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Parvathy Baul Art Exhibition
Parvathy Baul has always pursued art as integral part of her inner practice.
All her works reflect this aspect of inner freedom embodied in traditional forms.
The art and paintings are serving as a continuous meditation and contemplation on the Divine.
As part of this exhibition, we invite you to incorporate what speaks to you and allow it to deepen your meditation, practice and connection with the Divine.
Her Journey as Visual Artist
After taking up the path as the practitioner of ancient Baul path, Parvathy Baul integrated her visual art work with her inner practice. She was inspired by the traditional art practices of India and the world, which are duly reflected in her art work.
She works now to create art which helps seekers to mediate, contemplate and touch the wisdom of the ancient Baul tradition.
In her earlier years of Baul sadhana, Parvathy Maa has created many images of daily life of Baul surrounding communities as well as images drawn from Baul stories and poetry. Painting has always remained one of the several ways to absorb the knowledge she had received from her Gurus.
The visual art had appealed to her during her childhood. She had been studying art at Vishvabharati University in Shantiniketan during her teenage years before she took the Baul path and chose to immerse fully in it.
From her early sketches and small A4 size acrylic paintings, Parvathy Maa's modes of expression evolved, including later woodcut printing, big storytelling paintings called Chitrakatha Geethi, mural paintings and ink drawings and watercolours both in traditional and contemporary style and more recently contemplative images of Deities on canvas.
Just like many other spiritual traditions, Buddhism or Tantra, have their own inner processes related to art, Parvathy Baul’s art practice is mainly focused on creating a contemplative art form unique for the Baul tradition.
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Her works are not merely depicting stories or historical events. In spite of their iconographic value, they, in the image of the Baul poetry, transcend the visible form in order to bring the spectator towards his own inner vision.
They are a contemplative visual representation which has its own "shakti" in its form.
“As a practitioner of Baul tradition, I was deeply moved by the metaphors, stories and history of the Baul oral tradition.
Baul tradition was not written down, as it is a process of “transmission” from Master to disciple, so there hasn’t been any efforts to create images.
But as a practitioner, I felt the need to create the images because images have power and the right energy, which could create a bridge between cultures and visualization of the Baul poetry.”
– Parvathy Baul
To enquire about an opportunity to purchase Parvathy Maa's artwork, please email programs@parvathybaul.com
Woodcut Collection
TRAVELERS BEYOND TIME
Bhaba Pagla inside the Womb of a Banyan Tree
© Parvathy Baul & Ravi Gopalan Nair
Bhaba Pagla was born in 1902, in the village Amta of Manikganjo, Dhaka, in Bangladesh. He was born in a Shakta family. Bhaba Pagla was the sixth child of his parents.
As a child he grew up in a spiritual environment, and these circumstances developed in him a very humble and sweet disposition. From a very young age he was tuned to spiritual presence within.
He was reluctant to pursue a conventional education. In his teenage years would sing Kirtan unto the Kali idol that was established in his ancestor's house. He wrote songs by his instinctive poetry.
In many of his songs we can see Krishna, Kali, and Shiva all become one.
In 1947 he moved from East Bengal to Kalna in Burdwan with his Kali idol. He established a Kali temple there. Bhaba Pagla established six or seven Kali temples on both sides of Bengal.
This woodcut depicts the great master as if sitting in the womb of a banyan tree and looking at the world.
Bhaba Pagla was born in 1902, in the village Amta of Manikganjo, Dhaka, in Bangladesh. He was born in a Shakta family. Bhaba Pagla was the sixth child of his parents.
As a child he grew up in a spiritual environment, and these circumstances developed in him a very humble and sweet disposition. From a very young age he was tuned to spiritual presence within.
He was reluctant to pursue a conventional education. In his teenage years would sing Kirtan unto the Kali idol that was established in his ancestor's house. He wrote songs by his instinctive poetry.
In many of his songs we can see Krishna, Kali, and Shiva all become one.
In 1947 he moved from East Bengal to Kalna in Burdwan with his Kali idol. He established a Kali temple there. Bhaba Pagla established six or seven Kali temples on both sides of Bengal.
This woodcut depicts the great master as if sitting in the womb of a banyan tree and looking at the world.
Maha Guru Thangal (Karippur Abdul Salam)
© Parvathy Baul & Ravi Gopalan Nair
Mahaguru Thangal was a great Siddha who belonged to the school of Mast Kalandar, who lived his life in Trivandrum.
Born in a muslim family, in Nedumangad and studied Arabic. At a very young age he became Maulvi of a Mosque.
Then he met Gafoor Ali of Ajmer Sharif, who transmitted spiritual teachings to Mahaguru Thangal which unfolded into a mystical journey.
Ever since that special event, Mahaguru Thangal gave up his life as a scholar and religious priest. He became Mast and moved in the lanes of the small town of Nedumangad for years.
Local people have witnessed many instances of miraculous healing by this master. People started calling him Thangal, meaning respected spiritual elder.
This woodcut depicts a key phase of his life. Here Thangal is seen sitting in the triangular space in the middle of the road.
The triangle depicts Goddess Bhadrakali of whom Mahaguru Thangal was a great devotee. He is seen seated on the nibs of the pen while books are being burnt in the flame.
This image depicts his transition from being a scholar to becoming a spiritual master. His space of spiritual practise was always a busy and noisy street. He is seen drinking alcohol and smoking, depicting his attitude of non-conformism with conventional ways of life.
Mahaguru Thangal was a great Siddha who belonged to the school of Mast Kalandar, who lived his life in Trivandrum.
Born in a muslim family, in Nedumangad and studied Arabic. At a very young age he became Maulvi of a Mosque.
Then he met Gafoor Ali of Ajmer Sharif, who transmitted spiritual teachings to Mahaguru Thangal which unfolded into a mystical journey.
Ever since that special event, Mahaguru Thangal gave up his life as a scholar and religious priest. He became Mast and moved in the lanes of the small town of Nedumangad for years.
Local people have witnessed many instances of miraculous healing by this master. People started calling him Thangal, meaning respected spiritual elder.
This woodcut depicts a key phase of his life. Here Thangal is seen sitting in the triangular space in the middle of the road.
The triangle depicts Goddess Bhadrakali of whom Mahaguru Thangal was a great devotee. He is seen seated on the nibs of the pen while books are being burnt in the flame.
This image depicts his transition from being a scholar to becoming a spiritual master. His space of spiritual practise was always a busy and noisy street. He is seen drinking alcohol and smoking, depicting his attitude of non-conformism with conventional ways of life.
Bama Khepa at Tarapeeth cremation ground
© Parvathy Baul & Ravi Gopalan Nair
Bamakhepa is regarded as one of the great Shakta Siddhas from Bengal. He resided all his life in the sacred funeral ground of Tarapith in Birbhum District of West Bengal. He was a devout sadhak of the Divine Mother Tara. Goddess Tara in Tarapith is considered Smashan Tara, i.e. a specific form of the Goddess Tara presiding over the funeral ground. She adorns an Ugra form, meaning a fierce form. Doing her Sadhana demands great courage and an attitude of fearlessness.
Bamakhepa was called as Khepa, which in Bengali means ‘Mad one’.
His life story evokes deep devotion. He was the contemporary of Sri Ramakrishna Paramahamsa. Thus the land of Bengal was doubly blessed with two spiritual greats at the same time. His devotees consider him as the Bhairava of Tarapith.
This woodcut depicts the Bhairava aspect of Bamakhepa. He is surrounded by dogs who are special beings residing in the funeral ground. The presence of a Black dog depicts Bhairava tattva. One can see the pyres burning and in the background a depiction of Tarapith temple can be noted. During old times, this temple was a simple structure with a main worship space for the Goddess. However it is difficult to fathom where Her sphere of energy begins and ends as Her presence pervades all through this sacred funeral ground.
Bamakhepa is regarded as one of the great Shakta Siddhas from Bengal. He resided all his life in the sacred funeral ground of Tarapith in Birbhum District of West Bengal. He was a devout sadhak of the Divine Mother Tara. Goddess Tara in Tarapith is considered Smashan Tara, i.e. a specific form of the Goddess Tara presiding over the funeral ground. She adorns an Ugra form, meaning a fierce form. Doing her Sadhana demands great courage and an attitude of fearlessness.
Bamakhepa was called as Khepa, which in Bengali means ‘Mad one’.
