Starry Strokes HN Suresh

Gazes at the
insightful art of
H.N.Suresh

‘An anthology of paintings of celestial bodies’

Starry Strokes - ‘An anthology of Cover :
paintings of celestial bodies’ Gazes Nakshatra Purusha
at the insightful art of H.N.Suresh
Here is an endeavour by H.N.Suresh
Published by to visually represent the
Bharatiya Vidya Bhavan's conventional composition of the 27
M. P. Birla Institute of nakshatras as given in traditional Jyotisha
Management Bengaluru texts. These acquire significance as they
are lunar mansions (through which the
August 2017 moon moves). This movement is cyclic.
Hence the representation is in the form of
1000 Copies a mandala; the idea of a mandala involves
group, collection, pattern and cyclic
© H.N.Suresh movement. It is a configuration of several
details, all of which are interrelated and
Design by mutually complementary.
'Canvas', Bengaluru
• Acrylic on Canvas
Printed at • 127 cms x 127 cms
Omkar Offset Printers, • 2004
Bengaluru

‘An anthology of paintings of celestial bodies’

Gazes at the insightful art of
H.N.Suresh

Manifestation of the Divine

N. Ramanuja, Chairman the limitation of humanity, is in India dedicated to the
representation of gods, who, to finite man, represent
Bharatiya Vidya Bhavan, Bengaluru Kendra comprehensible aspects of an infinite whole”.
Bhavan’s M. P. Birla Institute of Management
In a suggestive art form, the work of art propounds
Indian thinkers, from times immemorial, saw art a religious cum scientific concept, which, through
forms as manifestation of the divine. Indian art is structured symbolism, expresses a great wisdom.
so intimately associated with Indian religion and This wisdom is concealed; the more one looks at the
philosophy that it is difficult to appreciate it fully picture and studies it, the more it starts revealing
unless one has some knowledge of the concepts the idea, the understanding and the thought that
that pervade the Indian psyche. In every Indian art has gone into it. Such a work of art is indeed a
form, there is always a philosophical thought, and revelation. H.N.Suresh’s works, aesthetically brought
an attempt to go beyond what is visible to the eye. out in this book, are both suggestive and creative,
From the exuberant carvings of Hindu temples to born out of deeply meditating on, and understanding
the ever-captivating wall paintings of Ajanta dating of, the subjects he has created.
to 4th Century CE, to the intriguing art of cave sites,
Indian art offers an amazing visual treat. It is no wonder that Suresh, with his roots deep
in Indian philosophy and close association with
Art historian Ananda Coomaraswamy observes Bharatiya Vidya Bhavan as Director of the Bengaluru
thus: “The conscious aim of Indian art is the portrayal Kendra, got attracted to painting the concepts of
of divinity. But the infinite and unconditioned cannot Nakshatra, Navagraha and Ràshi Mandalas, Sri Chakra,
be expressed in finite terms; and art, unable to portray Matangi and then, Ashtadikpalakas.
divinity unconditioned, and unwilling to be limited by
The artists of India, over several thousands of years,
have taken the human mind beyond the limitations
of thinking. Jonathan Swift says on art – “Vision is
the art of seeing what is invisible to others”. There are
some artists who can envision what a normal eye
cannot see. Suresh is one of them.

We see the celestial objects in the sky everyday
and read about constellations, et al. We perform
our daily rituals involving the ashtadikpalakas,
navagrahas and nakshatras. But to conceptualize the
mantras and present them on canvas and effectively
communicate with the viewer is possible only for a
few gifted artists.

Rabindranath Tagore says, “Clouds come floating into time.” This book, an anthology of Suresh’s paintings
my life, no longer to carry rain or usher storm, but to of celestial bodies, is truly a book for a lifetime,
add colour to my sunset sky”. Suresh’s paintings add worth owning and reading.
colour to the imagination of all of us. His every work
comes out as poetry on canvas, leaving an indelible A significant component of the paintings here is
impression on our minds. that interesting Magic Squares (bhadra-chakra) are
attributed to the heavenly bodies. Each magic
The response to his paintings at various art centres in square, as a part of the paintings, is of the order of
India like Bengaluru, Kolkata, New Delhi, Chennai, 3x3 comprising nine successive natural numbers,
Trivandrum and Chandigarh and overseas at London giving a common sum (magic sum) when added
and Maryland, was extraordinary. I believe he has row-wise, column-wise or diagonally. For example,
evolved over the years and as John Ruskin, leading in the case of surya (sun), the related 3x3 magic
English art critic of the Victorian era says, “The square has its magic sum 15. Further, each heavenly
highest reward for a man's toil is not what he gets for it body is assigned a 9x9 yantra comprising each row,
but what he becomes by it.” column and diagonal filled with numbers from 1 to 9
in different orders, adding up to a magic sum of 45.
Suresh has undoubtedly evolved through his journey
of over five decades in the world of art. His deep It is worth noting that ancient Indian mathematicians
understanding of the Hindu concepts of celestial had perfected the techniques of constructing
bodies and the astronomical concepts of space and complicated magic squares and a variety of magic
time, brought out through his discussions with figures. These are explained in detail in the
researchers in astronomy besides an aesthetic blend Samskritam work Ganita-Kaumudi of Narayana
of all these, are evident in his paintings. Pandita (c.1356 CE). Some such intricate magic
figures, with Kannada numerals, attributed to
It has been a privilege for Bhavan’s M. P. Birla Mummadi Krishnaraja Wodeyar, a Maharaja of the
Institute of Management (MPBIM) to sponsor the princely state of Mysore, can be seen displayed at the
exhibitions of his paintings in India and abroad, and Jaganmohan Palace in Mysuru.
in bringing out this book.
We acknowledge the contribution of Mr. Rajaram
In this endeavour, I wish to acknowledge the of Canvas who has designed the book, presenting
support of Dr. N.S. Viswanath, Director & Principal, the paintings and the descriptions effectively
Prof. K.L. Ramadas and Mr. Sudhindra Gargesa, after thoroughly understanding the symbolism
Joint Directors and other colleagues at MPBIM. and spiritual nuances in this unique anthology,
enhancing the value of the book.
To quote Jon Ruskin again - “All books are divisible
into two classes: the books of the hours, and the books of all

