a town with limited access to literature, Rajesh recalls, ‘Chandamama’ became his window to illustrated storytelling. “The artworks in Chandamama, crafted by legendary illustrators, were the initial spark for me,” he says.
Rajesh’s early career included banner art, commercial illustrations and printing assignments — everything he created was to earn a living. “I never thought about what I was going to become,” he says. “The only thought that guided me was: I had to work. And that gave me satisfaction.”
Art became a career
Encouraged by friends who believed his talent deserved a wider platform, Rajesh later moved to Hyderabad, where he found opportunities, including working as a watercolour artist for syndication.
He illustrated Indian forts, desi delicacies, animals, themes from Greek mythology, and figures from western classics. He moved fluidly across genres, experimented with watercolour, poster art and concept designs.
“While working with a publishing company, I got to illustrate over 35 graphic novels,” he says.
He also worked on graphic novel adaptations of classics such as ‘Pride and Prejudice’ and ‘Alice in Wonderland’. “One of my fondest works was working on the biography of A P J Abdul Kalam,” says Rajesh.
Research behind the lines
Research is paramount to Rajesh. For him, every work of art is “like a meditation”.
Working on foreign classics can especially be challenging, he says. In the case of ‘Pride and Prejudice’, he remembers immersing himself in the social and sartorial details of late 18th- and early 19th-century England.
“I studied the construction of gowns, the iron rib cages that gave them structure, the fabric and the folds created by movement. Interiors, postures, etiquette… every detail had to reflect the time,” he says.
Rajesh adds that he always tries to avoid black in his illustrations. “Since text appears in black and holds narrative priority, I use muted palette and brown liners so that the visuals won’t overpower the reading experience,” he explains. “The darkest part of the page should be the text, the story comes first.”
Turn towards mythology
While he worked across subjects, mythology became his deeper calling. Reading ancient scriptures such as ‘Yogavasistha’ opened vast visual landscapes. He recounts a scene where Goddess Saraswati travels through the sky, rests upon a cloud and swims in a celestial lake. “Where else would you find such visuals?” he asks.
Rajesh believes Hindu scriptures and folklore contain “layered meanings and untold narratives”. “Hence, before beginning an illustration, I study multiple versions of the texts. For instance, I analysed Ramayana across different interpretations, including Jain retelling where Hanuman is portrayed as a human,” he says. “Such variations fascinate me.”
He also studies mantras and names of deities. “I try to decode the metaphors. Take ‘Vyomakesha’: vyoma meaning space, kesha meaning hair. It evokes an image of Shiva holding the Ganga in his matted locks as she descends from the cosmos,” he says. “Similary, ‘Arunachaleshwara’ associates the deity with the red glow of the morning sun.”
Details often overlooked by others command his attention. “In Valmiki’s description, the deer in the Ramayana is not simply golden, it bears gemstones, peacock-neck hues, ruby-like nose, green hooves,” he says. “My work always begins with study. I don’t just paint.”
Art on Ayodhya’s walls
Rajesh’s strong social media presence and widely shared concept art eventually led to a historic opportunity — a large-scale mural project in Ayodhya, with each wall stretching nearly 20 feet. The project spanned three months.
“They wanted me to create the concept artworks for the murals. I approached the project as a learning milestone rather than considering it as a commercial assignment,” he says.
Sacred icons and a new generation
How does he view the new-gen trend of ‘stylised’ deities with a pop culture touch? “Well, I see it as continuity rather than distortion,” he smiles.
Divine figures of Hinduism have always been explored through emotional nuance, he adds. He points to his widely shared Hanuman artwork, where strength is infused with positivity rather than rage.
“Similarly, when Lord Rama draws his arrow, even while vanquishing Ravana, there is no anger on his face,” says Rajesh. “According to scriptures, his face displays a tranquil state of mind.”
Rajesh adds that it’s heartening to see the youth getting increasingly curious about Hindu scriptures, philosophies, and epics. “They are not just passively consuming imagery but asking why certain symbols exist,” he notes. “This extends beyond India. Global audiences, too, are drawn to Indian mythology and its reinterpretations.”