His life story evokes deep devotion. He was the contemporary of Sri Ramakrishna Paramahamsa. Thus the land of Bengal was doubly blessed with two spiritual greats at the same time. His devotees consider him as the Bhairava of Tarapith.
This woodcut depicts the Bhairava aspect of Bamakhepa. He is surrounded by dogs who are special beings residing in the funeral ground. The presence of a Black dog depicts Bhairava tattva. One can see the pyres burning and in the background a depiction of Tarapith temple can be noted. During old times, this temple was a simple structure with a main worship space for the Goddess. However it is difficult to fathom where Her sphere of energy begins and ends as Her presence pervades all through this sacred funeral ground.
Nitai Khepa
Nitai Khepa was a great yogi who lived in Betalbon - Dwarnori, an interior village in the district of Burdwan, West Bengal. He lived in a small hut ashram with his consort Mata Ma, a cow and her calf.
Sri Hari Goshai initiated and guided Nitai Khyapa in the Baul path. If he would sing in a Sadhu gathering many devotees from far away villages used to come and gather.
Nitai Khyapa's Duggi and Ekatara are as legendary as his songs, sadhana and stories. His Ektara was made of bell-metal, and the Duggi was made of copper. He used to dance with the anklets "Nupur".
When Nitai Khyapa performed the Baul songs he used to make his listeners sit in two parts. He would create a narrow lane between the two groups. He would move back and forth from top to down the narrow lane singing and dancing, in-between he would explain the songs with simple stories and humour.
He would dance and move his body a lot and do much hard work to bring pure expression for the Bhava of the song. Sweat would gather on his forehead, then his face, and then the whole body.
The more his body was drenched in the sweat of physical exhaustion, the more he was in deep joy in a plane that could be accessed by only spiritual masters.
He experienced something so sweet through his offering of songs that he would often experience bhav samadhi.
In this woodcut Nitai Khepa is seen sitting in his hut and composing songs during the month of ashada i.e. the season of monsoon.
His spiritual consort Mata Maa is collecting milk from his only cow.
Sri Hari Goshai initiated and guided Nitai Khyapa in the Baul path. If he would sing in a Sadhu gathering many devotees from far away villages used to come and gather.
Nitai Khyapa's Duggi and Ekatara are as legendary as his songs, sadhana and stories. His Ektara was made of bell-metal, and the Duggi was made of copper. He used to dance with the anklets "Nupur".
When Nitai Khyapa performed the Baul songs he used to make his listeners sit in two parts. He would create a narrow lane between the two groups. He would move back and forth from top to down the narrow lane singing and dancing, in-between he would explain the songs with simple stories and humour.
He would dance and move his body a lot and do much hard work to bring pure expression for the Bhava of the song. Sweat would gather on his forehead, then his face, and then the whole body.
The more his body was drenched in the sweat of physical exhaustion, the more he was in deep joy in a plane that could be accessed by only spiritual masters.
He experienced something so sweet through his offering of songs that he would often experience bhav samadhi.
In this woodcut Nitai Khepa is seen sitting in his hut and composing songs during the month of ashada i.e. the season of monsoon.
His spiritual consort Mata Maa is collecting milk from his only cow.
Mayi Amma
(New Release)
© Parvathy Baul & Ravi Gopalan Nair
Mayi Amma was a mystic saint referred to as Siddha in Southern India. She spent most of her time in Kanyakumari, in the southern tip of Indian Subcontinent. In the later years she lived in Salem, Tamil Nadu.
There are many miraculous stories connected to her. People often spotted her floating on the ocean water. She used to enter sea waters and return only after several months. While on the shore, she was always accompanied by dogs. They were her fond followers.
Her facial features resembled as if she belonged to North-Eastern part of the country. Many believed that she possibly came down south from Tibet. Some also believe that she lived for over five hundred years.
One cannot establish these beliefs as facts but nevertheless it was indeed true that she was a great spiritual master and she drew many great beings towards her. She finally took Samadhi in 1984.
On another occasion a great spiritual master Mata Amritananda Mayi visited Mayi Amma. It was that sacred moment which inspired this woodcut.
Here one can see Mayi Amma is seated in the lap of Mata Amritananda Mayi, who in turn is seated in the womb of Svarupa, i.e. the real form of Mayi Amma. Dog disciples (special beings) are surrounding them.
Mayi Amma was a mystic saint referred to as Siddha in Southern India. She spent most of her time in Kanyakumari, in the southern tip of Indian Subcontinent. In the later years she lived in Salem, Tamil Nadu.
There are many miraculous stories connected to her. People often spotted her floating on the ocean water. She used to enter sea waters and return only after several months. While on the shore, she was always accompanied by dogs. They were her fond followers.
Her facial features resembled as if she belonged to North-Eastern part of the country. Many believed that she possibly came down south from Tibet. Some also believe that she lived for over five hundred years.
One cannot establish these beliefs as facts but nevertheless it was indeed true that she was a great spiritual master and she drew many great beings towards her. She finally took Samadhi in 1984.
On another occasion a great spiritual master Mata Amritananda Mayi visited Mayi Amma. It was that sacred moment which inspired this woodcut.
Here one can see Mayi Amma is seated in the lap of Mata Amritananda Mayi, who in turn is seated in the womb of Svarupa, i.e. the real form of Mayi Amma. Dog disciples (special beings) are surrounding them.
Lalon Fakir
(New Release)
© Parvathy Baul & Ravi Gopalan Nair
Lalon Fakir is like the Sun of the Shai Fakir tradition of erstwhile undivided Bengal region. His Life and poetry flowered in the 19th Century.
His Life’s message still courses through like a strong river in the mind and hearts of the people of Bengal.
Having experienced religious conflict from close quarters, he emerged as a fierce critic of identity based conflicts. His songs always spoke about freedom that is beyond all identities. It is said that he lived over a hundred years.
His tradition still continues near Kushtia, Bangladesh. In his Akhara- Majhar, every year thousands of his devotees gather on the occasion of his death anniversary.
Al-Buraq is a miraculous steed from the heavens which transported the enlightened beings. Lalon himself used these images often in the songs.
This woodcut depicts Lalon Shai being carried towards the Divine light on the Al-Buraq. This is depicted as his final journey. The journey is summed up in Malayalam phrase “from what one knows to one who knows.“ This phrase is etched in the border of the wood cut. This was the teaching from Mahaguru Thangal.
Lalon Fakir is like the Sun of the Shai Fakir tradition of erstwhile undivided Bengal region. His Life and poetry flowered in the 19th Century.
His Life’s message still courses through like a strong river in the mind and hearts of the people of Bengal.
Having experienced religious conflict from close quarters, he emerged as a fierce critic of identity based conflicts. His songs always spoke about freedom that is beyond all identities. It is said that he lived over a hundred years.
His tradition still continues near Kushtia, Bangladesh. In his Akhara- Majhar, every year thousands of his devotees gather on the occasion of his death anniversary.
Al-Buraq is a miraculous steed from the heavens which transported the enlightened beings. Lalon himself used these images often in the songs.
This woodcut depicts Lalon Shai being carried towards the Divine light on the Al-Buraq. This is depicted as his final journey. The journey is summed up in Malayalam phrase “from what one knows to one who knows.“ This phrase is etched in the border of the wood cut. This was the teaching from Mahaguru Thangal.
Chandidas and Rajokini
© Parvathy Baul & Ravi Gopalan Nair
Chandidas is considered one of the foremost devotional poets of Bengal.
His devotional fervour is unsurpassable.
Scholars date his works to the early 15th century.
His works include over one thousand devotional poems all centered around the love of Radha for her beloved Sri Krishna.
He was also one of the earliest Bengali language poets.
His relationship with Rajokini, who was considered to belong to a lower strata of the society, turned out to be a deep source of his inspiration and spiritual sadhana.
This woodcut depicts the story of Chandidas sitting near the pond and catching fish, where Rajokini used to wash the clothes.
They never spoke to each other all this while.
Twelve years passed thus and one fine day Rajokini asked Chandidas that he had been trying to catch a fish for twelve years, did he catch one ever?
Chandidas replied “Yes, today I have caught one.”
Chandidas is considered one of the foremost devotional poets of Bengal.
His devotional fervour is unsurpassable.
Scholars date his works to the early 15th century.
His works include over one thousand devotional poems all centered around the love of Radha for her beloved Sri Krishna.
He was also one of the earliest Bengali language poets.
His relationship with Rajokini, who was considered to belong to a lower strata of the society, turned out to be a deep source of his inspiration and spiritual sadhana.