6

contents 6H.N.Suresh Profile
11Nakshatra Mandala
43Navagraha Mandala
71Ràshi Mandala
105Ashtadikpalakas
116Views & Reviews

7

8

Calibrated Cosmic Strokes

The cosmos, as admitted by scientists today, is a well- mandala being a powerful symbol in itself as a
ordered system, the complex arrangement of the universe shakti kendra - a power centre.
reflecting a continuum that translates into a mystical
element of teleology. With this exponential knowledge base, 27 nakshatra
mandalas were painted with microscopic detailing,
It is this marriage of astronomy and philosophical complete with constellations, the Sritattvanidhi, a
doctrine that multi-talented artist H.N.Suresh has put voluminous religious text, providing invaluable inputs to
forth on canvas, bringing together science, mathematics, the series, beginning with Nakshatra Mandala.
astronomy, astrology, the concepts of time and space,
and the science of colours, painting a series of cosmic This star cluster details the placement of the stars, their
phenomena that is at once intriguing and visually vibrant. attributes, divisions and subdivisions (padas), gana,
animals, trees, birds, directions and tattva among others.
The best tribute he could have paid his mentor The authenticity of the works lay in not trying to justify
R.M. Hadapad, Suresh’s series of the four thematic what was said in the texts. “I remained an artist despite
subjects - Nakshatra Mandala, Navagraha Mandala, all the information I garnered, else my objectivity would
Ràshi Mandala and Ashtadikpalakas - numbering sixty have been lost”, reminisces Suresh.
in all, make for a minute, distinctive study of the different
aspects of the cosmos, yet interlinked in their relationship The Navagraha Mandala, each planet personified
to each other, scientifically and metaphysically. with its vehicle, consort, position, direction, nature
and inclinations, as in its colour, plant, food, clothing,
Truly an original contribution to art, bringing different embellishments, symbol and demigods, was painted
branches of study on canvas, Suresh’s fascination with vividly to give a sweeping view of every navagraha, their
stars found their earthly connection to everyday life, factual and mythical natures captured visually in a mix of
where one’s star purportedly determines the course of the East and the West.
one’s life from birth to death, as do the planets.
The Ràshi Mandala, the third in the series on astral
Curiosity drove him towards a study of the stars, leading phenomena, depicts the zodiac signs with myriad
to the planetary aspects, zodiac signs and the guardians symbols, tracking the 27 nakshatras to the twelve zodiac
of the eight directions. Collecting books on astronomy, signs by the distribution of two-and-a-quarter nakshatras
astrology, astrophysics, colours, aagama shastra, folk into each ràshi. The cyclic variation of the sun’s
motifs, rituals, traditions, art, and western symbols, and declination is also indicated, pointing to both astronomical
delving into them to mix and match facts of the various and astrological aspects.
streams of learning, became a comprehensive thesis in
itself, worthy of being recognised as such. Ashtadikpalakas captures the deities of the eight cardinal
directions complete with their designated colours,
Extensive research, and notes and sketches over years beejaaksharas, beejamantras, weapons, and guardian
accounted for the base materials of the paintings; detailed Mathrika, aspects reflected in vaastu shastra, which one
discussions with noted scholar Prof. S.K. Ramachandra can relate to quite effortlessely.
Rao helped clear issues. Prof. Rao’s suggestion of working
with a mandala format became the matrix for the series, • Jyothi Raghuram

