Since some of ya’ll miss him, here’s a small doodle of Kai and his friend Wren (owned by @neoninu ) I did last year. <3 I’ve got some lovely asks since I last hopped onto tumblr so I’ll have to answer some soon!
A Garland of Forgotten Goddesses: Tales of the Feminine Divine from India and Beyond, edited by Michael Slouber, University of California Press, 2020. Info: ucpress.edu.
Imagining the divine as female is rare—even controversial—in most religions. Hinduism, by contrast, preserves a rich and continuous tradition of goddess worship. A Garland of Forgotten Goddesses conveys the diversity of this tradition by bringing together a fresh array of captivating and largely overlooked Hindu goddess tales from different regions. As the first such anthology of goddess narratives in translation, this collection highlights a range of sources from ancient myths to modern lore. The goddesses featured here battle demons, perform miracles, and grant rare Tantric visions to their devotees. Each translation is paired with a short essay that explains the goddess’s historical and social context, elucidating the ways religion adapts to changing times.
Contents: List of Illustrations Preface Acknowledgments Introduction Part One. Demons and Battle 1. Bhadrakali: Slaying the Demon in the Backwaters – Noor van Brussel 2. Camundi and Uttanahalli: Sisters of the Mysuru Hills – Caleb Simmons 3. Kausiki: The Virgin Demon Slayer – Judit Törzsök 4. The Seven Mothers: Origin Tales from Two Early Medieval Puranas – Shaman Hatley Part Two. Miracles and Devotees 5. Svasthani: Goddess of One’s Own Place – Jessica Vantine Birkenholtz 6. Kaila Devi: The Great Goddess as Local Avatar of Miracles – R. Jeremy Saul 7. Bahucara Mata: She Who Roams Widely – Darry Dinnell 8. Rastrasena: Hawk Goddess of the Mewar Mountains – Adam Newman Part Three. Tantras and Magic 9. Rangda in the Calon Arang: A Tale of Magic – Thomas M. Hunter and Ni Wayan Pasek Ariati 10. Tvarita: The Swift Goddess – Michael Slouber 11. Kamesvari: Visualizing the Goddess of Desire – Anna A. Golovkova 12. Avyapadesya: Indefinable Kali – Olga Serbaeva Glossary List of Deities and Characters Primary Sources References List of Contributors Index
tumblr user @msmxrvel congratulations and thank you for that very sweet comment, how dare you? because i got an idea and i couldnt just let that be, on the occasion of nandotsav, here’s a mandala that reminds me of krishna…. <3
Till Queendom Come is a project about an Indian Rakshasi who’s trying to find her lost heart after the East India Company stole it, a Jotunn who didn’t feel like going back to Norway after the Vikings invasions, and the young nephew of the last druid of St. Ives who’s now trying to keep on the family tradition on her own in spite of being the wrong gender to do so.
Started as a project set in Edwardian England, born in a urge of sudden irritation about seeing Victoria being romanticised everywhere by a cynical comic artist who majored in English. You can read it on Instagram under the hashtag #oscarpoppins (which was its unofficial title until now and in my mind will always be), or on Webtoon.
[ You who are bound by ice, overcome by so much flame. ] . A night at the opera, anyone? Not a mistery: I really like Opera, and couldn’t resist planning some themed illustration for the main character of my most recent Webcomic (Click!). Each character will be theme-driven, but I have to say that Nessun Dorma aria was surely an inspiration for her. (Calaf is an asshole, and he doesn’t deserve that gorgeous aria, btw.). The costume is inspired by a persian stylist, while the shoulder piece was from the sketches of the very first representation of Turandot, back in 1926. It’s so iconic and cool I couldn’t resist keeping it, with a more fitting for her actual provenience neck opening. Oh, this is traditional, made in Uni Poscas and Molotov acrylic markers! Hope you like it! :D
Till Queendom Come is a project about an Indian Rakshasi who’s trying to find her lost heart after the East India Company stole it, a Jotunn who didn’t feel like going back to Norway after the Vikings invasions, and the youngest granddaughter of the last druid of St. Ives who’s now trying to keep on the family tradition on her own in spite of being the wrong gender to do so. Started as a project set in Edwardian England, born in a urge of sudden irritation about seeing Victoria being romanticised everywhere by a cynical comic artist who majored in English. You can read it here on Instagram under the hashtag #oscarpoppins (which was its unofficial title until now and in my mind will always be), or on Webtoon looking for Till Queendom Come.
Clutch your pearls and gasp in shock to your heart’s content, the confirmation of exactly how scandalous that household is is here.