This woodcut depicts the story of Chandidas sitting near the pond and catching fish, where Rajokini used to wash the clothes.
They never spoke to each other all this while.
Twelve years passed thus and one fine day Rajokini asked Chandidas that he had been trying to catch a fish for twelve years, did he catch one ever?
Chandidas replied “Yes, today I have caught one.”
Bilwamangal and Chintamoni
© Parvathy Baul & Ravi Gopalan Nair
Bilwamangala Swami, also known as Lila Suka, is the author of one of the seminal Vaishnava Bhakti works titled Sri Krishnakarnamrutam.
His place of origin is largely speculated. Some scholars consider his native origin to be in the southern part of India.
In his early life, he was deeply attracted to a woman by the name Chintamani.
There are various versions of this story, the essence of it being that Chintamani plays a pivotal role in making Bilwamangal realise the ephemeral nature of the mundane world filled with desires. Thus effecting a transformation of his mind to turn completely towards Krishna.
He pays homage to Chintamani for being his teacher in the very first verse of his master composition Sri Krishnakarnamritam.
Legend has it that even Sri Chaitanya Mahaprabhu was deeply impacted by this work and set many disciples on the task of writing down this seminal work.
In this woodcut, Sri Bilwamangala’s final journey to Brindavan is being depicted where he was eventually led by Sri Krishna himself.
Sri Krishna tells Bilwamangala that Chintamani has already reached Brindavan and blind Bilwamangala Swami is approaching her holding Sri Krishna’s hand.
Bilwamangala Swami, also known as Lila Suka, is the author of one of the seminal Vaishnava Bhakti works titled Sri Krishnakarnamrutam.
His place of origin is largely speculated. Some scholars consider his native origin to be in the southern part of India.
In his early life, he was deeply attracted to a woman by the name Chintamani.
There are various versions of this story, the essence of it being that Chintamani plays a pivotal role in making Bilwamangal realise the ephemeral nature of the mundane world filled with desires. Thus effecting a transformation of his mind to turn completely towards Krishna.
He pays homage to Chintamani for being his teacher in the very first verse of his master composition Sri Krishnakarnamritam.
Legend has it that even Sri Chaitanya Mahaprabhu was deeply impacted by this work and set many disciples on the task of writing down this seminal work.
In this woodcut, Sri Bilwamangala’s final journey to Brindavan is being depicted where he was eventually led by Sri Krishna himself.
Sri Krishna tells Bilwamangala that Chintamani has already reached Brindavan and blind Bilwamangala Swami is approaching her holding Sri Krishna’s hand.
Jayadeva and Padmavati
© Parvathy Baul & Ravi Gopalan Nair
Jayadeva is considered foremost among the Navarasik.
He immortalised the playful acts of devotion between Sri Radha and Sri Krishna in his epic poem Gita Govinda.
This work stands tall even after several centuries as it never fails to fuel the inspiration of the artists as well as spiritual practitioners.
There is a famous story associated with the composition of the Gita Govinda, where it is believed that when Jayadeva was stuck in completing the composition of a particular verse, Sri Krishna himself came and completed this composition.
Sri Jayadeva belonged to the 15th century and he married Padmavati who also stood by him as a spiritual companion.
In this woodcut they are seen sitting beside the river Ajay.
Jayadeva is seen reciting a poem while Padmavati is listening to him and fanning him with a hand fan.
Jayadeva is considered foremost among the Navarasik.
He immortalised the playful acts of devotion between Sri Radha and Sri Krishna in his epic poem Gita Govinda.
This work stands tall even after several centuries as it never fails to fuel the inspiration of the artists as well as spiritual practitioners.
There is a famous story associated with the composition of the Gita Govinda, where it is believed that when Jayadeva was stuck in completing the composition of a particular verse, Sri Krishna himself came and completed this composition.
Sri Jayadeva belonged to the 15th century and he married Padmavati who also stood by him as a spiritual companion.
In this woodcut they are seen sitting beside the river Ajay.
Jayadeva is seen reciting a poem while Padmavati is listening to him and fanning him with a hand fan.
Vidyapathi, Lachima and Shiva Simha
© Parvathy Baul & Ravi Gopalan Nair
Vidyapati was an erudite Sanskrit scholar belonging to the Northern part of India. Some scholars identify his origin to be in the ancient Mithila region.
As a royal poet he composed many works.
Among them the most popular ones are those that centre around Sri Krishna and Sri Radha’s devotional play.
He belonged to the fourteenth century. By then Sri Jayadeva’s Gita Govinda has achieved a great impact on the imagination of many scholars and poets.
Vidyapati’s compositions however dive deep into diverse moods of devotional intimacy. Many of these love songs were written in the court of Shiva Simha, grandson of Vidyapati’s first patron.
In this woodcut Vidyapati is reciting his poems in front of King Shiva Simha and queen Lacchima.
Vidyapati was an erudite Sanskrit scholar belonging to the Northern part of India. Some scholars identify his origin to be in the ancient Mithila region.
As a royal poet he composed many works.
Among them the most popular ones are those that centre around Sri Krishna and Sri Radha’s devotional play.
He belonged to the fourteenth century. By then Sri Jayadeva’s Gita Govinda has achieved a great impact on the imagination of many scholars and poets.
Vidyapati’s compositions however dive deep into diverse moods of devotional intimacy. Many of these love songs were written in the court of Shiva Simha, grandson of Vidyapati’s first patron.
In this woodcut Vidyapati is reciting his poems in front of King Shiva Simha and queen Lacchima.
Bhaba Pagla inside the Womb of a Banyan Tree
© Parvathy Baul & Ravi Gopalan Nair
Bhaba Pagla was born in 1902, in the village Amta of Manikganjo, Dhaka, in Bangladesh. He was born in a Shakta family. Bhaba Pagla was the sixth child of his parents.
As a child he grew up in a spiritual environment, and these circumstances developed in him a very humble and sweet disposition. From a very young age he was tuned to spiritual presence within.
He was reluctant to pursue a conventional education. In his teenage years would sing Kirtan unto the Kali idol that was established in his ancestor's house. He wrote songs by his instinctive poetry.
In many of his songs we can see Krishna, Kali, and Shiva all become one.
In 1947 he moved from East Bengal to Kalna in Burdwan with his Kali idol. He established a Kali temple there. Bhaba Pagla established six or seven Kali temples on both sides of Bengal.
This woodcut depicts the great master as if sitting in the womb of a banyan tree and looking at the world.
Bhaba Pagla was born in 1902, in the village Amta of Manikganjo, Dhaka, in Bangladesh. He was born in a Shakta family. Bhaba Pagla was the sixth child of his parents.
As a child he grew up in a spiritual environment, and these circumstances developed in him a very humble and sweet disposition. From a very young age he was tuned to spiritual presence within.
He was reluctant to pursue a conventional education. In his teenage years would sing Kirtan unto the Kali idol that was established in his ancestor's house. He wrote songs by his instinctive poetry.
In many of his songs we can see Krishna, Kali, and Shiva all become one.
In 1947 he moved from East Bengal to Kalna in Burdwan with his Kali idol. He established a Kali temple there. Bhaba Pagla established six or seven Kali temples on both sides of Bengal.
This woodcut depicts the great master as if sitting in the womb of a banyan tree and looking at the world.
Maha Guru Thangal (Karippur Abdul Salam)
© Parvathy Baul & Ravi Gopalan Nair
Mahaguru Thangal was a great Siddha who belonged to the school of Mast Kalandar, who lived his life in Trivandrum.
Born in a muslim family, in Nedumangad and studied Arabic. At a very young age he became Maulvi of a Mosque.
Then he met Gafoor Ali of Ajmer Sharif, who transmitted spiritual teachings to Mahaguru Thangal which unfolded into a mystical journey.
Ever since that special event, Mahaguru Thangal gave up his life as a scholar and religious priest. He became Mast and moved in the lanes of the small town of Nedumangad for years.
Local people have witnessed many instances of miraculous healing by this master. People started calling him Thangal, meaning respected spiritual elder.
This woodcut depicts a key phase of his life. Here Thangal is seen sitting in the triangular space in the middle of the road.
The triangle depicts Goddess Bhadrakali of whom Mahaguru Thangal was a great devotee. He is seen seated on the nibs of the pen while books are being burnt in the flame.
This image depicts his transition from being a scholar to becoming a spiritual master. His space of spiritual practise was always a busy and noisy street. He is seen drinking alcohol and smoking, depicting his attitude of non-conformism with conventional ways of life.