9

Where Art and Artist Inspire All

Art should enhance and enrich life, lending beauty Bhavan and Karnataka Lalithakala Academy being
and sustenance to it. If an artist is a philanthropist among the prestigious institutions to organize them.
at heart, reaching out in many ways to the less
privileged, not only is he blessed, his art too Although employed in the State-owned NGEF,
surpasses excellence. H.N.Suresh is one artist who Suresh’s off-duty interest was the pursuance of
has those rare traits in him, creating a beautiful art in all its forms. He became an art critic for
world of art and culture while infusing hope and Indian Express and Kannada Prabha in Bengaluru.
optimism in the lives of the disadvantaged. His media work spread to AIR and Doordarshan
through regular talks on performing and visual arts.
His interests are myriad-visual arts, classical These lasted several years, leaving their impact as
performing arts, art criticism, editing, broadcasting, cultural critiques.
impresario, and cultural czar, all encapsulated as a
merit-worthy painter and mural artist, with a special But the one striking, lasting legacy of Suresh above
interest in cosmology as the matrix for his major art all else is his setting up of the Youth Writers and
creations. Artists Guild way back in 1972, which gave a
boost to art forms across the spectrum. The Guild
His early interest in painting helped metamorphosed into a major promoter of performing
bring out the multi-hued artist in arts, as the regularity of the programmes never
him over time. None other than flagged - it was an organization begun by artistes for
R.M. Hadapad, a foremost painter arts, with no vested interest.
and art teacher of the country, in
whose Ken School of Art Suresh Through the Guild and the Indian Council for
was a ward, noticed the creative Cultural Relations - a wing of the Union Ministry of
abilities of the young lad and took External Affairs - was born the Every Friday Cultural
personal interest in further Evening Programme (EFCEP), which is the most
honing his skills. enduring and a respectable forum for artistes to
perform, even three decades after inception. What
This was to turn into a life- better contribution to art than this? The aesthetic,
long, close relationship in the organizing ability of Suresh came to fore through
guru-shishya tradition, bringing these fora, making him a celebrated impresario even
out the best in Suresh as a humanitarian activist; as a young man just into his Twenties.
he remained with Hadapad till the latter’s death in
2003. EFCEP is the single largest cultural outfit till date to
have provided a stage for thousands of artistes from
Suresh’s journey began as an artist soon after varied arts, and creating an active audience profile.
his association with Hadapad, with several solo The Guild and EFCEP catapulted Bengaluru to centre
exhibitions, Alliance de Francaise, Max Mueller stage as a major cultural hub.

10

With this track record, Suresh saw himself on Ashtadikpalakas, Suresh’s most recent work
the board of several institutions - chairman of connected once again to cosmology, is a series of
the Guild, co-chairman - EFCEP, member of the paintings on the deities of the eight directions of the
organizing committee of SAARC Cultural Festival, universe.
and Karnataka Lalithakala Academy; Shantala,
and Kanaka-Purandara award committees of Simultaneously, a heritage of charity that Suresh has
the Government of Karnataka, and resources imbibed from his parents, Lakshmidevamma and
panel, NCERT, among others; advisor, Karnataka Dr. Huskoor Naryan Rao, has made him continue
Nrityakala Parishat, editor - publications, Karnataka with the BVS Sangha, which provides financial
Lalithakala Academy and Karnataka Sangeeta Nritya support and boarding facilities to needy students,
Academy. against all odds. Here too, culture is at the fore
- periodic music concerts are held, and festivals,
He has edited over 25 books for the Karnataka especially Ganesha Utsav, are celebrated as a major
Lalithakala Academy and the Karnataka Sangeeta cultural and religious event.
Nritya Academy. He has edited and published many
a felicitation volume on well- known artists/artistes Currently Director of Bharatitya Vidya Bhavan,
of Karnataka. Bengaluru, Suresh’s most visible gift to Indian
culture has been the conduct of programmes
Cosmology fascinated him enough to come out with countrywide under the banner of the Bengaluru
a series of deeply-researched, exclusive paintings on Kendra, bringing hosts of little-known, talented
Nakshatra, Navagraha, and Ràshi, all within a mandala artistes and less-celebrated art forms including of
format, which were exhibited at several prestigious the folk variety to public notice. Once again, his
fora including in India International Centre, New tremendous organizing capacity has come into
Delhi, Karnataka Chitrakala Parishath, Bengaluru, focus, artistically and financially, the latter being the
several centres of Bharatiya Vidya Bhavan, bedrock for the takeoff of any visionary project.
Alliance de Francaise, Max Mueller Bhavan, and
Rabindranath Tagore Centre, Kolkata. • Jyothi Raghuram

These exhibitions were taken abroad too, on specific
invitations, such as to the Bhavan’s London Kendra,
and Nehru Centre(s) of the Government of India at
UK and USA. Another crowning glory was that his
painting, Mathangi, was declared the most viewed
painting in the Netherlands Travelling Exhibition’s
Show Your Hope series.

11

Behind the strokes and between the strokes

What is the logic behind the myriad colours and shapes The matrix is comprehensive and complicated at the
depicted in these paintings – is it tradition, aesthetics, same time. References have been drawn from ancient
logic or just the whims and fancies of the artist? Indian astronomy and contemporary information
available in geometry, astrophysics, art forms,
Far from it; not a single aspect has been left to chance. panchangas, — all in all there is total symbolism with
It is after detailed study and research that each painting authentic base for each aspect. This helped the creation
has been done, stamping it with authenticity. of a mandala concept as entwined in the Indian psyche.

