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Artist (Books)

Srimad-Bhagavatam

SB Canto 1

SB 1.6.34, Purport:

So Nārada Muni, by his personal experience, says that satisfaction for such frustrated beings engaged in sense gratification is to chant always the activities of the Lord. The point is that the subject matter only should be changed. No one can check the thinking activities of a living being, nor the feeling, willing or working processes. But if one wants actual happiness, one must change the subject matter only. Instead of talking of the politics of a dying man, one might discuss the politics administered by the Lord Himself. Instead of relishing activities of the cinema artists, one can turn his attention to the activities of the Lord with His eternal associates like the gopīs and Lakṣmīs. The almighty Personality of Godhead, by His causeless mercy, descends on the earth and manifests activities almost on the line of the worldly men, but at the same time extraordinarily, because He is almighty. He does so for the benefit of all conditioned souls so that they can turn their attention to transcendence. By doing so, the conditioned soul will gradually be promoted to the transcendental position and easily cross the ocean of nescience, the source of all miseries. This is stated from personal experience by such an authority as Śrī Nārada Muni. And we can have the same experience also if we begin to follow in the footsteps of the great sage, the dearmost devotee of the Lord.

SB 1.11.20, Translation:

Expert dramatists, artists, dancers, singers, historians, genealogists and learned speakers all gave their respective contributions, being inspired by the superhuman pastimes of the Lord. Thus they proceeded on and on.

SB 1.11.20, Purport:

It appears that five thousand years ago the society also needed the services of the dramatists, artists, dancers, singers, historians, genealogists, public speakers, etc. Dancers, singers and dramatic artists mostly hailed from the śūdra community, whereas the learned historians, genealogists and public speakers hailed from the brāhmaṇa community. All of them belonged to a particular caste, and they became so trained in their respective families. Such dramatists, dancers, singers, historians, genealogists and public speakers would dwell on the subject of the Lord's superhuman activities in different ages and millenniums, and not on ordinary events. Nor were they in chronological order. All the Purāṇas are historical facts described only in relation with the Supreme Lord in different ages and times as well as on different planets also. Therefore, we do not find any chronological order. The modern historians, therefore, cannot catch up the link, and thus they unauthoritatively remark that the Purāṇas are all imaginary stories only.

SB 1.11.26, Purport:

There are different classes of human beings, all seeking different enjoyments from different objects. There are persons who are seeking after the favor of the goddess of fortune, and for them the Vedic literatures give information that the Lord is always served with all reverence by thousands and thousands of goddesses of fortune at the cintāmaṇi-dhāma,* the transcendental abode of the Lord where the trees are all desire trees and the buildings are made of touchstone. The Lord Govinda is engaged there in herding the surabhi cows as His natural occupation. These goddesses of fortune can be seen automatically if we are attracted by the bodily features of the Lord. The impersonalists cannot observe such goddesses of fortune because of their dry speculative habit. And those who are artists, overtaken by the beautiful creation, should better see to the beautiful face of the Lord for complete satisfaction. The face of the Lord is the embodiment of beauty. What they call beautiful nature is but His smile, and what they call the sweet songs of the birds are but specimens of the whispering voice of the Lord. There are administrative demigods in charge of departmental service of cosmic management, and there are tiny administrative gods in the state service.

SB Canto 2

SB 2.6.6, Purport:

There are many powerful kings, leaders, learned scholars, scientists, artists, engineers, inventors, excavators, archaeologists, industrialists, politicians, economists, business magnates, and many more powerful deities or demigods like Brahmā, Śiva, Indra, Candra, Sūrya, Varuṇa and Marut, who are all protecting the interest of the universal affairs of maintenance, in different positions, and all of them are different powerful parts and parcels of the Supreme Lord. The Supreme Lord Śrī Kṛṣṇa is the father of all living entities, who are placed in different high and low positions according to their desires or aspirations. Some of them, as particularly mentioned above, are specifically endowed with powers by the will of the Lord. A sane person must know for certain that a living being, however powerful he may be, is neither absolute nor independent.