Mahaguru Thangal was a great Siddha who belonged to the school of Mast Kalandar, who lived his life in Trivandrum.
Born in a muslim family, in Nedumangad and studied Arabic. At a very young age he became Maulvi of a Mosque.
Then he met Gafoor Ali of Ajmer Sharif, who transmitted spiritual teachings to Mahaguru Thangal which unfolded into a mystical journey.
Ever since that special event, Mahaguru Thangal gave up his life as a scholar and religious priest. He became Mast and moved in the lanes of the small town of Nedumangad for years.
Local people have witnessed many instances of miraculous healing by this master. People started calling him Thangal, meaning respected spiritual elder.
This woodcut depicts a key phase of his life. Here Thangal is seen sitting in the triangular space in the middle of the road.
The triangle depicts Goddess Bhadrakali of whom Mahaguru Thangal was a great devotee. He is seen seated on the nibs of the pen while books are being burnt in the flame.
This image depicts his transition from being a scholar to becoming a spiritual master. His space of spiritual practise was always a busy and noisy street. He is seen drinking alcohol and smoking, depicting his attitude of non-conformism with conventional ways of life.
Bama Khepa at Tarapeeth cremation ground
© Parvathy Baul & Ravi Gopalan Nair
Bamakhepa is regarded as one of the great Shakta Siddhas from Bengal. He resided all his life in the sacred funeral ground of Tarapith in Birbhum District of West Bengal. He was a devout sadhak of the Divine Mother Tara. Goddess Tara in Tarapith is considered Smashan Tara, i.e. a specific form of the Goddess Tara presiding over the funeral ground. She adorns an Ugra form, meaning a fierce form. Doing her Sadhana demands great courage and an attitude of fearlessness.
Bamakhepa was called as Khepa, which in Bengali means ‘Mad one’.
His life story evokes deep devotion. He was the contemporary of Sri Ramakrishna Paramahamsa. Thus the land of Bengal was doubly blessed with two spiritual greats at the same time. His devotees consider him as the Bhairava of Tarapith.
This woodcut depicts the Bhairava aspect of Bamakhepa. He is surrounded by dogs who are special beings residing in the funeral ground. The presence of a Black dog depicts Bhairava tattva. One can see the pyres burning and in the background a depiction of Tarapith temple can be noted. During old times, this temple was a simple structure with a main worship space for the Goddess. However it is difficult to fathom where Her sphere of energy begins and ends as Her presence pervades all through this sacred funeral ground.
Bamakhepa is regarded as one of the great Shakta Siddhas from Bengal. He resided all his life in the sacred funeral ground of Tarapith in Birbhum District of West Bengal. He was a devout sadhak of the Divine Mother Tara. Goddess Tara in Tarapith is considered Smashan Tara, i.e. a specific form of the Goddess Tara presiding over the funeral ground. She adorns an Ugra form, meaning a fierce form. Doing her Sadhana demands great courage and an attitude of fearlessness.
Bamakhepa was called as Khepa, which in Bengali means ‘Mad one’.
His life story evokes deep devotion. He was the contemporary of Sri Ramakrishna Paramahamsa. Thus the land of Bengal was doubly blessed with two spiritual greats at the same time. His devotees consider him as the Bhairava of Tarapith.
This woodcut depicts the Bhairava aspect of Bamakhepa. He is surrounded by dogs who are special beings residing in the funeral ground. The presence of a Black dog depicts Bhairava tattva. One can see the pyres burning and in the background a depiction of Tarapith temple can be noted. During old times, this temple was a simple structure with a main worship space for the Goddess. However it is difficult to fathom where Her sphere of energy begins and ends as Her presence pervades all through this sacred funeral ground.
Nitai Khepa
Nitai Khepa was a great yogi who lived in Betalbon - Dwarnori, an interior village in the district of Burdwan, West Bengal. He lived in a small hut ashram with his consort Mata Ma, a cow and her calf.
Sri Hari Goshai initiated and guided Nitai Khyapa in the Baul path. If he would sing in a Sadhu gathering many devotees from far away villages used to come and gather.
Nitai Khyapa's Duggi and Ekatara are as legendary as his songs, sadhana and stories. His Ektara was made of bell-metal, and the Duggi was made of copper. He used to dance with the anklets "Nupur".
When Nitai Khyapa performed the Baul songs he used to make his listeners sit in two parts. He would create a narrow lane between the two groups. He would move back and forth from top to down the narrow lane singing and dancing, in-between he would explain the songs with simple stories and humour.
He would dance and move his body a lot and do much hard work to bring pure expression for the Bhava of the song. Sweat would gather on his forehead, then his face, and then the whole body.
The more his body was drenched in the sweat of physical exhaustion, the more he was in deep joy in a plane that could be accessed by only spiritual masters.
He experienced something so sweet through his offering of songs that he would often experience bhav samadhi.
In this woodcut Nitai Khepa is seen sitting in his hut and composing songs during the month of ashada i.e. the season of monsoon.
His spiritual consort Mata Maa is collecting milk from his only cow.
Sri Hari Goshai initiated and guided Nitai Khyapa in the Baul path. If he would sing in a Sadhu gathering many devotees from far away villages used to come and gather.
Nitai Khyapa's Duggi and Ekatara are as legendary as his songs, sadhana and stories. His Ektara was made of bell-metal, and the Duggi was made of copper. He used to dance with the anklets "Nupur".
When Nitai Khyapa performed the Baul songs he used to make his listeners sit in two parts. He would create a narrow lane between the two groups. He would move back and forth from top to down the narrow lane singing and dancing, in-between he would explain the songs with simple stories and humour.
He would dance and move his body a lot and do much hard work to bring pure expression for the Bhava of the song. Sweat would gather on his forehead, then his face, and then the whole body.
The more his body was drenched in the sweat of physical exhaustion, the more he was in deep joy in a plane that could be accessed by only spiritual masters.
He experienced something so sweet through his offering of songs that he would often experience bhav samadhi.
In this woodcut Nitai Khepa is seen sitting in his hut and composing songs during the month of ashada i.e. the season of monsoon.
His spiritual consort Mata Maa is collecting milk from his only cow.
Mayi Amma
(New Release)
© Parvathy Baul & Ravi Gopalan Nair
Mayi Amma was a mystic saint referred to as Siddha in Southern India. She spent most of her time in Kanyakumari, in the southern tip of Indian Subcontinent. In the later years she lived in Salem, Tamil Nadu.
There are many miraculous stories connected to her. People often spotted her floating on the ocean water. She used to enter sea waters and return only after several months. While on the shore, she was always accompanied by dogs. They were her fond followers.
Her facial features resembled as if she belonged to North-Eastern part of the country. Many believed that she possibly came down south from Tibet. Some also believe that she lived for over five hundred years.
One cannot establish these beliefs as facts but nevertheless it was indeed true that she was a great spiritual master and she drew many great beings towards her. She finally took Samadhi in 1984.
On another occasion a great spiritual master Mata Amritananda Mayi visited Mayi Amma. It was that sacred moment which inspired this woodcut.
Here one can see Mayi Amma is seated in the lap of Mata Amritananda Mayi, who in turn is seated in the womb of Svarupa, i.e. the real form of Mayi Amma. Dog disciples (special beings) are surrounding them.
Mayi Amma was a mystic saint referred to as Siddha in Southern India. She spent most of her time in Kanyakumari, in the southern tip of Indian Subcontinent. In the later years she lived in Salem, Tamil Nadu.
There are many miraculous stories connected to her. People often spotted her floating on the ocean water. She used to enter sea waters and return only after several months. While on the shore, she was always accompanied by dogs. They were her fond followers.
Her facial features resembled as if she belonged to North-Eastern part of the country. Many believed that she possibly came down south from Tibet. Some also believe that she lived for over five hundred years.
One cannot establish these beliefs as facts but nevertheless it was indeed true that she was a great spiritual master and she drew many great beings towards her. She finally took Samadhi in 1984.
On another occasion a great spiritual master Mata Amritananda Mayi visited Mayi Amma. It was that sacred moment which inspired this woodcut.
Here one can see Mayi Amma is seated in the lap of Mata Amritananda Mayi, who in turn is seated in the womb of Svarupa, i.e. the real form of Mayi Amma. Dog disciples (special beings) are surrounding them.
Lalon Fakir
(New Release)
© Parvathy Baul & Ravi Gopalan Nair
Lalon Fakir is like the Sun of the Shai Fakir tradition of erstwhile undivided Bengal region. His Life and poetry flowered in the 19th Century.