How did H.N.Suresh get into this entire concept of It provided enough scope for artistic creativity and the
Space and Time on canvas? After landscapes, still life and freedom to aesthetically depict without compromising
portraits as a logical process of his apprenticeship at the form, content or concept, which indeed was a challenge!
Ken School of Art, he tried to liberate himself through
self-expression in forms like Rubaiyat of Omar Khayyam. The painting of the 27 stars resulted in Nakshatra
Stars attracted Suresh from his childhood: whether Purusha, a composite form that was a comprehensive
it was birth or death, temple or a house-warming study of stars looked at from different angles, forms
ceremony, reference to stars was inevitable. Thus began and beliefs! The 27 colours, as related to the body parts,
the exploration of stars. were vividly brought out, pointing out, in a nutshell,
that the human (body) is a part of the Universe.
NAKSHATRA MANDALA
NAVAGRAHA MANDALA
The exploration resulted in the finding of the 27-stars
constellation. Each star had its own constellation. What The journey from Nakshatra Mandala to Navagraha
is the colour associated with a star? Who is its adi Mandala was obvious, resulting in nine paintings,
devatha? What are the characteristics of each star? For one for each graha, and a composite one. In the Indian
instance, Ashwini is a constellation of three stars while context, the nine planets include the sun, rahu and ketu,
Shatabisha has a hundred. For Ashwini, the colour the latter two treated as the head and tail of a dragon
is white, Ganda Berunda is the bird, and horse is the respectively, in the western concept.
vehicle.
The deep search into details brought out astonishing
Ashwini belongs to the Deva Gana. The other two results. The navagraha painting takes as its central
ganas are Rakshasa and Manushya. The stars are pattern the rangoli, a concept adopted from jaanapada,
also tree and deity specific. The deity has a distinct and the vaarada (weekly) rangoli drawings, specific
colour too. The swastika symbol indicates male and to each day of the week. Each planet goes with an
obverse swastika indicates female. The symbolism identified diamond, and a specific green spice/gram/
of the five elements Agni, Vayu, Aakasha, Jala and cereal. Each planet, facing different directions, is
Pruthvi are specifically associated. Each pada (quarter) depicted by the movement of the symbol around. The
is represented by a codified bijaakshara, the central navagrahas have a specific Gayatri Mantra associated
point being Nakshatra Devata where each nakshatra is with each one of them, besides a symbol, both Indian
associated with an organ of the body. There is a scripted and western.
Gayatri Mantra for each star.

12

The paintings give a telescopic view of the planets. Each ASHTADIKPALAKAS
magic square depicts a yantra. A bijaakshara represents
the tantra of every planet. Thus each stroke and brush The culmination of this time-space journey was
of colour has a role, purpose, and a story to tell! Ashtadikpalakas, a series of paintings on the concept
of the guardians of the eight cardinal directions. The
RÀSHI MANDALA number of directions as mentioned in ancient texts
varies from four to eight, and even coming to ten
Ràshi is a time cycle dealing with six seasons in India through the inclusion of sky and earth. However, as
and four in the western world. Pre-summer and pre- all these elements are on the move and dynamic in
winter are included in the Indian system. Movement of the universe, the difficulty arose as to how to fix the
the time cycle 0-360° in the zodiac is known as sun signs coordinate reference points for these moveable objects.
or ràshis. Ràshis are composed of several constellations, Handy inputs came in from the M P Birla Institute of
as familiar in India as elsewhere. Each constellation is Fundamental Research.
seen during a particular period. For instance, the period
for Mesha (Aries) is March 21-April 19. Polaris (North Star) - Saptarshi Mandala- is the only one
in constant position while all others are dynamic in
The horoscope patterns, different for the North, South, nature. However, the Parapendia showed the whole
East and West, underline the basic patterns carried configuration in a specific pattern, as captured on
out in the creation of the paintings -- three each to February 22, 2015, and became a reference point and
make the twelve ràshis. Besides the zodiacs and their datum. Thus North is depicted such that the Saptarshi
colours, day and night signs, body parts, symbolism Mandala is seen and identified with Kubera. Each of
and ràshi nakshatra (at the rate of 2 ½ per ràshi) and the the eight guardians is again associated with a mantra.
direction attributed to each nakshatra are depicted; The characteristics of each of the directions are vividly
the main traits of each ràshi is also narrated. The data brought out. For instance, Kubera, associated with
of design, words, colour and other symbols have Polaris, is identified as a place of wealth and happiness
all been incorporated to make the Ràshi Mandala and Yama, associated with the South, is identified as a
comprehensive and vivid. place of good results.

All these aspects find reference in various texts. For Indra, the guardian of the East, is mounted on a white
instance, in the case of Libra or Tula ràshi, the star elephant (airavata) – a reference from Bruhatsamhita.
pattern which appears like a balance implies that the Each dikpalaka has a specific vehicle, weapon,
division of time of day and night are equal during this beejakshara, represents different seasons, and showers
zodiac period. Similarly, in Sagittarius or Dhanus, the different attributes. The colossal work of finding
constellation during the period (Nov. 22 – Dec. 21) is authentic references to these various characteristics
visible as a man holding a bow and arrow, ready to would have been challenging but equally interesting,
hunt, pointing out that it is the ideal time for hunting. making the series an authentic reference volume.
Similarly, Pisces or Meena is the time for fishing, and
Gemini (Mithuna) is the ideal time for union and so on. • Prof. K.L. Ramadas

13

Nakshatra Purusha: Acrylic on canvas • 127 cms x 127 cms • 2004

14

‘Cosmograph of Constellations’
15

ve#e$e - Heg©<eë

A composite visualization of Feet . . .. . .. . .. .Mula
one human form (purusha) Shanks . . .. . .. . Rohini (ankle to knee)
in which all the nakshatras are Knees . . .. . .. . .. Asvini and Bharani
Thighs . . .. . .. . .. Purvashada and Uttarashadha
incorporated is Vishnu, Private Parts. . .. Purvaphalguni and Uttarphalguni
the all-pervasive divinity. Loins . . .. . .. . .. Krittikas
The two sides . . .. .Uttarabhadra and Purvabhadra
16 Chest . . .. . .. . .. Anuradha
Back . . .. . .. . .. Sravishtha
Shoulders . . .. . .. Visakha
Hands . . .. . .. . .. Hasta
Fingers . . .. . .. . Punarvasu