SB 2.10.25, Purport:

Every human being is engaged in his particular occupational duty, and such activities are visible as men go hither and thither. This is very prominently visible in big cities of the world: people are going all over the cities with great concern, from one place to another. This movement is not limited only to the cities, but is also visible outside the cities from one place to another, or from one city to another, by different means of vehicles. Men are moving by cars and rails on the roads, by subways within the earth and by planes in the sky for the purpose of business success. But in all these movements the real purpose is to earn wealth for comfortable life. For this comfortable life the scientist is engaged, the artist is engaged, the engineer is engaged, the technician is engaged, all in different branches of human activity. But they do not know how to make the activities purposeful to fulfill the mission of human life. Because they do not know this secret, all their activities are targeted towards the goal of sense gratification without control, and therefore by all this business they are unknowingly entering into the deep regions of darkness.

SB 2.10.49-50, Purport:

Sometimes, due to physical glamors, they forget the glories of the Lord. They should know definitely that physical activities and their wonders are all initiated by the Lord. The rose in the garden gradually takes its shape and color to become beautiful and sweet not by a blind physical law, although it appears like that. Behind that physical law is the direction of the complete consciousness of the Supreme Lord, otherwise things cannot take shape so systematically. The artist draws a picture of a rose very nicely with all attention and artistic sense, and yet it does not become as perfect as the real rose. If that is the real fact, how can we say that the real rose has taken its shape without intelligence behind the beauty? This sort of conclusion is due to a poor fund of knowledge. One must know from the above description of creation and annihilation that the supreme consciousness, being omnipresent, can take care of everything with perfect attention. That is the fact of the omnipresence of the Supreme Lord.

SB Canto 3

SB 3.22.7, Purport:

One person is advised to act in Kṛṣṇa consciousness by working in the Deities' room, another is advised to act in Kṛṣṇa consciousness by performing editorial work, another is advised to do preaching work, and another is advised to carry out Kṛṣṇa consciousness in the cooking department. There are different departments of activity in Kṛṣṇa consciousness, and a spiritual master, knowing the particular ability of a particular man, trains him in such a way that by his tendency to act he becomes perfect. Bhagavad-gītā makes it clear that one can attain the highest perfection of spiritual life simply by offering service according to his ability, just as Arjuna served Kṛṣṇa by his ability in the military art. Arjuna offered his service fully as a military man, and he became perfect. Similarly, an artist can attain perfection simply by performing artistic work under the direction of the spiritual master. If one is a literary man, he can write articles and poetry for the service of the Lord under the direction of the spiritual master. One has to receive the message of the spiritual master regarding how to act in one's capacity, for the spiritual master is expert in giving such instructions.

SB 3.28.13, Purport:

The color of the Personality of Godhead, Kṛṣṇa, is described here as nīlotpala-dala, meaning that it is like that of a lotus flower with petals tinted blue and white. People always ask why Kṛṣṇa is blue. The color of the Lord has not been imagined by an artist. It is described in authoritative scripture. In the Brahma-saṁhitā also, the color of Kṛṣṇa's body is compared to that of a bluish cloud. The color of the Lord is not poetical imagination. There are authoritative descriptions in the Brahma-saṁhitā, Śrīmad-Bhāgavatam, Bhagavad-gītā and many of the purāṇas of the Lord's body, His weapons and all other paraphernalia. The Lord's appearance is described here as padma-garbhāruṇekṣaṇam. His eyes resemble the inside of a lotus flower, and in His four hands He holds the four symbols: conchshell, discus, mace and lotus.

SB Canto 5

SB 5.24.9, Translation:

My dear King, in the imitation heavens known as bila-svarga there is a great demon named Maya Dānava, who is an expert artist and architect. He has constructed many brilliantly decorated cities. There are many wonderful houses, walls, gates, assembly houses, temples, yards and temple compounds, as well as many hotels serving as residential quarters for foreigners. The houses for the leaders of these planets are constructed with the most valuable jewels, and they are always crowded with living entities known as Nāgas and Asuras, as well as many pigeons, parrots and similar birds. All in all, these imitation heavenly cities are most beautifully situated and attractively decorated.

