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The gift to create form, from the mist of imagination, is pure magic!


Showing posts with label flowers. Show all posts
Showing posts with label flowers. Show all posts

Monday, May 25, 2026

Immaterial

 







10x13.5 inches; Pen and ink over graphite pencil on tinted drawing paper (Click on image to enlarge)

We are at war with ourselves.
Fighting for life with ‘Self Destruct’ programmed into our motherboards.
Do and die. Kill and be killed. All guts, no glory!
It is a slow burn horror flick with no survivors!
This IS civilized; we are assured. This IS progress.
The world is an orange.
We have peeled off the rind, dug our nails deep into it for oil, and squeezed out all the juices from each one of its carpels, and dumped the rest in radioactive waste.
The corporates own the seeds; also the air, water and our freedom.
The filthy rich and powerful own the corporates.
We own nothing, not even our own selves!
All of that conceit, that greed, that deceit, that unbridled need to win, will come to nothing.
The genocide, the ecocide, the hate mongering and democide will not make us invincible!
We will perish, and rot, and so will the memory of our plot.
What will remain is speculation and dust, on our toxic dreams and lust, in between the layers of the earth’s lithosphere.

Friday, April 15, 2022

Isolation

 









20.5x28.5 inches; Watercolour, pen and ink over graphite pencil on handmade paper (Click on image to enlarge)

 

Alone, but

Not like an ant

Wandering far

From the marked trail,

Way laid by the call of a Siren,

Unable to find its way back

To the scent of its people,

Going in circles for days,

Still hopeful

Unless a boot stamps

The life out of it.

Or like a bee

Buzzing around for hours

Inside a glass jar

In a candy shop,

Trapped by the lure of

Sweet promises,

Separated from its kin,

Finding death in the hands

Of a fly swatter.

 

But alone

Like lovers in a crowd,

Majnun in the desert,

Like the naive victim

In love with the tormentor.

Like seeking safety

Curling up in a closet,

Marooned on an

Uninhabited Island

Of one’s own inhibitions,

Or walled up within

A fortress in one’s head,

Avoiding the possibilities

Of infection,

Of failure, rejection and hurt.

Isolation

Of the unwanted;

Preventing what may happen

Deduced from what

We fear to become.

 

The plague trespasses

Over the land of

‘Happily-ever-after’

Leaving behind

A sole survivor. 

Friday, August 9, 2019

Lilith


20.5x28.5 inches; Pen drawing on handmade paper with watercolour wash (Click on image to enlarge)
SOLD. In private collection

The name of Lilith conjures up diverse associations in the mind of those who are familiar with her myth. She is an enigmatic character from the Judeo-Christian stories of Genesis, shrouded in darkness and superstition, almost silenced and meticulously avoided. She earned a notorious reputation in the Jewish tradition as a demon of the night, harbouring a vicious grudge against all the children of Adam and Eve, a constant threat to the well-being of newborn babies and their mothers. She is believed to be the eternally lusty, unsatiated, voluptuous spirit who leads hapless young men astray with erotic dreams when they sleep alone in a house and plagues them with nocturnal emissions! She is the much debated first female companion of Adam, much before Eve was created. She is also the rebellious, free willed, untamed feminine force who will not submit to the domination of man made rules. No wonder she has been reinvented and reimagined as a torchbearer of feminism.

But long before she found her way into Jewish folklore, she is believed to have wandered around in the lores of Sumeria.  Some scholars believe that her origins can be traced back to the ancient Babylonian demonology, which makes her a staggering 4000 years old. Some believe that Lilith is another name of the Sumerian goddess known as ‘Ninlil’ (Meaning ‘Lady Air’. The Sumerian word of air is ‘Lil’.), ‘Ishtar’ or ‘Innana’. This Sumerian goddess is portrayed as a voluptuous woman with wings on her back and claws of an owl in place of her feet. She is always seen standing on two lions and flanked by a pair of owls. The best known example of this iconography is the famous ‘Burney Relief’, currently found on display in the British Museum.

Lilith has been explicitly mentioned in the ‘Alphabet of Ben Sira’, one of the earliest literary parodies in Hebrew literature. The story recorded in it goes like this:

“After God created Adam, who was alone, He said, 'It is not good for man to be alone.' He then created a woman for Adam, from the earth, as He had created Adam himself, and called her Lilith. Adam and Lilith immediately began to fight. She said, 'I will not lie below,' and he said, 'I will not lie beneath you, but only on top, for you are fit only to be in the bottom position, while I am to be the superior one.' Lilith responded, 'We are equal to each other inasmuch as we were both created from the earth.' But they would not listen to one another. When Lilith saw this, she pronounced the Ineffable Name (Name of god which is too holy to be pronounced) and flew away into the air.