Neck . . .. . .. . .. Jyeshta

Ears . . .. . .. . .. .Sravana
Face . . .. . .. . .. .Pushya
Teeth . . .. . .. . .. .Svati
Jaws . . .. . .. . .. Varuna (Satabhishak)
Nose . . .. . .. . .. .Paitra
Eyes . . .. . .. . .. .Dhanishta (Prajápati)

Head . . .. . .. . .. . Aridra (Rudra)

Akasa

Introduction Jala

Astronomy was evolved in ancient India as an adjunct to The ancient rishi was a scientist too. Vayu
the doctrines and worship laid down in Vedic religion.
It came to be classified as one of the six Vedangas He watched the universe around him: Prithvi
or limbs of the Vedas, and was known by the name the sky, sun, moon, planets, stars, the
seasons, changes in animal and plant
Jyotisha, which literally means the science of celestial life including human life, and traced a Agni
luminaries.
Indian astrology focuses attention on the pattern in them linking celestial bodies Male
position, nature, characteristics, effects with terrestrial happenings. The rishis
and movements of heavenly bodies, found that when Krittika (Pleiades) was
principally the sun (sürya), the moon in conjunction with the sun, maximum Female
(chandra), the 12 signs of the zodiac
(ràshi), planets (graha), and 27 stars heat was experienced in India, usually
(nakshatras). between May 10 and May 24. In other words, heat waves
Here is an endeavour by H.N.Suresh in the month of May are traced to Krittiká and the
to visually represent the conventional Vedic texts associate and identify Krittiká with Agni,
the God of fire.
composition of the 27 nakshatras as given in
traditional Jyotisha texts. These acquire significance Likewise, certain elements of nature, colour, sex, plants,
as they are lunar mansions (through which the fruits, trees, birds, animals etc were associated with
moon moves). This movement is cyclic. Hence the different nakshatras, following possibly thousands of
representation is in the form of a mandala; the idea of a years of observation as well as an intuitive perception of
mandala involves group, collection, pattern and cyclic nature’s secrets.
movement. It is a configuration of several details, all of
which are interrelated and mutually complementary. All creation, as per ancient Indian science,
Traditional understanding is that all the details in results from a permutation and combination
the cosmos (brahmánda) correspond to the details of the Pancha Mahábhütas or the primeval
of the individual (pindánda); hence the belief that five elements of nature-Akása, Váyu, Agni,
every individual’s birth- Jala and Prithvi. Each of these elements
star (janmanakshatra) is ascribed to different nakshatras. Vedic
determines his nature, texts provide symbols to depict Pancha
fortune, career and Mahábhütas.
character. In India,
astronomy and These symbols are used in each of the
astrology are integrated mandalas, which represent male and female
and Akasa, Jala, Vayu, stars too. The nakshatra paintings have been
Prithvi, Agni, and male inspired by the works available in the field of Jyotisha in
and female concepts several traditional maûhas and their libraries.
assume significance.

17

Asvini / Beeta Arietis

Constellation : Three

Gana : Deva (Divine)

Diety : Asvini

Sex : male

Sex : male Horse

Colour of Deity / Star : white / Blood Red

Colour : Blood Red

Tree : Vishamushti

Bird : Ganda Bherunda (Two

headed mythical bird )

Direction : north

Tatva : Prithvi (Earth)

Asvini: Acrylic on canvas • 62 cms x 92 cms • 2004

18

Bharani / 35 Arietiles

Constellation : Three

Gana : manushya (Human)

Diety : Yama (Lord of Death)

Sex : Female

Sex : male Elephant

Colour of Deity / Star : Blue / Blood Red

Colour : Blood Red

Tree : nelli (Goose Berry)

Bird : Crow

Direction : north East

Tatva : Prithvi (Earth)

Bharani: Acrylic on canvas • 62 cms x 92 cms • 2004

19

Krittika / ET A Tauri

Constellation : Sex

Gana : Rakshasa (Demon)

Deity : Agni (Fire)

Sex : Female

Sex : Male Goat

Color of Deity / Star : White Red

Color : White

Tree : Atti (Mountain Ebony Baushimia)

Bird : Peacock

Direction : Centre

Tatva : Prithvi (Earth)

Krittika: Acrylic on canvas • 62 cms x 92 cms • 2004

20

Rohini / Aldebaran

Constellation ; Five

Gana ; Manushya (Human)

Deity : Brahma (Lord of Creation)

Sex : Female

Sex : Male Serpent

Colour Of Deity / Star : Red/White

Colour : White

Tree : Nerali (Jambo)

Bird : Kukkuta (Hen)

Direction : Centre

Tatva : Prithvi (Earth)

Rohini: Acrylic on canvas • 62 cms x 92 cms • 2004

21

Mrigashira / Lambda Orionis

Constellation : Three

Gana : Gandharva (Celestial)

Deity : Brahma (Lord of Creation)

Sex : Female

Sex : Male Serpent

Colour of Deity / Star : White / Silver / Gray

Colour : Silver Gray

Tree : Kagalu

Bird : Kukkuta (Hen)

Direction : Centre

Tatva : Prithvi (Earth)