Till Queendom Come is a project about an Indian Rakshasi who’s trying to find her lost heart after the East India Company stole it, a Jotunn who didn’t feel like going back to Norway after the Vikings invasions, and the youngest granddaughter of the last druid of St. Ives who’s now trying to keep on the family tradition on her own in spite of being the wrong gender to do so.
Started as a project set in Edwardian England, born in a urge of sudden irritation about seeing Victoria being romanticised everywhere by a cynical comic artist who majored in English. You can read it on Instagrum under the hashtag #oscarpoppins (which was its unofficial title until now and in my mind will always be), or on Webtoon.
She’s not THAT heartless, you see. And she has a type.
Darcy found his shirt, but fret not, all your love is gonna have his pay off in a couple of days.
Till Queendom Come is a project about an Indian Rakshasi who’s trying to find her lost heart after the East India Company stole it, a Jotunn who didn’t feel like going back to Norway after the Vikings invasions, and the youngest granddaughter of the last druid of St. Ives who’s now trying to keep on the family tradition on her own in spite of being the wrong gender to do so.
Started as a project set in Edwardian England, born in a urge of sudden irritation about seeing Victoria being romanticised everywhere by a cynical comic artist who majored in English. You can read it on Instagram under the hashtag #oscarpoppins (which was its unofficial title until now and in my mind will always be), or on Webtoon.
Till Queendom Come is a project about an Indian Rakshasi who’s trying to find her lost heart after the East India Company stole it, a Jotunn who didn’t feel like going back to Norway after the Vikings invasions, and the youngest granddaughter of the last druid of St. Ives who’s now trying to keep on the family tradition on her own in spite of being the wrong gender to do so.
Started as a project set in Edwardian England, born in a urge of sudden irritation about seeing Victoria being romanticised everywhere by a cynical comic artist who majored in English. You can read it on Instagram under the hashtag #oscarpoppins (which was its unofficial title until now and in my mind will always be), or on Webtoon.
Till Queendom Come is a project about an Indian Rakshasi who’s trying to find her lost heart after the East India Company stole it, a Jotunn who didn’t feel like going back to Norway after the Vikings invasions, and the young nephew of the last druid of St. Ives who’s now trying to keep on the family tradition on her own in spite of being the wrong gender to do so.
Started as a project set in Edwardian England, born in a urge of sudden irritation about seeing Victoria being romanticised everywhere by a cynical comic artist who majored in English. You can read it on Instagram under the hashtag #oscarpoppins (which was its unofficial title until now and in my mind will always be), or on Webtoon.
Some intermission, more flashbacks that I haven’t posted here in full, some more snippets about the Three Caballeros.
Till Queendom Come is a project about an Indian Rakshasi who’s trying to find her lost heart after the East India Company stole it, a Jotunn who didn’t feel like going back to Norway after the Vikings invasions, and the young nephew of the last druid of St. Ives who’s now trying to keep on the family tradition on her own in spite of being the wrong gender to do so.
Started as a project set in Edwardian England, born in a urge of sudden irritation about seeing Victoria being romanticised everywhere by a cynical comic artist who majored in English. You can read it on Instagram under the hashtag #oscarpoppins (which was its unofficial title until now and in my mind will always be), or on Webtoon.
Established in 1901, results are guaranteed, deal with them at your own risk if you’re not sure you can’t pay. No credit allowed. Ever.
There’s an obvious typo in the spelling of Ifrit, that will be a part of tomorrow’s update.
This started as a pose study, now it’s a study in colour as well! I tried my best, I’m still not confident enough to get rid of the lineart whatsoever. But hey, I need to learn to colour, so I’d better try and learn from mr Leyendecker, right? Right.
Till Queendom Come is a project about an Indian Rakshasi who’s trying to find her lost heart after the East India Company stole it, a Jotunn who didn’t feel like going back to Norway after the Vikings invasions, and the youngest granddaughter of the last druid of St. Ives who’s now trying to keep on the family tradition on her own in spite of being the wrong gender to do so. Started as a project set in Edwardian England, born in a urge of sudden irritation about seeing Victoria being romanticised everywhere by a cynical comic artist who majored in English. You can read it on my Instagram(click) under the hashtag #oscarpoppins (which was its unofficial title until now and in my mind will always be), or on Webtoon (click).
We are doing marketing investigation, but in Jane Austen style. It is also shown how fiction could be appreciated and known undirectly, without actually reading or seeing anything, when tumblr and gifsets had not been invented yet.