His Life’s message still courses through like a strong river in the mind and hearts of the people of Bengal.
Having experienced religious conflict from close quarters, he emerged as a fierce critic of identity based conflicts. His songs always spoke about freedom that is beyond all identities. It is said that he lived over a hundred years.
His tradition still continues near Kushtia, Bangladesh. In his Akhara- Majhar, every year thousands of his devotees gather on the occasion of his death anniversary.
Al-Buraq is a miraculous steed from the heavens which transported the enlightened beings. Lalon himself used these images often in the songs.
This woodcut depicts Lalon Shai being carried towards the Divine light on the Al-Buraq. This is depicted as his final journey. The journey is summed up in Malayalam phrase “from what one knows to one who knows.“ This phrase is etched in the border of the wood cut. This was the teaching from Mahaguru Thangal.
Lalon Fakir is like the Sun of the Shai Fakir tradition of erstwhile undivided Bengal region. His Life and poetry flowered in the 19th Century.
His Life’s message still courses through like a strong river in the mind and hearts of the people of Bengal.
Having experienced religious conflict from close quarters, he emerged as a fierce critic of identity based conflicts. His songs always spoke about freedom that is beyond all identities. It is said that he lived over a hundred years.
His tradition still continues near Kushtia, Bangladesh. In his Akhara- Majhar, every year thousands of his devotees gather on the occasion of his death anniversary.
Al-Buraq is a miraculous steed from the heavens which transported the enlightened beings. Lalon himself used these images often in the songs.
This woodcut depicts Lalon Shai being carried towards the Divine light on the Al-Buraq. This is depicted as his final journey. The journey is summed up in Malayalam phrase “from what one knows to one who knows.“ This phrase is etched in the border of the wood cut. This was the teaching from Mahaguru Thangal.
Chandidas and Rajokini
© Parvathy Baul & Ravi Gopalan Nair
Chandidas is considered one of the foremost devotional poets of Bengal.
His devotional fervour is unsurpassable.
Scholars date his works to the early 15th century.
His works include over one thousand devotional poems all centered around the love of Radha for her beloved Sri Krishna.
He was also one of the earliest Bengali language poets.
His relationship with Rajokini, who was considered to belong to a lower strata of the society, turned out to be a deep source of his inspiration and spiritual sadhana.
This woodcut depicts the story of Chandidas sitting near the pond and catching fish, where Rajokini used to wash the clothes.
They never spoke to each other all this while.
Twelve years passed thus and one fine day Rajokini asked Chandidas that he had been trying to catch a fish for twelve years, did he catch one ever?
Chandidas replied “Yes, today I have caught one.”
Chandidas is considered one of the foremost devotional poets of Bengal.
His devotional fervour is unsurpassable.
Scholars date his works to the early 15th century.
His works include over one thousand devotional poems all centered around the love of Radha for her beloved Sri Krishna.
He was also one of the earliest Bengali language poets.
His relationship with Rajokini, who was considered to belong to a lower strata of the society, turned out to be a deep source of his inspiration and spiritual sadhana.
This woodcut depicts the story of Chandidas sitting near the pond and catching fish, where Rajokini used to wash the clothes.
They never spoke to each other all this while.
Twelve years passed thus and one fine day Rajokini asked Chandidas that he had been trying to catch a fish for twelve years, did he catch one ever?
Chandidas replied “Yes, today I have caught one.”
Bilwamangal and Chintamoni
© Parvathy Baul & Ravi Gopalan Nair
Bilwamangala Swami, also known as Lila Suka, is the author of one of the seminal Vaishnava Bhakti works titled Sri Krishnakarnamrutam.
His place of origin is largely speculated. Some scholars consider his native origin to be in the southern part of India.
In his early life, he was deeply attracted to a woman by the name Chintamani.
There are various versions of this story, the essence of it being that Chintamani plays a pivotal role in making Bilwamangal realise the ephemeral nature of the mundane world filled with desires. Thus effecting a transformation of his mind to turn completely towards Krishna.
He pays homage to Chintamani for being his teacher in the very first verse of his master composition Sri Krishnakarnamritam.
Legend has it that even Sri Chaitanya Mahaprabhu was deeply impacted by this work and set many disciples on the task of writing down this seminal work.
In this woodcut, Sri Bilwamangala’s final journey to Brindavan is being depicted where he was eventually led by Sri Krishna himself.
Sri Krishna tells Bilwamangala that Chintamani has already reached Brindavan and blind Bilwamangala Swami is approaching her holding Sri Krishna’s hand.
Bilwamangala Swami, also known as Lila Suka, is the author of one of the seminal Vaishnava Bhakti works titled Sri Krishnakarnamrutam.
His place of origin is largely speculated. Some scholars consider his native origin to be in the southern part of India.
In his early life, he was deeply attracted to a woman by the name Chintamani.
There are various versions of this story, the essence of it being that Chintamani plays a pivotal role in making Bilwamangal realise the ephemeral nature of the mundane world filled with desires. Thus effecting a transformation of his mind to turn completely towards Krishna.
He pays homage to Chintamani for being his teacher in the very first verse of his master composition Sri Krishnakarnamritam.
Legend has it that even Sri Chaitanya Mahaprabhu was deeply impacted by this work and set many disciples on the task of writing down this seminal work.
In this woodcut, Sri Bilwamangala’s final journey to Brindavan is being depicted where he was eventually led by Sri Krishna himself.
Sri Krishna tells Bilwamangala that Chintamani has already reached Brindavan and blind Bilwamangala Swami is approaching her holding Sri Krishna’s hand.
Jayadeva and Padmavati
© Parvathy Baul & Ravi Gopalan Nair
Jayadeva is considered foremost among the Navarasik.
He immortalised the playful acts of devotion between Sri Radha and Sri Krishna in his epic poem Gita Govinda.
This work stands tall even after several centuries as it never fails to fuel the inspiration of the artists as well as spiritual practitioners.
There is a famous story associated with the composition of the Gita Govinda, where it is believed that when Jayadeva was stuck in completing the composition of a particular verse, Sri Krishna himself came and completed this composition.
Sri Jayadeva belonged to the 15th century and he married Padmavati who also stood by him as a spiritual companion.
In this woodcut they are seen sitting beside the river Ajay.
Jayadeva is seen reciting a poem while Padmavati is listening to him and fanning him with a hand fan.
Jayadeva is considered foremost among the Navarasik.
He immortalised the playful acts of devotion between Sri Radha and Sri Krishna in his epic poem Gita Govinda.
This work stands tall even after several centuries as it never fails to fuel the inspiration of the artists as well as spiritual practitioners.
There is a famous story associated with the composition of the Gita Govinda, where it is believed that when Jayadeva was stuck in completing the composition of a particular verse, Sri Krishna himself came and completed this composition.
Sri Jayadeva belonged to the 15th century and he married Padmavati who also stood by him as a spiritual companion.
In this woodcut they are seen sitting beside the river Ajay.
Jayadeva is seen reciting a poem while Padmavati is listening to him and fanning him with a hand fan.
Vidyapathi, Lachima and Shiva Simha
© Parvathy Baul & Ravi Gopalan Nair
Vidyapati was an erudite Sanskrit scholar belonging to the Northern part of India. Some scholars identify his origin to be in the ancient Mithila region.
As a royal poet he composed many works.
Among them the most popular ones are those that centre around Sri Krishna and Sri Radha’s devotional play.
He belonged to the fourteenth century. By then Sri Jayadeva’s Gita Govinda has achieved a great impact on the imagination of many scholars and poets.
Vidyapati’s compositions however dive deep into diverse moods of devotional intimacy. Many of these love songs were written in the court of Shiva Simha, grandson of Vidyapati’s first patron.
In this woodcut Vidyapati is reciting his poems in front of King Shiva Simha and queen Lacchima.
Vidyapati was an erudite Sanskrit scholar belonging to the Northern part of India. Some scholars identify his origin to be in the ancient Mithila region.
As a royal poet he composed many works.
Among them the most popular ones are those that centre around Sri Krishna and Sri Radha’s devotional play.
He belonged to the fourteenth century. By then Sri Jayadeva’s Gita Govinda has achieved a great impact on the imagination of many scholars and poets.
Vidyapati’s compositions however dive deep into diverse moods of devotional intimacy. Many of these love songs were written in the court of Shiva Simha, grandson of Vidyapati’s first patron.