Mrigashira: Acrylic on canvas • 62 cms x 92 cms • 2004

22

Aridra / Alpha Orionis

Constellation : One

Gana : Manushya (Human)

Deity : Shiva (Destroyer God )

Sex : Female

Sex : Male Dog

Colour of Deity / Star : White / Green

Colour : Green

Tree : Kagalu (Acacia Sundera)

Bird : Krouncha

Direction : East

Tatva : Jala (Water)

Aridra: Acrylic on canvas • 62 cms x 92 cms • 2004

23

Punarvasu / Beta Gennorum

Constellation : Five

Gana : Gandarva (Celestial)

Deity : Aditi (Mother of Gods)

Sex : Male

Sex : Female Cat

Colour of Deity / Star : Gold / Lead

Colour : Lead

Tree : Venu (Bamboo)

Bird : Dumsimpa

Direction : East

Tatva : Jala (Water)

Punarvasu: Acrylic on canvas • 62 cms x 92 cms • 2004

24

Pushya / Delta Ceneri

Constellation : Three

Gana : Gandarva (Celestial)

Deity : Brihaspathi (Deva Guru

Prime Minister of Kingdom)

Sex : Male

Sex : Female Goat

Colour of Deity / Star : Gold /Black-With Red

Colour : Black with Red

Tree : Venu (Bamboo)

Bird : Krauncha

Direction : East

Tatva : Jala (Water)

Pushya: Acrylic on canvas • 62 cms x 92 cms • 2004

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Aslesha / Alpha Cancri

Constellation : Six

Gana : Rakshasa (Demon)

Deity : Rahu

Sex : Female

Sex : Male Cat

Colour of Deity / Star : Red / Black-with Red

Colour : Black-with Red

Tree : Surampune Honne

(Mallotus Philippenensis)

Bird : Kukkuta (Hen)

Direction : Southeast

Tatva : Jala (Water)

Aslesha: Acrylic on canvas • 62 cms x 92 cms • 2004

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Makha/ Regulus

Constellation : Five

Gana : Rakshasa

Deity : Pitru Deva (Pitrn - Manes

Dead Fore Father)

Sex : Female

Sex : Female Mouse

Colour of Deity / Star : Blue / Vory Or Cream

Colour : Ivory Or Cream

Tree : Banyan (Ficus Bengalensis)

Bird : Kukkuta (Hen)

Direction : Southeast

Tatva : Jala (Water)

Makha: Acrylic on canvas • 62 cms x 92 cms • 2004

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Pubba / delta leonis

Constellation : Two

Gana : Manushya (Human)

Deity : Bhaga (Marthamu -

a Form of Sun)

Sex : Female

Sex : Female Mouse

Colour of Deity / Star : Blue / Light Black

Colour : Light Brown

Tree : Muthuga (Butea Frondosa)

Bird : Gridher (Eagle)

Direction : Southeast

Tatva : Jala (Water)

Pubba: Acrylic on canvas • 62 cms x 92 cms • 2004

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Uttara / Beta Leonis

Constellation : Two

Gana : Manushya (Human)

Deity : Aryama (A Form of Sun)

Sex : Female

Sex : Ox

Colour of Deity / Star : Black / Bright Black

Colour : Bright Black

Tree : Yalachi

(Elitteria Cardamomum)

Bird : Kanaka (Haddu)

Direction : Southeast

Tatva : Jala (Water)

Uttara: Acrylic on canvas • 62 cms x 92 cms • 2004

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Hastha / Delticorvi

Constellation : Five

Gana : Deva (Divine)

Deity : Sun (Savita-Synyam for

Sun one of the Rays of

Sun called Savithru)

Sex : Male

Sex : Male Buffalo

Colour of Deity / Star : Black / Deep Green

Colour : Deep Green

Tree : Basari (Ficus Taiela)

Bird : Shuka (Parrot)

Direction : South

Tatva : Agni (Tejo)

Hastha: Acrylic on canvas • 62 cms x 92 cms • 2004

30

Chitta / Spica Virgins

Constellation : One

Gana : Rakshasa (Demon)

Deity : Viswakarma (Gods Architect)

Sex : Female

Sex : Male Tiger

Colour of Deity / Star : Red / Black

Colour : Black

Tree : Bilva

Bird : Kaka (Crow)

Direction : South

Tatva : Agni (Tejas)

Chitta: Acrylic on canvas • 62 cms x 92 cms • 2004

31

Svati / Arcturus

Constellation : One

Gana : Deva (Divine)

Deity : Vayu (God of Wind )

Sex : Female

Sex : Female Buffalo

Colour of Deity / Star : Grey / Black

Colour : Black

Tree : Matti (Terminalia Tomentosa)

Bird : Giduga

Direction : South West

Tatva : Agni (Tejas)

Svati: Acrylic on canvas • 62 cms x 92 cms • 2004

32

Visakha / Alpha Libri

Constellation : Four

Gana : Rakshasa (Demon)

Deity : Indra / Agni

(Ravi & Fire God )

Sex : Female

Sex : Female Tiger

Colour of Deity / Star : Red / Gold

Colour : Golden

Tree : Jyalya (Adhatota vasica)

Bird : Parivala (Pigeon)

Direction : South West

Tatva : Agni (Tejas)

