Interestingly, Krṣna stands facing backwards, the torso and head sinuously contorted a hundred and eighty degrees to face the spectator in a flamboyant pose. This becomes more apparent upon noticing that the coarsely carved left foot of the figure faces away from the polished front of the sculpture. The right foot is beautifully arched over a stylistic rendering of the flood waters, symbolically quelling Indra’s attempt to drown the dwellers of Braj with his wrath in unseasonal, incessant rains. This pose is reminiscent of Durgā, with one leg resting on the ground and the other placed on the head of Mahiṣ āsura. Krṣna’s arm, holding up the mountain, becomes the axis of the mountain and the statue, visually communicating that they are one. Not only does it become an umbrella that celebrates his divinity it also represents them together sheltering the civilized world

Translating verses from these Sanskrit treatises into temple structures isn’t a straightforward process. It requires literal translation in partnership with Sanskrit scholars, followed by adjustments and refinements based on a thorough knowledge of the architectural and cultural context of the Indian temple. Beyond merely following instructions in the texts, it involves a blend of textual guidance and creative interpretation. This allows architects the opportunity to explore within the structure of the craft, while also allowing for ideas that may not be found in the original scriptures.

I wrote this essay as part of the Indian Aesthetics 2022-2023 Diploma course at Jnanapravaha.

The Ramayana encompasses the gamut of human emotion and behaviour spanning the spectrum of love, longing and of lust. Heroism, faithfulness and a sense of duty jostle with betrayal, pride and deception creating infinite scope for artistic expression. …paintings create space for the viewer to contemplate the story more deeply than could perhaps come from a mere study of the text. The artist does not merely illustrate the epic poem, but rather reminds the viewer of subtle aspects of the text while deepening the aesthetic appeal of the narrative

Applying the concept of bricolage to our evolving practice as designers for the often cryptic, obscure, multi-dimensional industry of software tools, calls for exploration. How might we juxtapose the principles of Indic aesthetics with a contemporary lens to offer new perspectives for the challenges of a modern-day designer? How might we use established design tools and methodologies in original, experimental, innovative ways to address the needs of the intertwined ecosystem of our users and the tangled technical systems in which they operate?

To begin my day by sweeping away the remains of yesterday, beginning afresh on a new canvas for this new day, sprinkling water to let the dust, and my mind, settle into a quenched calmness. To start making the kolam, and watch the pattern emerge in sweeping strokes of white as my head, hand and heart dance in harmony.

In a moment of profound clarity, I saw my career as a herd of cows, and myself as the cowherd. Each job, initiative, project, experiment - a cow and part of this herd. My herd, to nurture, and be nourished by in return. That I get to enjoy the milk, butter, curd and ghee, is just an outcome. But more than the money and the accolades, seeking to deepen my practice as a designer is my Ikigai. That’s what makes the experience meaningful.