Collection: Devotional

Darbhanga & Dashashwamedh Ghats Darbhanga Ghat, with its regal palace and carved stone steps, reflects the grandeur of heritage along the Ganga. Beside it, Dashashwamedh Ghat pulses with devotion, alive with rituals and the famed Ganga Aarti. Together they embody Varanasi’s spirit—architectural splendour and living faith in harmony.

Man Mandir Ghat, with its grand architecture, stands as one of Varanasi’s finest heritage sites. Around its historic arches and stone steps, sants move with quiet grace, filling the space with spiritual vibrations. My work seeks to reflect this union of architectural splendour and living faith.

Assi Ghat is a place of calm devotion, where pilgrims gather for prayer and ritual as the Ganga reflects centuries of faith. A great banyan tree shelters a small temple below, its shadow cast upon the ground, with roots and shade adding to the ghat’s timeless sanctity. My work seeks to capture this harmony of nature, worship, and heritage.

Part of the Visual Testimony series, this painting serves as a visual meditation on awareness and transformation. Inspired by Indian philosophical thought, it encourages viewers to move beyond representation and experience the work through contemplation, intuition, and personal reflection.

Part of the Visual Testimony series, this painting serves as a visual meditation on awareness and transformation. Inspired by Indian philosophical thought, it encourages viewers to move beyond representation and experience the work through contemplation, intuition, and personal reflection.

Part of the Visual Testimony series, this painting serves as a visual meditation on awareness and transformation. Inspired by Indian philosophical thought, it encourages viewers to move beyond representation and experience the work through contemplation, intuition, and personal reflection.

Part of the Visual Testimony series, this painting serves as a visual meditation on awareness and transformation. Inspired by Indian philosophical thought, it encourages viewers to move beyond representation and experience the work through contemplation, intuition, and personal reflection.

Part of the Visual Testimony series, this painting serves as a visual meditation on awareness and transformation. Inspired by Indian philosophical thought, it encourages viewers to move beyond representation and experience the work through contemplation, intuition, and personal reflection.

Part of the Visual Testimony series, this painting serves as a visual meditation on awareness and transformation. Inspired by Indian philosophical thought, it encourages viewers to move beyond representation and experience the work through contemplation, intuition, and personal reflection.

Part of the Visual Testimony series, this painting serves as a visual meditation on awareness and transformation. Inspired by Indian philosophical thought, it encourages viewers to move beyond representation and experience the work through contemplation, intuition, and personal reflection.

Part of the Visual Testimony series, this painting serves as a visual meditation on awareness and transformation. Inspired by Indian philosophical thought, it encourages viewers to move beyond representation and experience the work through contemplation, intuition, and personal reflection.

Feathered Glory celebrates the vibrant elegance and rhythmic movement of village roosters through an expressive pastel composition on black paper. The dark surface enhances the luminosity of the soft pastel colors, allowing the forms to emerge with dramatic intensity and atmosphere. Rather than merely depicting the birds, the painting explores motion, silence, and the poetry of negative space. The carefully balanced empty areas invite the viewer to pause, observe, and emotionally connect with the composition beyond its visible shapes. The flowing gestures and layered textures create a sense of life and movement within the stillness. Through softness, color, and abstraction, the artwork transforms ordinary roosters into symbols of grace, vitality, and quiet pride.

Auspicious Grace is a vibrant portrayal of the sacred and celebrated bull, deeply rooted in Indian culture and festive traditions like Makar Sankranti. Created in soft pastels on mount board, the artwork explores the dynamic beauty of color, texture, and symbolism. The black background enhances the brilliance of the pastels, allowing every vibrant stroke and abstract form to emerge with striking intensity. The decorated bull stands as a symbol of strength, prosperity, and divine grace, carrying an energetic yet spiritual presence. Through expressive marks and rich contrasts, the painting captures both the festive spirit and the timeless reverence associated with this auspicious animal. The work invites the viewer to experience power, celebration, and blessing in a single visual moment.