Visakha: Acrylic on canvas • 62 cms x 92 cms • 2004

33

Anuradha / Delta Scorpio

Constellation : Seven

Gana : Gandharva (Celestial)s

Deity : Mitra

Sex : Female

Sex : Female Deer

Colour of Deity / Star : Blood Red

Color : Reddish Brown

Tree : Halasu (Jack)

Bird : Gube (Owl)

Direction : South West

Tatva : Agni (Tejas)

Anuradha: Acrylic on canvas • 62 cms x 92 cms • 2004

34

Jyeshtha / Antares

Constellation : Three

Gana : Rakshasa (Demon)

Deity : Indra (Indu - Moon God )

Sex : Male

Sex : Female Deer

Colour of Deity / Star : Gold / Cream

Colour : Cream

Tree : Adike (Areca)

Bird : Jataka

Direction : South West

Tatva : Agni (Tejas)

Jyeshtha: Acrylic on canvas • 62 cms x 92 cms • 2004

35

Mula / Lambda Scorpii

Constellation : Nine

Gana : Rakshasa (Demon)

Deity : Nirthi (Devil God )

Sex : Male

Sex : Male Dog

Colour of Deity / Star : Red / Brownish Yellow

Colour : Brownish Yellow

Tree : Doopa

Bird : Chakravaka

Direction : West

Tatva : Vayu (Wind )

Mula: Acrylic on canvas • 62 cms x 92 cms • 2004

36

Purvashada / Delta Segittar

Constellation : Four

Gana : Manushya (Human)

Deity : Varuna (God Of Rain)

Sex : Female

Sex : Female Monkey

Colour Of Deity / Star : White / Black

Colour : Black

Tree : Banni

Bird : Parivala (Pigeon)

Direction : West

Tatva : Vayu (Wind )

Purvashada: Acrylic on canvas • 62 cms x 92 cms • 2004

37

Uttarashadha / Sigmasegittaris

Constellation : Eight

Gana : Manushya (Human)

Deity : Visva

Sex : Female

Sex : Male Rat

Colour of Deity / Star : White / Copper

Colour : Copper

Tree : Halasu (Jack Fruit)

Bird : Ganda Bherunda

(Two headed mythical bird )

Direction : North West

Tatva : Vayu (Wind )

Uttarashadha: Acrylic on canvas • 62 cms x 92 cms • 2004

38

Sravana / Alphaaquloe

Constellation : Three

Gana : Gandharva (Celestial)

Deity : Vishnu (Lord Protector)

Sex : Male

Sex : Male Monkey

Colour of Deity / Star : Red/ Light Blue

Colour : Light Blue

Tree : Ekka (Calotropa gigantica)

Bird : Hamsa (Swan)

Direction : North West

Tatva : Vayu (Wind )

Sravana: Acrylic on canvas • 62 cms x 92 cms • 2004

39

Dhanishta / Beta Dddelphinum

Constellation : Five

Gana : Rakshasa (Demon)

Deity : Ashtavasu (Eight Vasus)

Sex : Female

Sex : Lioness

Colour of Deity / Star : White / Silver Grey

Colour : Silver Grey

Tree : Banni

Bird : Jeeruthumbe

Direction : North West

Tatva : Akasha (Wind )

Dhanishta: Acrylic on canvas • 62 cms x 92 cms • 2004

40

Shathabhisha /Lambda Aquarious

Constellation : Hundred

Gana : Rakshasa (Demon)

Deity : Varuna

Sex : Female

Sex : Male Horse

Colour of Deity / Star : Gold / Aqua-Olive (Blue)

Colour : Golden Yellow

Tree : Vanasampige

(Badumia Terminala)

Bird : Kogile (Cuckoo)

Direction : North

Tatva : Akasa (The Sky)

Shathabhisha: Acrylic on canvas • 62 cms x 92 cms • 2004

41

Purvabhadra / Alphapegasi

Constellation : Two

Gana : Manushya (Human)

Deity : Ajapada (Brahma -

Lord of creation)

Sex : Male

Sex : Male Lion

Colour of Deity / Star : Blood Red / Silver Gray

Colour : Silver Gray

Tree : Tengu (Coconut)

Bird : Parivala (Pigeon)

Direction : North

Tatva : Akasa (The Sky)

Purvabhadra: Acrylic on canvas • 62 cms x 92 cms • 2004

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Uttarabhadra / Gamapegari

Constellation : Eight

Gana : Manushya (Human)

Deity : Ahirbudhanya (Pusha)

Sex : Male

Sex : Cow

Colour of Deity / Star : White / Purple

Tree : Bevu (Neem)

Bird : Kogile (Cuckoo)

Direction : North

Tatva : Akasa (The Sky)

Uttarabhadra: Acrylic on canvas • 62 cms x 92 cms • 2004

43

Revati / Zeta Piscium

Constellation : Thirty Two

Gana : Deva (Divine)

Deity : Pusha (Surya)

Sex : Female

Sex : Female Elephant

Colour of Deity / Star : Patala / Brown

Colour : Red

Tree : Hipe (Indian Olive)

Bird : Mayura (Peacock)

Direction : North West

Tatva : Akasa (The Sky)

Revati: Acrylic on canvas • 62 cms x 92 cms • 2004

44

Budha Sukra Chandra

(Green) Pentagonal (White)
Spade-like East-facing West-facing
North-facing
Surya Mangala
Guru
(Red) (Red)
(Golden) Circular orb Triangular
Simhasana East-facing South-facing
North-facing
Sani Rahu
Ketu
(Black) (Brown)
(Multi-colour) Crest-shaped Winnow-like
Flag-like West-facing South-facing

