Artistic (Books)

Expressions researched:
"artistic" |"artistical" |"artistically"

SB Canto 2

SB 2.1.36, Translation and Purport:

Varieties of birds are indications of His masterful artistic sense. Manu, the father of mankind, is the emblem of His standard intelligence, and humanity is His residence. The celestial species of human beings, like the Gandharvas, Vidyādharas, Cāraṇas and angels, all represent His musical rhythm, and the demoniac soldiers are representations of His wonderful prowess.

The aesthetic sense of the Lord is manifested in the artistic, colorful creation of varieties of birds like the peacock, parrot and cuckoo. The celestial species of human beings, like the Gandharvas and Vidyādharas, can sing wonderfully and can entice even the minds of the heavenly demigods. Their musical rhythm represents the musical sense of the Lord. How then can He be impersonal? His musical taste, artistic sense and standard intelligence, which is never fallible, are different signs of His supreme personality. The Manu-saṁhitā is the standard lawbook for humanity, and every human being is advised to follow this great book of social knowledge. Human society is the residential quarters for the Lord. This means that the human being is meant for God realization and association with God. This life is a chance for the conditioned soul to regain his eternal God consciousness and thus fulfill the mission of life. Mahārāja Prahlāda is the right type of representative of the Lord in the family of asuras. None of the living beings is away from the Lord's gigantic body. Each and every one has a particular duty in relation to the supreme body. Disruption in the matter of discharging the specific duty assigned to each and every living being is the cause of disharmony between one living being and another, but when the relation is reestablished in relation with the Supreme Lord, there is complete unity between all living beings, even up to the limit of the wild animals and human society. Lord Caitanya Mahāprabhu displayed this living unity in the jungle of Madhya Pradesh, where even the tigers, elephants and many other ferocious animals perfectly cooperated in glorifying the Supreme Lord. That is the way to peace and amity all over the world.

SB 2.10.49-50, Purport:

The materialists are more interested in the physical laws and how they are acting, and they see wonders in those physical glamors. 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:

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 3.23.14-15, Translation:

The castle was fully equipped with all necessary paraphernalia, and it was pleasing in all seasons. It was decorated all around with flags, festoons and artistic work of variegated colors. It was further embellished with wreaths of charming flowers that attracted sweetly humming bees and with tapestries of linen, silk and various other fabrics.

SB 3.23.17, Translation and Purport:

Its beauty was enhanced by artistic engravings here and there on the walls. The floor was of emerald, with coral daises.

At the present moment people are very proud of their architectural art, yet floors are generally decorated with colored cement. It appears, however, that the castle constructed by the yogic powers of Kardama Muni had floors of emerald with coral daises.

SB 3.23.19, Purport:

Artistic jewelry and decorations giving the appearance of eyes are not imaginary. Even in recent times the Mogul emperors constructed their palaces with decorations of jeweled birds with eyes made of valuable stones. The stones have been taken away by the authorities, but the decorations are still present in some of the castles constructed by the Mogul emperors in New Delhi. The royal palaces were built with jewels and rare stones resembling eyes, and thus at night they would give off reflective light without need of lamps.

CC Adi-lila

CC Adi 10.13, Purport:

Dramatic performances were enacted during the presence of Śrī Caitanya Mahāprabhu, but the players who took part in such dramas were all pure devotees; no outsiders were allowed. The members of ISKCON should follow this example. Whenever they stage dramatic performances about the lives of Śrī Caitanya Mahāprabhu or Lord Kṛṣṇa, the players must be pure devotees. Professional players and dramatic actors have no sense of devotional service, and therefore although they can perform very artistically, there is no life in such performances. Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura used to refer to such an actor as yātrā-dale nārada, which means "farcical Nārada." Sometimes an actor in a drama plays the part of Nārada Muni, although in his private life he is not at all like Nārada Muni because he is not a devotee. Such actors are not needed in dramatic performances about the lives of Śrī Caitanya Mahāprabhu and Lord Kṛṣṇa.