SB Canto 6

SB 6.18.41, Purport:

Woman is now depicted very well from the materialistic point of view by Kaśyapa Muni. Women are generally known as the fair sex, and especially in youth, at the age of sixteen or seventeen, women are very attractive to men. Therefore a woman's face is compared to a blooming lotus flower in autumn. Just as a lotus is extremely beautiful in autumn, a woman at the threshold of youthful beauty is extremely attractive. In Sanskrit a woman's voice is called nārī-svara because women generally sing and their singing is very attractive. At the present moment, cinema artists, especially female singers, are especially welcome. Some of them earn fabulous amounts of money simply by singing. Therefore, as taught by Śrī Caitanya Mahāprabhu, a woman's singing is dangerous because it can make a sannyāsī fall a victim to the woman. Sannyāsa means giving up the company of women, but if a sannyāsī hears the voice of a woman and sees her beautiful face, he certainly becomes attracted and is sure to fall down.

SB Canto 8

SB 8.3.6, Translation:

An artist onstage, being covered by attractive dresses and dancing with different movements, is not understood by his audience; similarly, the activities and features of the supreme artist cannot be understood even by the demigods or great sages, and certainly not by those who are unintelligent like animals. Neither the demigods and sages nor the unintelligent can understand the features of the Lord, nor can they express in words His actual position. May that Supreme Personality of Godhead give me protection.

SB 8.3.6, Purport:

A similar understanding was expressed by Kuntīdevī. The Supreme Lord exists everywhere, within and without. He even exists within the heart. Sarvasya cāhaṁ hṛdi sanniviṣṭo (BG 15.15). Īśvaraḥ sarva-bhūtānāṁ hṛd-deśe 'rjuna tiṣṭhati (BG 18.61). Thus it is indicated that one can find the Supreme Lord within one's heart. There are many, many yogīs trying to find Him. Dhyānāvasthita-tad-gatena manasā paśyanti yaṁ yoginaḥ (SB 12.13.1). Nonetheless, even great yogīs, demigods, saints and sages have been unable to understand the bodily features of that great artist, nor could they understand the meaning of His movements. What then is to be said of ordinary speculators like the so-called philosophers of this material world? For them He is impossible to understand. Therefore we must accept the statements given by the Supreme when He kindly incarnates to instruct us. We must simply accept the word of Lord Rāmacandra, Lord Kṛṣṇa and Lord Śrī Caitanya Mahāprabhu and follow in Their footsteps. Then it may be possible for us to know the purpose of Their incarnations.

Sri Caitanya-caritamrta

CC Adi-lila

CC Adi 4.217, Purport:

It is said that the gopīs are divided into five groups, namely the sakhīs, nitya-sakhīs, prāṇa-sakhīs, priya-sakhīs and parama-preṣṭha-sakhīs. All these fair-complexioned associates of Śrīmatī Rādhārāṇī, the Queen of Vṛndāvana-dhāma, are expert artists in evoking erotic sentiments in Kṛṣṇa. The parama-preṣṭha-sakhīs are eight in number, and in the ecstatic dealings of Kṛṣṇa and Rādhā they side sometimes with Kṛṣṇa and at other times with Rādhārāṇī, just to create a situation in which it appears that they favor one against the other. That makes the exchange of mellows more palatable.

CC Adi 5.66, Purport:

The origin of creation is the Supreme Personality of Godhead. As confirmed in the Bhagavad-gītā (9.10), the cosmic manifestation is working under the direction of the Supreme Lord, who invests the material energy with three material qualities. Agitated by these qualities, the elements supplied by the material energy produce varieties of things, just as an artist produces varieties of pictures by mixing the three colors red, yellow and blue. Yellow represents the quality of goodness, red represents passion, and blue represents ignorance. Therefore the colorful material creation is but an interaction of these three qualities, represented in eighty-one varieties of mixtures (3 x 3 equaling 9, 9 x 9 thus equaling 81). Deluded by material energy, the conditioned soul, enamored by these eighty-one varieties of manifestations, wants to lord it over material energy, just as a moth wants to enjoy a fire. This illusion is the net result of the conditioned soul's forgetfulness of his eternal relationship with the Supreme Personality of Godhead. When conditioned, the soul is impelled by the material energy to engage in sense gratification, whereas one enlightened by the spiritual energy engages himself in the service of the Supreme Lord in his eternal relationship.