Vede’s new series of four paintings is an intense, personal look at the Mahavakyas, the four great sayings that hold the essential truth of ancient Indian philosophy. By exploring these profound statements, Vede turns them into vivid, layered conversations on canvas. This series offers a heartfelt glimpse into this contemplative work. The Art of Inner Listening For Vede, creating art is a spiritual anchor, and you can feel that mindfulness in every stroke. His paintings aren't just images; they are meditations on eternal truths. He often weaves words directly into his compositions—the text is never just a caption, it’s a companion to the imagery, bridging his deep, personal feelings about these concepts with a universal understanding. The Four Paths of Introspection Vede dedicates each canvas to one of the Mahavakyas, treating it as a framework for deep self-reflection: Ayam Ātmā Brahma (This Self is Brahman): This affirms that the self inside us is the same as the universal reality. The composition becomes a direct call to look past surface details and into one’s own core, confirming that the truth we seek is already within.

Vede’s new series of four paintings is an intense, personal look at the Mahavakyas, the four great sayings that hold the essential truth of ancient Indian philosophy. By exploring these profound statements, Vede turns them into vivid, layered conversations on canvas. This series offers a heartfelt glimpse into this contemplative work. The Art of Inner Listening For Vede, creating art is a spiritual anchor, and you can feel that mindfulness in every stroke. His paintings aren't just images; they are meditations on eternal truths. He often weaves words directly into his compositions—the text is never just a caption, it’s a companion to the imagery, bridging his deep, personal feelings about these concepts with a universal understanding. The Four Paths of Introspection Vede dedicates each canvas to one of the Mahavakyas, treating it as a framework for deep self-reflection: Prajñānam Brahma (Consciousness is Brahman): This defines reality as pure Consciousness. The painting is a call to introspect on the very nature of awareness—the "stuff" that allows us to see, think, and exist.

Vede’s new series of four paintings is an intense, personal look at the Mahavakyas, the four great sayings that hold the essential truth of ancient Indian philosophy. By exploring these profound statements, Vede turns them into vivid, layered conversations on canvas. This series offers a heartfelt glimpse into this contemplative work. The Art of Inner Listening For Vede, creating art is a spiritual anchor, and you can feel that mindfulness in every stroke. His paintings aren't just images; they are meditations on eternal truths. He often weaves words directly into his compositions—the text is never just a caption, it’s a companion to the imagery, bridging his deep, personal feelings about these concepts with a universal understanding. The Four Paths of Introspection Vede dedicates each canvas to one of the Mahavakyas, treating it as a framework for deep self-reflection: Tat Tvam Asi (That Thou Art): The direct instruction: "You are That." This challenges the idea of separation. Vede uses bridging elements and interconnected layers to encourage a profound sense of unity, prompting introspective empathy with all of existence.

Vede’s new series of four paintings is an intense, personal look at the Mahavakyas, the four great sayings that hold the essential truth of ancient Indian philosophy. By exploring these profound statements, Vede turns them into vivid, layered conversations on canvas. This series offers a heartfelt glimpse into this contemplative work. The Art of Inner Listening For Vede, creating art is a spiritual anchor, and you can feel that mindfulness in every stroke. His paintings aren't just images; they are meditations on eternal truths. He often weaves words directly into his compositions—the text is never just a caption, it’s a companion to the imagery, bridging his deep, personal feelings about these concepts with a universal understanding. The Four Paths of Introspection Vede dedicates each canvas to one of the Mahavakyas, treating it as a framework for deep self-reflection: Aham Brahmāsmi (I Am Brahman): This is the final realization—the experiential truth that the individual is the infinite reality. The paintings based on this saying embody a profound and complete sense of presence, representing the powerful conclusion of his inner journey.