Adam stood in prayer before his Creator: 'Sovereign of the universe!' he said, 'the woman you gave me has run away.' At once, the Holy One, blessed be He, sent these three angels Senoy, Sansenoy, and Semangelof, to bring her back. "Said the Holy One to Adam, 'If she agrees to come back, what is made is good. If not, she must permit one hundred of her children to die every day.' The angels left God and pursued Lilith, whom they overtook in the midst of the sea, in the mighty waters wherein the Egyptians were destined to drown. They told her God's word, but she did not wish to return. The angels said, 'We shall drown you in the sea.'

'Leave me!' she said. 'I was created only to cause sickness to infants. If the infant is male, I have dominion over him for eight days after his birth, and if female, for twenty days.' When the angels heard Lilith's words, they insisted she go back. But she swore to them by the name of the living and eternal God: 'Whenever I see you or your names or your forms in an amulet, I will have no power over that infant.' She also agreed to have one hundred of her children die every day. Accordingly, every day one hundred demons perish, and for the same reason, we write the angels names on the amulets of young children. When Lilith sees their names, she remembers her oath, and the child recovers.”

This Story serves a dual purpose. On one hand it has surely been the source of defining and designating Lilith as the hateful demon in Jewish tradition and on the other she has been portrayed as the ‘equal’ of Adam, the woman who will not submit to the rules set down by man, an untamed entity and hence a dangerous challenge to the domination of patriarchy. A force that can’t be controlled is immediately maligned and marginalized as the unworthy or unwanted!
   
The idea that Adam had a companion prior to Eve has developed from an interpretation of the Book of Genesis.

Genesis 1: 27 reads- “And Elohim created Adam in His Image, in the Image of God He created him; male and female He created them.”

Genesis 2:18 and 22 read- “And Yahweh said, ‘It is not good for Adam to be alone. I will make a fitting helper for him.’ … And Yahweh fashioned the rib that He had taken from the man into a woman; and He brought her to the man.”

These two different creation stories leave a gap where Lilith fits in seamlessly.

But whatever the myth (You can read more in the reference sources I have provided below, if your inquisitiveness has been aroused!) this painting has grown from the soil of my imagination and exploration of the feminine energy/force within me and how Lilith is an embodiment of the same. For me Lilith is the eternal feminine, the unbridled force of nature, the scorching glow of sexuality, the darkness within us, the terror of the unknown, the limitless freedom we seek, the wilderness of lust and temptation, the tenderness of love and compassion, the languor of intoxication, and the power of knowledge and spiritual awakening (Kundalini).

Lilith for me is a metaphor for duality in nature. She is strength and vulnerability fused into one. She is the symbol for all that guides our natural (animal) instincts and rebels against artificiality and control and yet she is bound by her own limitations. She can be either liberating or self destructive. She may also lead us to liberation through destruction of the ‘Self’! She can guide us through self discovery or drown us in self doubt. All in all, she is a raw force we are scared to acknowledge but when embraced with humility she strengthens us with her nurturing. 

References:
Links:
Books:
Hebrew Myths: The Book of Genesis by Robert Graves and Raphael Patai ( New York: Doubleday, 1964)
The Hebrew Goddess, by Raphael Patai (Wayne State University Press, 3rd edition, 1978)

Sunday, March 18, 2018

Narcissus


12x16 inches; Watercolor, Pen and ink on acid free textured paper (Click on image to enlarge)
SOLD. In private collection

Narcissus

Reclining by the pool’s end,
You stay lost, gazing at your own face.
Your mind unable to spend
The reasons for such beauty to grace
This unworthy world around...

No, nothing is worthy of you,
No one is good enough for your love!
Trampled they lay like the dew,
Hurt and broken like the arrow shot dove,
Scalded by disdain in you they found.

A love sick sigh escapes, coral lips
Parted in a moist need to kiss the twin
Reflected in the dark pool which sips,
Licks and nibbles at your heart to ruin
And bleed vanity out aground.

Does remorse strike you now?
Remember Ameinias... Echo, you recall?
Feel the sweat gather on your brow
While you await the torment to befall,
Same as a stag cornered by the hound.

No matter how many times
The sword of Ameinias opens you up
Or your cries echo like the chimes,
Your love will not fill your empty cup
Or in your embrace be bound.

You slip into the watery bed
Imagining love waits there with open arms.
Tears of pain and rapture you shed
While being consumed by the siren’s charms,
A flower floats ashore and kisses the ground.

- Rudra Kishore Mandal