Till Queendom Come is a project about an Indian Rakshasi who’s trying to find her lost heart after the East India Company stole it, a Jotunn who didn’t feel like going back to Norway after the Vikings invasions, and the young nephew of the last druid of St. Ives who’s now trying to keep on the family tradition on her own in spite of being the wrong gender to do so. Started as a project set in Edwardian England, born in a urge of sudden irritation about seeing Victoria being romanticised everywhere by a cynical comic artist who majored in English. You can read it on Instagram under the hashtag #oscarpoppins, with character designs, illustrations, snippets, or on Webtoon on the link above.
As Diwali is here, we have made this Diwali Special book recommendations list. And to go with the Diwali vibe we have recommended best books in Indian Mythology.
Vishnu as Vishvarupa (cosmic or universal man), watercolour on paper, Jaipur, India, ca. 1800-1820.
This striking painting shows the blue-skinned Hindu god Vishnu in the form of the Universal Man or Vishvarupa. The small figures painted on his body refer to his role as encompassing all of creation. He has four arms, each holding one of Vishnu’s attributes; a conch shell, a lotus flower, a mace and the circular weapon called Sudarshana chakra (meaning ‘beautiful discus’). - vam.ac.uk
The “Saptamatrikas” (Seven Mothers) are a group of goddesses depicted together & worshipped as the source of power (shakti) to several major deities. They helped originate the concept of feminine creative power and are known for being goddesses of war and emancipation. They aide in the fight against evil and are known for their inauspicious qualities. The Matrikas series reimagines these goddesses in the modern world, with an emphasis on fashion.
From top to bottom:
1.“Kaumari”: Goddess of war. She rides a peacock and is shown with 4 arms holding various objects such as a bow, spear, axe, and coins.
2. “Maheshwari”: Maheshwari rides a bull & represents the power of transformation.
3.“Vaishnavi”: Goddess of protection & restoration. She is seen riding an eagle with hands in the Varada mudra position (lower right hand). This hand position is the “blessings” hand gesture.
4. “Chamunda”: Chamunda is the power of goddess Chandi. She is said to be ferocious by nature and inaccessible because of her anger. She hates evil doers and slays them without mercy. Often associated with Kali ma, you can think of her as Kali’s lesser known little sister.
5.“Varahi”: Preserver of the Earth. She’s depicted with a boar’s head, sometimes carrying land on her tusks. She grants boons and is a regent of the Northern direction. She can also be associated as a goddess of death who rides a buffalo.
6.“Brahmani”: Goddess of creation. She’s depicted with 4 heads (like lord Brahma), yellow in color, and rides on a swan as her vehicle of choice.
7. “Indrani”: Goddess of jealousy and wrath. She’s credited for creating the concept of “Shakti” (power) & advocating feminine divine energy as the most important strength of all. She’s often associated with elephants and lions.
Part 8 & the final piece of the ‘Desi Remix’series.
[Remix of Time Saving Truth From Falsehood & Envy by Francois Lemoyne]
Indrani, also known as Shachi, is one of 7 Matrikas (a group of goddesses depicted together as the divine mothers of war and emancipation). She is also the goddess of wrath and jealousy. But most significantly, she is known for developing the concept of “Shakti”, which means power, or the “personification of feminine creative might”. This power manifests through female embodiment, and is believed to be responsible for all creation and change in the universe. She founded the idea that the female companion is the most important “Shakti” of all, and because of this she was seen as independent from all other goddesses.
Additionally, Indrani personified a reversal of traditional gender roles. While most goddesses of this time period derived their names from their husbands (for example: Varuni–wife of Varun), Indrani’s husband, Indra, derived his name from her. He was also occasionally known as “Shahchipati”, meaning one who possesses Shachi, or feminine energy. By definition, her alternative name Shachi states that women are the source of all power. The name Indrani translates to queen of gods.
In early Vedic literature, Indrani was depicted as the female shadow of her husband, which further defied the dominance of male gods, who almost never associated their wives as essential forces during battle. In this depiction I challenge mythological gender roles by taking it a step further. Here we see Indrani saving her husband and standing at the forefront of the fight- a true reversal of the typical “damsel in distress” scenarios of this time period. Since Indrani herself defines power, her strength is not tied to any male characters. She’s strong enough to stand on her own, which is why metaphorically she takes a buff, muscular form. Her Shakti is one that can be neither created nor destroyed, making her role one of a kind in Indian feminism and a pillar for feminine worship.