CC Madhya-lila

CC Madhya 1.106, Purport:

The Ahovala temple is situated in Dākṣiṇātya, in the district of Karṇula, within the subdivision of Sārbela. Throughout the whole district this very famous temple is much appreciated by the people. There are eight other temples also, and all of them together are called the Nava-nṛsiṁha temples. There is much wonderful architecture and artistic engraving work in these temples. However, as stated in the local gazette, the Karṇula Manual, the work is not complete.

CC Madhya 11.95, Purport:

Such are the symptoms of pure devotees when they are chanting. All the pure devotees are as bright as sunshine, and their bodily luster is very effulgent. In addition, their performance of saṅkīrtana is unparalleled. There are many professional chanters who can perform congregational chanting with various musical instruments in an artistic and musical way, but their chanting cannot be as attractive as the congregational chanting of pure devotees. If a devotee sticks strictly to the principles governing Vaiṣṇava behavior, his bodily luster will naturally be attractive, and his singing and chanting of the holy names of the Lord will be effective. People will appreciate such kīrtana without hesitation. Even dramas about the pastimes of Lord Caitanya or Śrī Kṛṣṇa should be played by devotees. Such dramas will immediately interest an audience and be full of potency. The students of the International Society for Krishna Consciousness should note these two points and try to apply these principles in their spreading of the Lord's glories.

CC Madhya 17.212, Translation:

The female parrot said, “Śrīmatī Rādhārāṇī’s affection, Her exquisite beauty and good behavior, Her artistic dancing and chanting and Her poetic compositions are all so attractive that they attract the mind of Kṛṣṇa, who attracts the mind of everyone in the universe.”

CC Madhya 23.72, Translation:

“‘Kṛṣṇa is very expert in artistic enjoyment. He is highly cunning, expert, grateful and firmly determined in His vows. He knows how to deal according to time, person and country, and He sees through the scriptures and authoritative books. He is very clean and self-controlled.

CC Antya-lila

CC Antya 1.144, Translation:

“‘"O dearly beautiful one, the artistic loveliness of Your picture is now impressed within My mind. Since You are now living within My mind, wherever I wish to run because I am agitated by impressions of You, I find that You, O My friend, are blocking My way."’

CC Antya 5.82, Translation:

The Supreme Personality of Godhead, Śrī Caitanya Mahāprabhu, knows very well how to demonstrate the qualities of His devotees. Therefore, acting like an artistic painter, He does so in various ways and considers this His personal profit.

Teachings of Lord Caitanya

Teachings of Lord Caitanya, Chapter 19:

"A person who constantly engages in devotional service to Kṛṣṇa by chanting His holy name becomes so transcendentally attached to the chanting that his heart becomes softened without extraneous endeavor. When this happens, he exhibits transcendental ecstasies by sometimes laughing, sometimes crying, sometimes singing and sometimes dancing—not exactly in an artistic way, but just like a madman."

Lord Caitanya further informed Prakāśānanda Sarasvatī: “Because I have full faith in My spiritual master's words, I always engage in chanting Hare Kṛṣṇa, Hare Kṛṣṇa, Kṛṣṇa Kṛṣṇa, Hare Hare/ Hare Rāma, Hare Rāma, Rāma Rāma, Hare Hare. I do not know how I have become just like a madman, but I believe the name of Kṛṣṇa has induced Me.

Nectar of Devotion

Nectar of Devotion 21:

Śrīla Rūpa Gosvāmī, after consulting various scriptures, has enumerated the transcendental qualities of the Lord as follows: (1) beautiful features of the entire body; (2) marked with all auspicious characteristics; (3) extremely pleasing; (4) effulgent; (5) strong; (6) ever youthful; (7) wonderful linguist; (8) truthful; (9) talks pleasingly; (10) fluent; (11) highly learned; (12) highly intelligent; (13) a genius; (14) artistic; (15) extremely clever; (16) expert; (17) grateful; (18) firmly determined; (19) an expert judge of time and circumstances; (20) sees and speaks on the authority of Vedas, or scriptures; (21) pure; (22) self-controlled; (23) steadfast; (24) forbearing; (25) forgiving; (26) grave; (27) self-satisfied; (28) possessing equilibrium; (29) magnanimous; (30) religious; (31) heroic; (32) compassionate; (33) respectful;