In this woodcut Vidyapati is reciting his poems in front of King Shiva Simha and queen Lacchima.
Bhaba Pagla inside the Womb of a Banyan Tree
© Parvathy Baul & Ravi Gopalan Nair
Bhaba Pagla was born in 1902, in the village Amta of Manikganjo, Dhaka, in Bangladesh. He was born in a Shakta family. Bhaba Pagla was the sixth child of his parents.
As a child he grew up in a spiritual environment, and these circumstances developed in him a very humble and sweet disposition. From a very young age he was tuned to spiritual presence within.
He was reluctant to pursue a conventional education. In his teenage years would sing Kirtan unto the Kali idol that was established in his ancestor's house. He wrote songs by his instinctive poetry.
In many of his songs we can see Krishna, Kali, and Shiva all become one.
In 1947 he moved from East Bengal to Kalna in Burdwan with his Kali idol. He established a Kali temple there. Bhaba Pagla established six or seven Kali temples on both sides of Bengal.
This woodcut depicts the great master as if sitting in the womb of a banyan tree and looking at the world.
Bhaba Pagla was born in 1902, in the village Amta of Manikganjo, Dhaka, in Bangladesh. He was born in a Shakta family. Bhaba Pagla was the sixth child of his parents.
As a child he grew up in a spiritual environment, and these circumstances developed in him a very humble and sweet disposition. From a very young age he was tuned to spiritual presence within.
He was reluctant to pursue a conventional education. In his teenage years would sing Kirtan unto the Kali idol that was established in his ancestor's house. He wrote songs by his instinctive poetry.
In many of his songs we can see Krishna, Kali, and Shiva all become one.
In 1947 he moved from East Bengal to Kalna in Burdwan with his Kali idol. He established a Kali temple there. Bhaba Pagla established six or seven Kali temples on both sides of Bengal.
This woodcut depicts the great master as if sitting in the womb of a banyan tree and looking at the world.
Maha Guru Thangal (Karippur Abdul Salam)
© Parvathy Baul & Ravi Gopalan Nair
Mahaguru Thangal was a great Siddha who belonged to the school of Mast Kalandar, who lived his life in Trivandrum.
Born in a muslim family, in Nedumangad and studied Arabic. At a very young age he became Maulvi of a Mosque.
Then he met Gafoor Ali of Ajmer Sharif, who transmitted spiritual teachings to Mahaguru Thangal which unfolded into a mystical journey.
Ever since that special event, Mahaguru Thangal gave up his life as a scholar and religious priest. He became Mast and moved in the lanes of the small town of Nedumangad for years.
Local people have witnessed many instances of miraculous healing by this master. People started calling him Thangal, meaning respected spiritual elder.
This woodcut depicts a key phase of his life. Here Thangal is seen sitting in the triangular space in the middle of the road.
The triangle depicts Goddess Bhadrakali of whom Mahaguru Thangal was a great devotee. He is seen seated on the nibs of the pen while books are being burnt in the flame.
This image depicts his transition from being a scholar to becoming a spiritual master. His space of spiritual practise was always a busy and noisy street. He is seen drinking alcohol and smoking, depicting his attitude of non-conformism with conventional ways of life.
Mahaguru Thangal was a great Siddha who belonged to the school of Mast Kalandar, who lived his life in Trivandrum.
Born in a muslim family, in Nedumangad and studied Arabic. At a very young age he became Maulvi of a Mosque.
Then he met Gafoor Ali of Ajmer Sharif, who transmitted spiritual teachings to Mahaguru Thangal which unfolded into a mystical journey.
Ever since that special event, Mahaguru Thangal gave up his life as a scholar and religious priest. He became Mast and moved in the lanes of the small town of Nedumangad for years.
Local people have witnessed many instances of miraculous healing by this master. People started calling him Thangal, meaning respected spiritual elder.
This woodcut depicts a key phase of his life. Here Thangal is seen sitting in the triangular space in the middle of the road.
The triangle depicts Goddess Bhadrakali of whom Mahaguru Thangal was a great devotee. He is seen seated on the nibs of the pen while books are being burnt in the flame.
This image depicts his transition from being a scholar to becoming a spiritual master. His space of spiritual practise was always a busy and noisy street. He is seen drinking alcohol and smoking, depicting his attitude of non-conformism with conventional ways of life.
Bama Khepa at Tarapeeth cremation ground
© Parvathy Baul & Ravi Gopalan Nair
Bamakhepa is regarded as one of the great Shakta Siddhas from Bengal. He resided all his life in the sacred funeral ground of Tarapith in Birbhum District of West Bengal. He was a devout sadhak of the Divine Mother Tara. Goddess Tara in Tarapith is considered Smashan Tara, i.e. a specific form of the Goddess Tara presiding over the funeral ground. She adorns an Ugra form, meaning a fierce form. Doing her Sadhana demands great courage and an attitude of fearlessness.
Bamakhepa was called as Khepa, which in Bengali means ‘Mad one’.
His life story evokes deep devotion. He was the contemporary of Sri Ramakrishna Paramahamsa. Thus the land of Bengal was doubly blessed with two spiritual greats at the same time. His devotees consider him as the Bhairava of Tarapith.
This woodcut depicts the Bhairava aspect of Bamakhepa. He is surrounded by dogs who are special beings residing in the funeral ground. The presence of a Black dog depicts Bhairava tattva. One can see the pyres burning and in the background a depiction of Tarapith temple can be noted. During old times, this temple was a simple structure with a main worship space for the Goddess. However it is difficult to fathom where Her sphere of energy begins and ends as Her presence pervades all through this sacred funeral ground.
Bamakhepa is regarded as one of the great Shakta Siddhas from Bengal. He resided all his life in the sacred funeral ground of Tarapith in Birbhum District of West Bengal. He was a devout sadhak of the Divine Mother Tara. Goddess Tara in Tarapith is considered Smashan Tara, i.e. a specific form of the Goddess Tara presiding over the funeral ground. She adorns an Ugra form, meaning a fierce form. Doing her Sadhana demands great courage and an attitude of fearlessness.
Bamakhepa was called as Khepa, which in Bengali means ‘Mad one’.
His life story evokes deep devotion. He was the contemporary of Sri Ramakrishna Paramahamsa. Thus the land of Bengal was doubly blessed with two spiritual greats at the same time. His devotees consider him as the Bhairava of Tarapith.
This woodcut depicts the Bhairava aspect of Bamakhepa. He is surrounded by dogs who are special beings residing in the funeral ground. The presence of a Black dog depicts Bhairava tattva. One can see the pyres burning and in the background a depiction of Tarapith temple can be noted. During old times, this temple was a simple structure with a main worship space for the Goddess. However it is difficult to fathom where Her sphere of energy begins and ends as Her presence pervades all through this sacred funeral ground.
Nitai Khepa
Nitai Khepa was a great yogi who lived in Betalbon - Dwarnori, an interior village in the district of Burdwan, West Bengal. He lived in a small hut ashram with his consort Mata Ma, a cow and her calf.
Sri Hari Goshai initiated and guided Nitai Khyapa in the Baul path. If he would sing in a Sadhu gathering many devotees from far away villages used to come and gather.
Nitai Khyapa's Duggi and Ekatara are as legendary as his songs, sadhana and stories. His Ektara was made of bell-metal, and the Duggi was made of copper. He used to dance with the anklets "Nupur".
When Nitai Khyapa performed the Baul songs he used to make his listeners sit in two parts. He would create a narrow lane between the two groups. He would move back and forth from top to down the narrow lane singing and dancing, in-between he would explain the songs with simple stories and humour.
He would dance and move his body a lot and do much hard work to bring pure expression for the Bhava of the song. Sweat would gather on his forehead, then his face, and then the whole body.
The more his body was drenched in the sweat of physical exhaustion, the more he was in deep joy in a plane that could be accessed by only spiritual masters.
He experienced something so sweet through his offering of songs that he would often experience bhav samadhi.
In this woodcut Nitai Khepa is seen sitting in his hut and composing songs during the month of ashada i.e. the season of monsoon.
His spiritual consort Mata Maa is collecting milk from his only cow.
Sri Hari Goshai initiated and guided Nitai Khyapa in the Baul path. If he would sing in a Sadhu gathering many devotees from far away villages used to come and gather.
Nitai Khyapa's Duggi and Ekatara are as legendary as his songs, sadhana and stories. His Ektara was made of bell-metal, and the Duggi was made of copper. He used to dance with the anklets "Nupur".