[Please note: The figures in this composition are not made up characters of my imagination. They are historic/ cultural figures, which is why their physical appearance is purely based off literary & scholarly research in order to maintain utmost accuracy to what they looked like in real life. Any alternate interpretations other than what is listed above is completely non-intentional or reflective of my views as an artist.]
Part 5 of the ‘Desi Remix’ series [Remix of “The Last Supper” by Juan de Juanes]
Gargi Vachaknavi was an ancient Indian philosopher. From a young age she became known for her intelligence, studying the Vedas and other philosophical scriptures with great proficiency, often surpassing men with her knowledge. One day King Janaka held a gathering, inviting all the educated sages, kings, and princes of India to participate. Janaka, also a scholar, was so impressed by the turnout of learned sages, he decided to hold a debate in search of finding a single scholar with the most knowledge about Brahman. Offering a prize of 1000 cows with golden horns, no one except sage Yajnavalkya was confident in their knowledge of the subject. Many other scholars chose not to debate with him out of uncertainty, however 8 renowned sages decided to challenge him, including Gargi, the only woman at the gathering.
Many of the competing sages debated with Yajnavalkya and asked him many philosophical questions, however his arguments were all too convincing, resulting in a loss for the sages. When it was finally Gargi’s turn to take up the challenge she questioned Yajnavalkya’s superiority, arguing repeatedly with him. She asked him everything from the status of human souls, to the environment, the universe, the origin of all existence, and the interconnectedness of the world. Upon her final question she asked him to define the world of the imperishable (Brahman). At this, he stopped her from questioning him any further and Gargi conceded to his superior knowledge. However, she still made it farther than anyone else at the debate and was Yajnavalkya’s toughest challenger to date. Being the only woman to outsmart a room full of men, she was honored as one of the 9 gems in King Janaka’s court.
As with all the pieces in this series, the point is to highlight stories of feminism and provide examples of non-stereotypical women that stood out for their unique definitions of strength in Indian mythology. This piece especially stands out because it made me reflect on how much we’ve had to fight for our rights as women. We’ve come so far from being viewed solely as child bearers and homemakers to career driven, educated women with opinions that matter and can change the world. We still have a ways to go, and there are still glass ceilings to be broken, but I hope the story of Gargi inspires you to never take no for an answer. And most importantly, never let any one make you feel that being a woman comes with limitations. If you choose to fight, you have the power to prevail and triumph.
For part 3 of the desi remix series I chose to illustrate“Visha Kanyas” (poisonous damsels). These young women were used as assassins against kings and other powerful enemies. They were often sent by kings to kill their enemies by seduction and giving their targets poisoned alcohol. It was believed that their blood was extremely poisonous to humans, and that even a single look or touch could kill a person.
“Visha Kanyas” is a remix of “Hylas and the Nymphs” by John Williams Waterhouse, in which Hylas (the companion of Greek God Hercules) is abducted by water nymphs.
Part of my goal is to easternize western paintings, but my main goal with these remixes isn’t necessarily to highlight religion or to make religious iconography. I see a lot of young desi women trying to rebel against traditional images of how desis have been depicted in the past and how they should look in order to create a new image of what modern desi women look and feel like today. I definitely support this notion, however instead of using my paintings to create a single snapshot of what the modern desi looks like, or instead of rebelling against my culture in any way, I’d rather create a scene that shows women taking action. I don’t want to make portraits to suggest that how I paint someone is what I believe beauty should look like because then the conversation becomes just about what we look like on the outside. I make paintings rooted in mythology because it tells a story of women doing things their way and being powerful. So much of history in Indian mythology is about men fighting epic battles, but you don’t hear enough about HERstory. I want to show examples from our past to prove that not all traditionally depicted women are weak, shy, or whatever other stereotypes give us negative sentiments about who we are as Indian women today. The point is that there are stories to be told that show action, not just questions about beauty captured in a single way. Whether this power comes through women defeating men by trickery, using seduction to get what they want, or going as far as killing men, these stories all show women having the upper hand, which if you ask me, defies stereotypes just as much as being a “rebel” or changing up our looks.
![“Gargi”Part 5 of the ‘Desi Remix’ series [Remix of “The Last Supper” by Juan de Juanes]Gargi Vachakn](https://64.media.tumblr.com/93ce963180f17d67a59e026636f6a3fa/tumblr_ol4mkjupqo1s2xw6vo1_1280.jpg "“Gargi”Part 5 of the ‘Desi Remix’ series [Remix of “The Last Supper” by Juan de Juanes]Gargi Vachakn")