CC Adi 17.304, Purport:

The conjugal love between Rādhā and Kṛṣṇa, which is called yugala-pīriti, is not understandable by mundane scholars, artists or poets. It is simply to be understood by devotees who strictly follow in the footsteps of the six Gosvāmīs. Sometimes so-called artists and poets try to understand the love affairs of Rādhā and Kṛṣṇa, and they publish cheap books of poetry and pictures on the subject. Unfortunately, however, they do not understand the transcendental affairs of Rādhā and Kṛṣṇa even to the smallest degree. They are simply meddling in a matter in which they are not fit even to enter.

CC Madhya-lila

CC Madhya 8.190, Translation:

""Thus Lord Śrī Kṛṣṇa spoke of the sexual activities of the previous night. In this way He made Śrīmatī Rādhārāṇī close Her eyes out of shyness. Taking this opportunity, Śrī Kṛṣṇa painted various types of dolphins on Her breasts. Thus He became a very expert artist for all the gopīs. During such pastimes, the Lord enjoyed the fulfillment of His youth.""

Other Books by Srila Prabhupada

Nectar of Instruction

Nectar of Instruction 3, Purport:

One should accept this opportunity to return home, back to Godhead, very enthusiastically. Without enthusiasm, one cannot be successful. Even in the material world one has to be very enthusiastic in his particular field of activity in order to become successful. A student, businessman, artist or anyone else who wants success in his line must be enthusiastic. Similarly, one has to be very enthusiastic in devotional service. Enthusiasm means action, but action for whom? The answer is that one should always act for Kṛṣṇa—kṛṣṇārthākhila-ceṣṭā (Bhakti-rasāmṛta-sindhu).

Krsna, The Supreme Personality of Godhead

Krsna Book 16:

For two hours Kṛṣṇa remained like an ordinary child gripped in the coils of Kāliya, but when He saw that all the inhabitants of Gokula—including His mother and father, the gopīs, the boys and the cows—were just on the point of death and that they had no shelter for salvation from imminent death, Kṛṣṇa immediately freed Himself. He began to expand His body, and when the serpent tried to hold Him, he felt a great strain. On account of the strain, his coils slackened, and he had no alternative but to let loose the Personality of Godhead, Kṛṣṇa, from his grasp. Kāliya then became very angry, and his great hoods expanded. He exhaled poisonous fumes from his nostrils, his eyes blazed like fire, and flames issued from his mouth. The great serpent remained still for some time, looking at Kṛṣṇa. Licking his lips with bifurcated tongues, the serpent looked at Kṛṣṇa with double hoods, and his eyesight was full of poison. Kṛṣṇa immediately pounced upon him, just as Garuḍa swoops upon a snake. Thus attacked, Kāliya looked for an opportunity to bite Him, but Kṛṣṇa moved around him. As Kṛṣṇa and Kāliya moved in a circle, the serpent gradually became fatigued, and his strength seemed to diminish considerably. Kṛṣṇa immediately pressed down the serpent's hoods and jumped up on them. The Lord's lotus feet became tinged with red from the rays of the jewels on the snake's hoods. Then He who is the original artist of all fine arts, such as dancing, began to dance upon the hoods of the serpent, although they were moving to and fro. Upon seeing this, the denizens of the upper planets showered flowers, beat drums, played different types of flutes and sang various prayers and songs. In this way, all the denizens of heaven, such as the Gandharvas, Siddhas and demigods, became very much pleased.