When Nitai Khyapa performed the Baul songs he used to make his listeners sit in two parts. He would create a narrow lane between the two groups. He would move back and forth from top to down the narrow lane singing and dancing, in-between he would explain the songs with simple stories and humour.
He would dance and move his body a lot and do much hard work to bring pure expression for the Bhava of the song. Sweat would gather on his forehead, then his face, and then the whole body.
The more his body was drenched in the sweat of physical exhaustion, the more he was in deep joy in a plane that could be accessed by only spiritual masters.
He experienced something so sweet through his offering of songs that he would often experience bhav samadhi.
In this woodcut Nitai Khepa is seen sitting in his hut and composing songs during the month of ashada i.e. the season of monsoon.
His spiritual consort Mata Maa is collecting milk from his only cow.
Mayi Amma
(New Release)
© Parvathy Baul & Ravi Gopalan Nair
Mayi Amma was a mystic saint referred to as Siddha in Southern India. She spent most of her time in Kanyakumari, in the southern tip of Indian Subcontinent. In the later years she lived in Salem, Tamil Nadu.
There are many miraculous stories connected to her. People often spotted her floating on the ocean water. She used to enter sea waters and return only after several months. While on the shore, she was always accompanied by dogs. They were her fond followers.
Her facial features resembled as if she belonged to North-Eastern part of the country. Many believed that she possibly came down south from Tibet. Some also believe that she lived for over five hundred years.
One cannot establish these beliefs as facts but nevertheless it was indeed true that she was a great spiritual master and she drew many great beings towards her. She finally took Samadhi in 1984.
On another occasion a great spiritual master Mata Amritananda Mayi visited Mayi Amma. It was that sacred moment which inspired this woodcut.
Here one can see Mayi Amma is seated in the lap of Mata Amritananda Mayi, who in turn is seated in the womb of Svarupa, i.e. the real form of Mayi Amma. Dog disciples (special beings) are surrounding them.
Mayi Amma was a mystic saint referred to as Siddha in Southern India. She spent most of her time in Kanyakumari, in the southern tip of Indian Subcontinent. In the later years she lived in Salem, Tamil Nadu.
There are many miraculous stories connected to her. People often spotted her floating on the ocean water. She used to enter sea waters and return only after several months. While on the shore, she was always accompanied by dogs. They were her fond followers.
Her facial features resembled as if she belonged to North-Eastern part of the country. Many believed that she possibly came down south from Tibet. Some also believe that she lived for over five hundred years.
One cannot establish these beliefs as facts but nevertheless it was indeed true that she was a great spiritual master and she drew many great beings towards her. She finally took Samadhi in 1984.
On another occasion a great spiritual master Mata Amritananda Mayi visited Mayi Amma. It was that sacred moment which inspired this woodcut.
Here one can see Mayi Amma is seated in the lap of Mata Amritananda Mayi, who in turn is seated in the womb of Svarupa, i.e. the real form of Mayi Amma. Dog disciples (special beings) are surrounding them.
Lalon Fakir
(New Release)
© Parvathy Baul & Ravi Gopalan Nair
Lalon Fakir is like the Sun of the Shai Fakir tradition of erstwhile undivided Bengal region. His Life and poetry flowered in the 19th Century.
His Life’s message still courses through like a strong river in the mind and hearts of the people of Bengal.
Having experienced religious conflict from close quarters, he emerged as a fierce critic of identity based conflicts. His songs always spoke about freedom that is beyond all identities. It is said that he lived over a hundred years.
His tradition still continues near Kushtia, Bangladesh. In his Akhara- Majhar, every year thousands of his devotees gather on the occasion of his death anniversary.
Al-Buraq is a miraculous steed from the heavens which transported the enlightened beings. Lalon himself used these images often in the songs.
This woodcut depicts Lalon Shai being carried towards the Divine light on the Al-Buraq. This is depicted as his final journey. The journey is summed up in Malayalam phrase “from what one knows to one who knows.“ This phrase is etched in the border of the wood cut. This was the teaching from Mahaguru Thangal.
Lalon Fakir is like the Sun of the Shai Fakir tradition of erstwhile undivided Bengal region. His Life and poetry flowered in the 19th Century.
His Life’s message still courses through like a strong river in the mind and hearts of the people of Bengal.
Having experienced religious conflict from close quarters, he emerged as a fierce critic of identity based conflicts. His songs always spoke about freedom that is beyond all identities. It is said that he lived over a hundred years.
His tradition still continues near Kushtia, Bangladesh. In his Akhara- Majhar, every year thousands of his devotees gather on the occasion of his death anniversary.
Al-Buraq is a miraculous steed from the heavens which transported the enlightened beings. Lalon himself used these images often in the songs.
This woodcut depicts Lalon Shai being carried towards the Divine light on the Al-Buraq. This is depicted as his final journey. The journey is summed up in Malayalam phrase “from what one knows to one who knows.“ This phrase is etched in the border of the wood cut. This was the teaching from Mahaguru Thangal.
Chandidas and Rajokini
© Parvathy Baul & Ravi Gopalan Nair
Chandidas is considered one of the foremost devotional poets of Bengal.
His devotional fervour is unsurpassable.
Scholars date his works to the early 15th century.
His works include over one thousand devotional poems all centered around the love of Radha for her beloved Sri Krishna.
He was also one of the earliest Bengali language poets.
His relationship with Rajokini, who was considered to belong to a lower strata of the society, turned out to be a deep source of his inspiration and spiritual sadhana.
This woodcut depicts the story of Chandidas sitting near the pond and catching fish, where Rajokini used to wash the clothes.
They never spoke to each other all this while.
Twelve years passed thus and one fine day Rajokini asked Chandidas that he had been trying to catch a fish for twelve years, did he catch one ever?
Chandidas replied “Yes, today I have caught one.”
Chandidas is considered one of the foremost devotional poets of Bengal.
His devotional fervour is unsurpassable.
Scholars date his works to the early 15th century.
His works include over one thousand devotional poems all centered around the love of Radha for her beloved Sri Krishna.
He was also one of the earliest Bengali language poets.
His relationship with Rajokini, who was considered to belong to a lower strata of the society, turned out to be a deep source of his inspiration and spiritual sadhana.
This woodcut depicts the story of Chandidas sitting near the pond and catching fish, where Rajokini used to wash the clothes.
They never spoke to each other all this while.
Twelve years passed thus and one fine day Rajokini asked Chandidas that he had been trying to catch a fish for twelve years, did he catch one ever?
Chandidas replied “Yes, today I have caught one.”
Bilwamangal and Chintamoni
© Parvathy Baul & Ravi Gopalan Nair
Bilwamangala Swami, also known as Lila Suka, is the author of one of the seminal Vaishnava Bhakti works titled Sri Krishnakarnamrutam.
His place of origin is largely speculated. Some scholars consider his native origin to be in the southern part of India.
In his early life, he was deeply attracted to a woman by the name Chintamani.
There are various versions of this story, the essence of it being that Chintamani plays a pivotal role in making Bilwamangal realise the ephemeral nature of the mundane world filled with desires. Thus effecting a transformation of his mind to turn completely towards Krishna.
He pays homage to Chintamani for being his teacher in the very first verse of his master composition Sri Krishnakarnamritam.
Legend has it that even Sri Chaitanya Mahaprabhu was deeply impacted by this work and set many disciples on the task of writing down this seminal work.
In this woodcut, Sri Bilwamangala’s final journey to Brindavan is being depicted where he was eventually led by Sri Krishna himself.
Sri Krishna tells Bilwamangala that Chintamani has already reached Brindavan and blind Bilwamangala Swami is approaching her holding Sri Krishna’s hand.
Bilwamangala Swami, also known as Lila Suka, is the author of one of the seminal Vaishnava Bhakti works titled Sri Krishnakarnamrutam.
His place of origin is largely speculated. Some scholars consider his native origin to be in the southern part of India.
In his early life, he was deeply attracted to a woman by the name Chintamani.
There are various versions of this story, the essence of it being that Chintamani plays a pivotal role in making Bilwamangal realise the ephemeral nature of the mundane world filled with desires. Thus effecting a transformation of his mind to turn completely towards Krishna.
He pays homage to Chintamani for being his teacher in the very first verse of his master composition Sri Krishnakarnamritam.
Legend has it that even Sri Chaitanya Mahaprabhu was deeply impacted by this work and set many disciples on the task of writing down this seminal work.