I was born and Grownup in Kaslabad, Siddipet district of Telangana,INDIA. My interest in art began very unexpectedly with the drawings I made for my science class. A teacher has discovered my talent, and I have always found myself more interested in drawing and painting than in pursuing my studies. By the time I was in the tenth grade, I was a signboard artist. I have kept a very grounded approach to my art, using the folk and rural themes with a contemporary touch, drawing attention to the delicate expressions, clothing, jewelry, and lifestyle of my subjects. My paintings were influenced by the minimalist lines and spare style, typical of animation too. The geometric style which often appears in my work is a reflection of that part of my career, during my initial days. My works exemplify a group of women and sometimes men immersed in their routine work and leisure activities. The drapery designs and motives add a sort of movement and speed. As far as the colors I use in my paintings are concerned, the villagers worship many local gods and each god has different colored skin. I see the village people as innocent and feel the face of spirit reflected in them. Therefore, I like to use different colors to portray the faces of the villagers. I don`t deliberately mix colors or use too much texturing, because I think the simplicity reflects the kind of people my subjects are. With the increasing fondness for neutral fashion trends, the village's youngsters seldom indulge in traditional styles. Consequently, I actively participate in rejuvenating the village's charm, I recall. I feel my job is to record the story of my culture and tell their stories. I use art to keep the community`s culture alive and that is what I see as my greatest motivating force. I`m also told that my paintings have a range and that`s only because these are my people and this is my culture. I get a lot of joy and satisfaction from painting my culture.

I was born and Grownup in Kaslabad, Siddipet district of Telangana,INDIA. My interest in art began very unexpectedly with the drawings I made for my science class. A teacher has discovered my talent, and I have always found myself more interested in drawing and painting than in pursuing my studies. By the time I was in the tenth grade, I was a signboard artist. I have kept a very grounded approach to my art, using the folk and rural themes with a contemporary touch, drawing attention to the delicate expressions, clothing, jewelry, and lifestyle of my subjects. My paintings were influenced by the minimalist lines and spare style, typical of animation too. The geometric style which often appears in my work is a reflection of that part of my career, during my initial days. My works exemplify a group of women and sometimes men immersed in their routine work and leisure activities. The drapery designs and motives add a sort of movement and speed. As far as the colors I use in my paintings are concerned, the villagers worship many local gods and each god has different colored skin. I see the village people as innocent and feel the face of spirit reflected in them. Therefore, I like to use different colors to portray the faces of the villagers. I don`t deliberately mix colors or use too much texturing, because I think the simplicity reflects the kind of people my subjects are. With the increasing fondness for neutral fashion trends, the village's youngsters seldom indulge in traditional styles. Consequently, I actively participate in rejuvenating the village's charm, I recall. I feel my job is to record the story of my culture and tell their stories. I use art to keep the community`s culture alive and that is what I see as my greatest motivating force. I`m also told that my paintings have a range and that`s only because these are my people and this is my culture. I get a lot of joy and satisfaction from painting my culture.

I was born and Grownup in Kaslabad, Siddipet district of Telangana,INDIA. My interest in art began very unexpectedly with the drawings I made for my science class. A teacher has discovered my talent, and I have always found myself more interested in drawing and painting than in pursuing my studies. By the time I was in the tenth grade, I was a signboard artist. I have kept a very grounded approach to my art, using the folk and rural themes with a contemporary touch, drawing attention to the delicate expressions, clothing, jewelry, and lifestyle of my subjects. My paintings were influenced by the minimalist lines and spare style, typical of animation too. The geometric style which often appears in my work is a reflection of that part of my career, during my initial days. My works exemplify a group of women and sometimes men immersed in their routine work and leisure activities. The drapery designs and motives add a sort of movement and speed. As far as the colors I use in my paintings are concerned, the villagers worship many local gods and each god has different colored skin. I see the village people as innocent and feel the face of spirit reflected in them. Therefore, I like to use different colors to portray the faces of the villagers. I don`t deliberately mix colors or use too much texturing, because I think the simplicity reflects the kind of people my subjects are. With the increasing fondness for neutral fashion trends, the village's youngsters seldom indulge in traditional styles. Consequently, I actively participate in rejuvenating the village's charm, I recall. I feel my job is to record the story of my culture and tell their stories. I use art to keep the community`s culture alive and that is what I see as my greatest motivating force. I`m also told that my paintings have a range and that`s only because these are my people and this is my culture. I get a lot of joy and satisfaction from painting my culture.