Krsna Book 18:

Kṛṣṇa, the reservoir of pleasure, blowing His flute, accompanied by His elder brother Balarāma and the other cowherd boys and the cows, entered the beautiful forest of Vṛndāvana to enjoy the atmosphere. They walked into the midst of newly grown leaves of trees whose flowers resembled peacock feathers. They were garlanded by those flowers and decorated with saffron chalk. Sometimes they were dancing and singing and sometimes wrestling with one another. While Kṛṣṇa danced, some of the cowherd boys sang and others played on flutes; some bugled on buffalo horns or clapped their hands, praising Kṛṣṇa, "Dear brother, You are dancing very nicely." Actually, all these boys were demigods descended from higher planets to assist Kṛṣṇa in His pastimes. The demigods garbed in the dress of the cowherd boys were encouraging Kṛṣṇa in His dancing, just as one artist encourages another with praise. Up to that time, neither Balarāma nor Kṛṣṇa had undergone the haircutting ceremony; therefore Their hair was clustered like crows' feathers. They were always playing hide-and-seek with Their boyfriends or jumping or fighting with them. Sometimes, while His friends were chanting and dancing, Kṛṣṇa would praise them, "My dear friends, you are dancing and singing very nicely." The boys played at catching ball with fruits such as bael and āmalaka. They played blindman's buff, challenging and touching one another. Sometimes they imitated the forest deer and various kinds of birds. They joked with one another by imitating croaking frogs, and they enjoyed swinging underneath the trees. Sometimes they would play amongst themselves like a king and his subjects. In this way, Balarāma and Kṛṣṇa, along with all Their friends, played all kinds of sports and enjoyed the soothing atmosphere of Vṛndāvana, full of rivers, lakes, rivulets, fine trees and excellent gardens filled with fruits and flowers.

Krsna Book 53:

All the princes and visitors who came to Kuṇḍina for the marriage had assembled outside the temple to see Rukmiṇī. The princes were especially eager to see her because they all actually thought that they would have Rukmiṇī as their wife. Struck with wonder upon seeing Rukmiṇī, they thought she was especially manufactured by the Creator to bewilder all the great chivalrous princes. Her body was well constructed, the middle portion being thin. Her high hips were adorned with a jeweled locket, she had pink lips, and the beauty of her face was enhanced by her slightly scattered hair and by different kinds of earrings. The bodily luster and beauty of Rukmiṇī appeared as if painted by an artist perfectly presenting beauty following the descriptions of great poets. Rukmiṇī’s breasts are described as being somewhat high, indicating that she was just a youth not more than thirteen or fourteen years old. Her beauty was specifically intended to attract the attention of Kṛṣṇa. Although the princes gazed upon her beautiful features, she was not at all proud. Her eyes moved restlessly, and when she smiled very simply, like an innocent girl, her teeth appeared just like jasmine buds. Expecting Kṛṣṇa to take her away at any moment, she proceeded slowly toward her home. Her legs moved just like a full-grown swan, and her ankle bells tinkled mildly.

Krsna Book 71:

The eternal form of Lord Kṛṣṇa is the everlasting residence of the goddess of fortune. As soon as King Yudhiṣṭhira embraced Him, he became free from all the contamination of material existence. He immediately felt transcendental bliss and merged in an ocean of happiness. There were tears in his eyes, and his body shook in ecstasy. He completely forgot that he was living in this material world. After this, Bhīmasena, the second brother of the Pāṇḍavas, smiled and embraced Lord Kṛṣṇa, thinking of Him as his own maternal cousin, and thus he also merged in great ecstasy. Bhīmasena was so filled with ecstasy that for the time being he forgot his material existence. Then Lord Śrī Kṛṣṇa Himself embraced the other three Pāṇḍavas, Arjuna, Nakula and Sahadeva. The eyes of all three brothers were inundated with tears, and Arjuna embraced Kṛṣṇa again and again because they were intimate friends. The two younger Pāṇḍava brothers, after being embraced by Lord Kṛṣṇa, fell down at His lotus feet to offer their respects. Lord Kṛṣṇa thereafter offered His obeisances to the brāhmaṇas present, as well as to the elder members of the Kuru dynasty, like Bhīṣma, Droṇa and Dhṛtarāṣṭra. There were many kings of different provinces such as Kuru, Sṛñjaya and Kekaya, and Lord Kṛṣṇa duly reciprocated greetings and respects with them. The professional reciters like the sūtas, māgadhas and vandīs, accompanied by the brāhmaṇas, offered their respectful prayers to the Lord. Performing artists like the Gandharvas, as well as the royal jokers, began to play their paṇava drums, conchshells, kettledrums, vīṇās, mṛdaṅgas and bugles, and they exhibited their dancing art to please the Lord. Thus the all-famous Supreme Personality of Godhead, Lord Kṛṣṇa, entered the great city of Hastināpura, which was opulent in every respect. While Lord Kṛṣṇa was entering the city, all the people talked amongst themselves about the glories of the Lord, praising His transcendental name, qualities, form and so on.

