Angada kills Devantaka
Folio from the Ramayana of Valmiki (The Freer Ramayana), Vol. 2, folio 227; recto: text; verso: Angada strikes down Devantaka with a tusk torn from Mahodara’s elephant.
Hindu Mythology & Legends
Agni pariksha
A scene from the Ramayana: Sīta undergoing the ordeal by fire watched by Rāma, Lakṣmaṇa and Hanuman.
Hanuman beheads Trisiras
Folio from the Ramayana of Valmiki (The Freer Ramayana), Vol. 2, folio 228; recto: text; verso: Hanuman beheads Trisiras 1597-1605 Shyam Sundar, (Indian, Mughal dynasty) Opaque watercolour, ink, and gold on paper H: 27.5 W: 15.2 cm Northern India Collection: Smithsonian’s Museum of Asian Arts
Dasharatha with his chief minister Sumantra
King Dasharatha sends his chief minister Sumantra to summon Rama, from Chapter 16 of the Ayodhya Kanda (Book of Ayodhya), folio 18 of a “Shangri” Ramayana (Rama’s Journey)
Sugriva sends out his monkey army to search for Sita
A Mewar Ramayana manuscript. Sugriva sends out his monkey army to search for Sita. Rama gives Hanuman his ring as a token by which Sita.
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Hanuman Found Sita
Folio from a Ramayana manuscript, text in Devanagari. Marwar, circa 1790. Gouache and gold on paper. 12.2 x 20.8cm Using continuous narrative two episodes from the Ramayana are told simultaneously: On the left Rama and Lakshmana request that Hanuman and Sugriva find Sita; on the right Hanuman has found Sita imprisoned in Lanka, underneath the
The Cosmic Form of Krishna- Vasudeva
The Cosmic Form of Krishna- Vasudeva Opaque watercolour on paper pasted on cloth, Mysore style, Karnataka, Late 19th century C.E. 94 x 84 cm with frame The painting depicts the cosmic form of Lord Vishnu as Vasudeva represented with all his attributes- Chakra (discus), Gada (mace), Shank (Conch shell) and Kamal (Lotus) in his multiple
The marriage ceremony of Rama and Sita
The marriage of the four sons of Dasharatha with the four daughters of Siradhvaja Janaka and Kushadhvaja. Rama and Sita, Lakshmana and Urmila, Bharata and Mandavi and Shatrughna with Shrutakirti. Mandi, Shangri, circa 1750 A.D., National Museum, New Delhi Mandi, with a stylistic idiosyncrasy of its own and a greater thematic thrust, acquired a great distinction