South-facing

Navagraha Mandala: Acrylic on Canvas • 150 cms X 150 cms • 2006

46

Navagraha Mandala

'Cosmograph of Nine Planetary Deities'

47

NAVAGRAHA MANDALA There is an
unbroken tradition
The concept of planets - Navagrahas - is an ancient and of the worship
popular aspect of Indian traditions. Equating the term of navagrahas.
graha with planet is not justified in the case of the nine Most South Indian
grahas as it has a star like the sun, and Rahu and Ketu. temples have a
In our solar system itself, we are finding newer planets shrine dedicated
with their moons. The aim of ancient Indian study to the grahas.
Each day is named after a graha, and they are
was not just to have a physical understanding usually worshipped in the form of a mandala, a
of astronomy. They had a deeper and far- rangoli or a yantra.
reaching cultural, theological, spiritual The grahas are sometimes invoked through
and artistic implication. The Samskritam bowls filled with grains or in kalashas.
word, graha, literally means that which Every animate and inanimate form is
holds us, that which can influence studied in the light of the influence of
us, and that which can consume the grahas, making the sweep of the
our mental, verbal and physical navagrahas profound.
perspectives.
Vedas are treated as the bedrock of International Symbols
Sanaatana Dharma. Though we do not
1. J Surya/Sun :
find specific reference to navagrahas in Vedic
literature which includes the four Vedas, Samhitas, 2. J Chandra/Moon :
Brahmanas, Aranyakas and Upanishads, we find
traditional identifications in the Vedangas. 3. J Mangala/Mars :
However, we have plenty of references to navagrahas
in classical literature, which include the epics, puranas, 4. J Budha/Mercury :
dharma shastras, Jyotisha texts, poetry, and allied
literature in other regional languages. 5. J Guru/Jupiter :
There is the practice of worshipping the navagrahas
in Aagama tradition. The nine planets are personified 6. J Shukra/Venus :
with their consorts, vehicles, directions, positions,
nature and preferences which include food, clothing, 7. J Shani/Saturn :
embellishments, plant, colour, gods and demigods.
Thus there is an interesting literature spun around the 8. J Rahu :
concept of grahas.

9. J Kethu :

48

THE WESTERN ASTROLOGICAL The
PERSPECTIVE ENTITIES View of
Astronomy
The issue is no different in western Although the sun is a star, and the
culture. Modern science has been moon a satellite of the earth, the two The solar system consists of planets
interested in planets, of course keeping are considered as planets in astrological with their moons and heavenly bodies
their mystical and metaphysical computations. Since the computations moving around the sun. Planets move
dimensions aside. Hence we have are made with reference to earthly around the sun in their orbits at definite
international symbols meant for the beings, the earth is treated as stationary intervals. For instance,
grahas. Literature on their nature and but not the moon. So the earth is the Earth takes one
deleted from the list of planets. The year to go once around
behaviour is aplenty and three farthest planets are also not there the sun while Pluto
modern science is adding in the list, maybe because their impact takes as many as 248
many more pages of research on the earth is not strong. In place of years.
to the subject of navagrahas. these planets, three entities are added,
the moon, Rahu and Ketu. All the As the Earth carries its beings while
planets are assigned a unique position going around the sun, it feels as if the
as rulers of that particular zodiac sign, sun is actually moving. Due to this
but not these two shadow planets. apparent motion of the sun in the
background of the stars, it appears to
Every planet has been given certain hold different positions at different
attributes for understanding its impact points of time. The position of various
on one’s life and to make predictions planets and other heavenly bodies is
based on these attributes. reckoned against the background of the
27 stars.

49

Sun 761823945
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176382594
594176382
382594176

GRAHA - YANTRAS

There are nine yantras, each 81-celled (9X9). The cells are inscribed with numbers one to nine,
for the grahas; these yantras represent the grahas. Writing of these yantras, wearing the yantras inscribed

on metal strips, and worshipping the yantras are practices involved in graha-Sun puja or graha-shanti.
Sun is a vast source of energy to the Earth. Temperature on the surface of the Sun varies from

60000°C to 100000°C. It is at a distance of 150 million km from the earth. The Sun has got its own axis on
which it rotates in a period of 26 days. The Sun causes day and night, the seasons, and
is responsible for all life and activities on earth.

He (the Sun) is the visible celestial luminary (Pratyaksha Devatha), and a concrete representation of the
Brahman. Therefore the Sun is worshipped. Sun temples at Multan, Khajuraho, Martand, Konark etc.,

are popular. Many people perform their daily chores after paying obeisance the Sun God.

SURYA/SUN

Surya (Sun) is the centre of the Graha Mandala. He is the king of planets and other heavenly bodies.
He is facing the eastern direction and is represented by a brilliant red colour.

He is the son of Rishi Kashyapa and Aditi. His chariot is mono-wheeled and his charioteer is Aruna (Dawn),
lame, but a devoted brother of him. His abhimaani devathas are Rudra and Agni.

Surya is wedded to Usha, Chaya and Padmini. In some puranas, Samjna is identifed as his wife.
He is the master of Simha Ráshi and likes red coloured clothes, flowers and stones.

He is the lord of one’s self and grants good health and wisdom to his devotees. He has a circular mandala.

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