Krsna Book 72:

Bhīmasena and King Jarāsandha engaged themselves in fighting, and with their respective clubs, which were as strong as thunderbolts, they began to strike each other very severely, both of them being eager to fight. They were both expert fighters with clubs, and their techniques of striking each other were so beautiful that they appeared to be two dramatic artists dancing on a stage. When the clubs of Jarāsandha and Bhīmasena loudly collided, the impact sounded like that of the big tusks of two fighting elephants or like a thunderbolt in a flashing electrical storm. When two elephants fight together in a sugarcane field, each of them snatches a stick of sugarcane, holds it tightly in its trunk and strikes the other. At that time the sugarcane becomes smashed by such heavy striking. Similarly, when Bhīmasena and Jarāsandha were heavily striking each other with their clubs on different parts of their bodies—namely the shoulders, arms, collarbone, chest, thighs, waist and legs—their clubs became torn to pieces. In this way, all of the clubs used by Jarāsandha and Bhīmasena became ruined, and so the two enemies prepared to fight with their strong-fisted hands. Jarāsandha and Bhīmasena were very angry, and they began to smash each other with their fists. The striking of their fists sounded like the striking of iron bars or like the sound of thunderbolts, and the two warriors appeared to be like two elephants fighting. Neither was able to defeat the other, however, for both were expert in fighting, they were of equal strength, and their fighting techniques were also equal. Neither Jarāsandha nor Bhīmasena became fatigued or defeated in the fighting, although they struck each other continuously. At the end of each day's fighting, they lived at night as friends in Jarāsandha's palace, and the next day they fought again. In this way they passed twenty-seven days in fighting.

Krsna Book 74:

King Yudhiṣṭhira became very happy after hearing the details of the Jarāsandha episode, and he spoke as follows: "My dear Kṛṣṇa, O eternal form of bliss and knowledge, all the exalted directors of the affairs of this material world, including Lord Brahmā, Lord Śiva and King Indra, are always eager to receive and carry out orders from You, and whenever they are fortunate enough to receive such orders, they immediately take them and keep them on their heads. O Kṛṣṇa, You are unlimited, and although we sometimes think of ourselves as royal kings and rulers of the world and become puffed up over our paltry positions, we are very poor in heart. Actually, we are fit to be punished by You, but the wonder is that instead of punishing us You so kindly and mercifully accept our orders and carry them out properly. We are all very much surprised that Your Lordship can play the part of an ordinary human being, but we can understand that You are performing these activities just like a dramatic artist. Your real position is always exalted, exactly like that of the sun, which always remains at the same temperature during both the time of its rising and the time of its setting. Although we feel the difference in temperature between the rising and the setting sun, the temperature of the sun never changes. You are always transcendentally equipoised, neither pleased nor disturbed by any condition of material affairs. You are the Supreme Brahman, the Personality of Godhead, and for You there are no relativities. My dear Mādhava, You are never defeated by anyone. Material distinctions—"This is me," "This is you," "This is mine," "This is yours"—are all conspicuous by dint of their absence in You. Such distinctions are visible in the lives of everyone, even the animals, but pure devotees are freed from these false distinctions. Since these distinctions are absent in Your devotees, they cannot possibly be present in You."