In this woodcut, Sri Bilwamangala’s final journey to Brindavan is being depicted where he was eventually led by Sri Krishna himself.
Sri Krishna tells Bilwamangala that Chintamani has already reached Brindavan and blind Bilwamangala Swami is approaching her holding Sri Krishna’s hand.
Jayadeva and Padmavati
© Parvathy Baul & Ravi Gopalan Nair
Jayadeva is considered foremost among the Navarasik.
He immortalised the playful acts of devotion between Sri Radha and Sri Krishna in his epic poem Gita Govinda.
This work stands tall even after several centuries as it never fails to fuel the inspiration of the artists as well as spiritual practitioners.
There is a famous story associated with the composition of the Gita Govinda, where it is believed that when Jayadeva was stuck in completing the composition of a particular verse, Sri Krishna himself came and completed this composition.
Sri Jayadeva belonged to the 15th century and he married Padmavati who also stood by him as a spiritual companion.
In this woodcut they are seen sitting beside the river Ajay.
Jayadeva is seen reciting a poem while Padmavati is listening to him and fanning him with a hand fan.
Jayadeva is considered foremost among the Navarasik.
He immortalised the playful acts of devotion between Sri Radha and Sri Krishna in his epic poem Gita Govinda.
This work stands tall even after several centuries as it never fails to fuel the inspiration of the artists as well as spiritual practitioners.
There is a famous story associated with the composition of the Gita Govinda, where it is believed that when Jayadeva was stuck in completing the composition of a particular verse, Sri Krishna himself came and completed this composition.
Sri Jayadeva belonged to the 15th century and he married Padmavati who also stood by him as a spiritual companion.
In this woodcut they are seen sitting beside the river Ajay.
Jayadeva is seen reciting a poem while Padmavati is listening to him and fanning him with a hand fan.
Vidyapathi, Lachima and Shiva Simha
© Parvathy Baul & Ravi Gopalan Nair
Vidyapati was an erudite Sanskrit scholar belonging to the Northern part of India. Some scholars identify his origin to be in the ancient Mithila region.
As a royal poet he composed many works.
Among them the most popular ones are those that centre around Sri Krishna and Sri Radha’s devotional play.
He belonged to the fourteenth century. By then Sri Jayadeva’s Gita Govinda has achieved a great impact on the imagination of many scholars and poets.
Vidyapati’s compositions however dive deep into diverse moods of devotional intimacy. Many of these love songs were written in the court of Shiva Simha, grandson of Vidyapati’s first patron.
In this woodcut Vidyapati is reciting his poems in front of King Shiva Simha and queen Lacchima.
Vidyapati was an erudite Sanskrit scholar belonging to the Northern part of India. Some scholars identify his origin to be in the ancient Mithila region.
As a royal poet he composed many works.
Among them the most popular ones are those that centre around Sri Krishna and Sri Radha’s devotional play.
He belonged to the fourteenth century. By then Sri Jayadeva’s Gita Govinda has achieved a great impact on the imagination of many scholars and poets.
Vidyapati’s compositions however dive deep into diverse moods of devotional intimacy. Many of these love songs were written in the court of Shiva Simha, grandson of Vidyapati’s first patron.
In this woodcut Vidyapati is reciting his poems in front of King Shiva Simha and queen Lacchima.
Paintings Collection
Kamala On Boat
© Parvathy Baul
“Caught the Fish” Chandidas and Rami
© Parvathy Baul
Tie the Pot on Date Palm Tree
© Parvathy Baul
Jagadamva
© Parvathy Baul
Ramprasad Singing for Dancing Kali
© Parvathy Baul
The Secret Fruit
© Parvathy Baul
Vaishampayan Rishi with Four Birds
© Parvathy Baul
Gour Khepa Singing to the Mirror of the Sky
© Parvathy Baul
A Baul Gathering Night in Purulia
© Parvathy Baul
Kamala On Boat
© Parvathy Baul
“Caught the Fish” Chandidas and Rami
© Parvathy Baul
Tie the Pot on Date Palm Tree
© Parvathy Baul
Jagadamva
© Parvathy Baul
Ramprasad Singing for Dancing Kali
© Parvathy Baul
The Secret Fruit
© Parvathy Baul
Vaishampayan Rishi with Four Birds
© Parvathy Baul
Gour Khepa Singing to the Mirror of the Sky
© Parvathy Baul
A Baul Gathering Night in Purulia
© Parvathy Baul
Kamala On Boat
© Parvathy Baul
“Caught the Fish” Chandidas and Rami
© Parvathy Baul
Tie the Pot on Date Palm Tree
© Parvathy Baul
Jagadamva
© Parvathy Baul
Ramprasad Singing for Dancing Kali
© Parvathy Baul
The Secret Fruit
© Parvathy Baul
Vaishampayan Rishi with Four Birds
© Parvathy Baul
Gour Khepa Singing to the Mirror of the Sky
© Parvathy Baul
A Baul Gathering Night in Purulia
© Parvathy Baul
Kamala On Boat
© Parvathy Baul
“Caught the Fish” Chandidas and Rami
© Parvathy Baul
Tie the Pot on Date Palm Tree
© Parvathy Baul
Jagadamva
© Parvathy Baul
Ramprasad Singing for Dancing Kali
© Parvathy Baul
The Secret Fruit
© Parvathy Baul
Vaishampayan Rishi with Four Birds
© Parvathy Baul
Gour Khepa Singing to the Mirror of the Sky
© Parvathy Baul
A Baul Gathering Night in Purulia
© Parvathy Baul
International Exhibitions
2020 Tantra: enlightenment to revolution, British Museum, London, UK, participation
2019 Parvathy Baul artworks, In Cahoots Residency, Petaluma, California, USA, solo exhibition
2018 Parvathy Baul Woodcuts Exhibition Deep Dan Art gallery, Tokyo, Japan, solo exhibition
2018 Shakti in Seeing, Rabindrateertha Kolkata, India, Tantidhatri International Festival of Women Performing artists, solo exhibition
2017 Parvathy Baul, Avondale Odd Fellows Studios, Birmingham, USA, solo exhibition
2017 Parvathy Baul and Ravi Gopalan Nair: Gravures & Miniatures, La Galerie de l’Excellence, La Roche Posay, France, solo exhibition
2016 Parvathy Baul, Storyteller's art, Fortael Galleriet, Transit festival Holstebro, Denmark, solo exhibition
2016 Chitrakathageethi, Ramgashankara, Bangalore, Tantidhatri International Festival of Women Performing artists, solo exhibition
2013 Chitrakatha Geethi, Bengal Art Gallery, Kolkata, India, solo exhibition
2012 La saveur des arts, De l'Inde moghole à Bollywood, MEG Ethnography Museum, Geneva, Switzerland
2012 Parvathy Baul: Paintings, Aurodhan Art Gallery, Pondicherry, India, Tantidhatri International Festival of Women Performing artists, solo exhibition
2011 Hommage au Sublime, Suvita Art, Galerie Etienne de Causans, Paris, France, group exhibition
2007 Parvathy Baul, Woodprints, Tropenmuseum, Amsterdam, participation
2005 Les feux de la Déesse, mythes et rituels du Kerala; MEG Ethnography Museum, Geneva, Switzerland, participation
2003 The adventures of Hamza, Rietberg Museum, Zurich, participation in a big exhibition with the original works of Hamzanama
2000 Paintings from the Baul world, Alliance Française, Trivandrum, India, solo exhibition
Museum Collections
2020 British Museum, London, UK, Bama Khepa,woodcut print
2011 six paintings from Radha Krishna Lila, Roop Anurag series : Pūrvarāga, Rūpānurāga, Abhisāra, Kalahāntaritā, Mathurā-kathā, Rasa-līlā-kathā, MEG Ethnography Museum, Geneva, Switzerland
2007 The Rain Bird and Women Baul Gathering, woodcut prints, Tropen Museum, Amsterdam, Netherlands
Catalogues
Tantra: enlightenment to revolution, RAMOS Imma, 2020. Exhibition Catalogue, British Museum, London, Thames & Hudson.
Chitra Katha, Parvathy Baul, Sundar Ramanathaiyer, 2013. Exhibition Catalogue, Bengal Art Gallery, Kolkata, Aims Art Initiative.
La saveur des arts, De l'Inde moghole à Bollywood, AUBERT, Laurent (dir.). 2011. Exhibition Catalogue, Gollion: Infolio éditions / Genève: Musée d'ethnographie.
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