Lord Veerabhadra Picture For Sale - Aryclic Painting

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Dear All,

>

> I am selling Loard Veera Badra Painting , it was

> painted by me with arcylic on canvas the painting is

> 2 feet by 3 feet. Lord Veerabadra is a form of Lord

> Shiva ( one of 64 forms).At the moment i have only

> have 1 picture of veera bhadra and it tooks 4 month

> to complete the painting.

>

> This painting can be used for decorative or for

> prayers. For those who are intrested kindly mail me

> for the price. Below is the paintings of the lord.

> For those who wanted to worship the veerabhadra a

> special veerabhadra yantra will be given ( also

> canvas painting).

>

> Thank you.

>

> For those who are intrested to grab this painting

> you may contact me at the below number

>

> Sravanan 014-69 69 69 4 from Malaysia or mail me sssharav

>

> Click here to view the picture.

> http://www.flickr.com/photos/sssharav

>

>

>

> About VeeraBhadra and Painting

>

> This masterpiece, a characteristic example of

> Mysore art, represents the legendary figure

> Virabhadra, one of the rarer themes of Indian

> mythology. Virabhadra was one of the most trusted

> guards and generals of Shiva and in his personal

> capacity a protector of sages. The 'puranas'

> attribute to Virabhadra a number of exploits against

> demons and the benevolent acts performed for

> protecting the holy ones. As an auspicious being

> Virabhadra is immensely popular with Shaivite

> devotees of South India and as such and as much with

> South Indian artists. In this massive representation

> Virabhadra has a crusader's posture and demeanour

> and a benevolent look on his face. Virabhadra was

> created by Lord Shiva for destroying the 'yajna',

> the sacrificial rites, of Daksha, Shiva's own

> father-in-law. Daksha was Brahma's son who by a

> hundred year long penance had sought Mahamaya's

> blessings to be born as his daughter. Mahamaya was

> born by the name of Sati to his wife Asikni as their

> daughter.

> 'Puranas' say she was Parvati in her previous

> birth. She was the most beautiful maid on earth and

> was married to Shiva. In the mean time in a dispute

> Shiva decollated one of Brahma's five heads and

> carried it with him all the time as a trophy. Gods

> outcasted him as 'Ashuddha', the polluted one.

> Daksha was especially annoyed. For insulting Shiva

> as also his own daughter Sati Daksha organised a

> great 'yajna' and did not invite Shiva and Sati to

> it. Shiva dissuaded Sati from attending the 'yajna'

> but Sati went. She was not only an unwelcome guest

> but was so much slighted by her own father that she

> jumped into sacrificial fire and committed suicide.

> Shiva loved Sati madly. When he heard of her death,

> he was mad with fury and grief. His matted hair

> waved in air and struck the earth and from it

> emerged Virabhadra and Bhadrakali. He commanded them

> to destroy the 'yajna' of Daksha. Different from

> this depiction of Devi Bhagawata the Shanti-parva of

> Mahabharata acclaims that they

> were born from Shiva's mouth. It is said from each

> hairpore of Virabhadra there rose a fearful monster.

> This monster has been called 'Raumya'. The host of

> these Raumyas attacked the sacrificial fire of

> Daksha and extinguished it. Thereafter the furious

> Virabhadra began destroying the entire creation, but

> Shiva appeared and pacified him. He attributed to

> him the status of a planet by the name of

> Angarakshaka who would guard Mangala, the Auspicious

> and would be revered by all. In 'Puranas' there

> are several other accounts of his exploits against

> demons and of protecting the holy ones. Once sage

> Kashyapa and all other sages were devoured by the

> wild fire. Virabhadra swallowed the fire and by the

> power of incantation revived all sages to life. Once

> a serpent swallowed all gods. Virabhadra killed the

> serpent and saved gods. Alike once the demon

> Panchamedhra arrested in his mouth all gods, sages,

> Bali and Sugriva. Those who could escape did not

> dare go near him. Virabhadra

> fought against him, killed him and set all free

> from his grip. The robust figure of Virabhadra has

> been consecrated under an arch rising from a couple

> of mythical elephants. The arch terminates on it's

> apex in a 'Shrimukha'. As usual with Mysore art the

> two corners above the arch have been embellished by

> arabesques. Virabhadra has around his face flames of

> fire symbolical of his swallowing wild fire. On his

> right there stands a Garuda-type divine figure,

> symbolising perhaps his exploit against serpent, and

> on his left a Devi, a probable form of

> Bhadrakali.Virabhadra has on his head a towering

> helmet type crown typical of South Indian art. In

> one of his four hands he is holding a sword, in two

> a bow and arrow and in the fourth a highly artistic

> angular shield type object. His entire body is

> covered with broad patterned ornaments and jewels.

> The painting has a deep shocking red background.

> Bold details, broad patterns, stylised motifs,

> arabesques, an elaborate anatomy -

> fleshy body-parts, stylised features with a massive

> typical South Indian moustaches, the wide open eyes

> and horizontal face, are characteristic features of

> the painting. The use of basic colours in deep tone

> unsubdued even by self patterned designs or the like

> is typical of South Indian art of painting both of

> Mysore and Tanjore, though this colour dominance is

> not so much felt in Tanjore art due to its inlay of

> beads, stone pieces and metal leaves. In Mysore art,

> as here in this painting, the purity of colours is

> superb. These translucent colours of Mysore art look

> neither for contrasts nor for balance and neither

> conceal a form in their brilliance nor are

> themselves lost in them. The artistic superiority of

> this painting lies in both, in its delightful

> display of colours as well as in its bold and broad

> features.

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