Krsna Book 78:

After seeing the deficiency of realization in Romaharṣaṇa Sūta, Lord Balarāma decided to chastise him for being puffed up. Lord Balarāma therefore said, "This man is liable to be awarded the death punishment because although he has the good qualification of being a disciple of Lord Vyāsadeva, and although he has studied all the Vedic literature from this exalted personality, he was not submissive in the presence of the Supreme Personality of Godhead." As stated in the Bhagavad-gītā, a person who is actually a brāhmaṇa and is very learned must automatically become very gentle also. But although Romaharṣaṇa Sūta was very learned and had been given the chance to become a brāhmaṇa, he had not become gentle. From this we can understand that one who is puffed up by material acquisitions cannot acquire the gentle behavior befitting a brāhmaṇa. The learning of such a person is as good as a valuable jewel decorating the hood of a serpent. Despite the valuable jewel on the hood, a serpent is still a serpent and is as fearful as an ordinary serpent. If a person does not become meek and humble, all his studies of the Vedas and Purāṇas and his vast knowledge of the śāstras are simply outward dress, like the costume of a theatrical artist dancing on the stage. Lord Balarāma considered, "I have appeared in order to chastise false persons who are internally impure but externally pose themselves as very learned and religious. My killing of such persons is proper, to check them from further sinful activity."

Krsna Book 87:

The fact is that ultimately the Absolute Truth is the Supreme Person. But because He acts through His different potencies, which are impossible for the gross materialists to see, the materialists accept Him as impersonal. For example, one can observe the personal artistic work in a painting of a flower, and one can understand that the color adjustment, the shape and so on have demanded the minute attention of an artist. The artist's work is clearly exhibited in a painting of different blooming flowers. But the gross materialist, without seeing the hand of God in such artistic manifestations as the actual flowers blooming in nature, concludes that the Absolute Truth is impersonal. Actually, the Absolute is personal, but He is independent. He does not require to personally take a brush and colors to paint the flowers, for His potencies act so wonderfully that it appears as if flowers have come into being without the aid of an artist. The impersonal view of the Absolute Truth is accepted by less intelligent men, because unless one is engaged in the service of the Lord one cannot understand how the Supreme is acting—one cannot even know the Lord's name. Everything about the Lord's activities and personal features is revealed to the devotee only through his loving service attitude.

Light of the Bhagavata

Light of the Bhagavata Preface:

Śrīla Prabhupāda's plan was that the organizers of the conference should find a qualified Oriental artist to illustrate each verse, and he wrote directions from which the artist could design each painting. He hoped that the paintings and their accompanying explanations would make an impressive display for visitors to the conference. If possible, he wished that there might be published a book containing the illustrations and the texts.

Light of the Bhagavata Preface:

The task of completing this great project was therefore left in the hands of the Bhaktivedanta Book Trust, the publishing house dedicated to keeping all of Śrīla Prabhupāda's books in print. Particularly, the work was assigned to the Hong Kong branch of the Book Trust, since Śrīla Prabhupāda had meant the book especially for the Oriental people. After much searching it was our good fortune to secure the help of the renowned artist Madame Li Yun Sheng, whose mature creative talent and sensitive brushwork alone could properly complement Prabhupāda's beautiful descriptions of the autumn season. Thus the beautifully effulgent light of the Bhāgavata may now shine upon the world.

Light of the Bhagavata Preface:

The book has been divided into two sections to accommodate the tastes of different readers. Those who prefer to gaze with poetic imagination will appreciate the first section which contains the beautiful color reproductions of Madame Li's work, forty-eight paintings completed in less than a year's time, meticulous in their detail despite her advanced age and sometimes failing eyesight. Undoubtedly, this collection presents the culmination of her long distinguished career as one of the great artists of modern China. Her Gongbi style of painting together with Śrīla Prabhupāda's poetic descriptions which appear along side make for a unique blending of the world's two oldest cultural traditions—India and China.

Page Title:Artist (Books)
Compiler:Visnu Murti, Serene
Created:08 of Mar, 2012
Totals by Section:BG=0, SB=13, CC=4, OB=12, Lec=0, Con=0, Let=0
No. of Quotes:29