Nectar of Devotion 21:

One who can talk and dress himself very artistically is called vidagdha. This exemplary characteristic was visible in the personality of Śrī Kṛṣṇa. It is spoken of by Rādhārāṇī as follows: "My dear friend, just see how Kṛṣṇa has nicely composed songs and how He dances and speaks funny words and plays on His flute, wearing such nice garlands. He has dressed Himself in such an enchanting way, as though He had defeated all kinds of players at the chessboard. He lives wonderfully at the topmost height of artistic craftsmanship."

Nectar of Devotion 26:

At the end of this period all the gopīs said, "Kṛṣṇa is the killer of the attraction of Cupid, and as such He disturbs the patience of all newly married girls. Kṛṣṇa's bodily features have become so exquisite—it is as if they were all manifesting an artistic sense of the highest sort. His dancing eyes have dimmed the brilliance of the most expert dancer, and so there is no longer any comparison to the beauty of Kṛṣṇa." Learned scholars therefore describe the features of His body at this time as nava-yauvana, newly invented youthfulness. At this stage of Kṛṣṇa's bodily features, the conjugal love affairs with the gopīs and similar pastimes become very prominent.

Nectar of Devotion 26:

This vaijayantī garland is made of flowers of at least five different colors. Such a garland was always long enough to touch Kṛṣṇa's knees or feet. Besides this garland of flowers, there were other kinds of flower garlands too—sometimes decorating His head, sometimes hanging around His neck and chest. Artistic paintings with sandalwood pulp and colored sandalwood were also to be found on the body of Kṛṣṇa.

One gopī addressed her friend and began to praise the bodily features of Kṛṣṇa. She praised His blackish complexion, the reddish color of chewing pan enhancing His beauty hundreds of times, the curling hair on His head, the kuṅkuma red spots on His body and the tilaka on His forehead.

Nectar of Devotion 43:

In the Lalita-mādhava, compiled by Rūpa Gosvāmī, Kṛṣṇa is addressed as follows: "My dear Kṛṣṇa, when You are engaged in herding the animals, the dust caused by the hooves of the calves and cows covers Your nice face and artistic tilaka, and You appear very dusty. But when You return home, the milk flowing out of the breasts of Your mother washes Your face of its dust covering, and You appear to be purified by this milk, just as when the Deity is washed during the performance of the abhiṣeka ceremony." It is the custom in the temples of Deities that if there have been some impure activities, the Deity has to be washed with milk. Kṛṣṇa is the Supreme Personality of Godhead, and He was washed by the milk from the breast of mother Yaśodā, which purified Him from the dust covering.

Krsna, The Supreme Personality of Godhead

Krsna Book 5:

There are different kinds of chanting, known as sūta, māgadha, vandīja and virudāvalī. Along with this chanting of mantras and songs, bugles and kettledrums are sounded outside the house. On this occasion, the joyous vibrations could be heard in all the pasturing grounds and all the houses. Within and outside of the houses there were varieties of artistic paintings, done with rice pulp, and scented water was sprinkled everywhere, even on the roads and streets. Ceilings and roofs were decorated with different kinds of flags, festoons and green leaves. The gates were made of green leaves and flowers. All the cows, bulls and calves were smeared with a mixture of oil and turmeric and painted with minerals like red oxide, yellow clay and manganese. They wore garlands of peacock feathers and were covered with nice colored cloths and gold necklaces.

Krsna Book 50:

By Kṛṣṇa's supreme will, everything is possible, so such desire trees were planted in Dvārakā, the city constructed by Kṛṣṇa. The city was also filled with many palaces and gopuras, or big gates. These gopuras are still found in some of the larger temples. They are very high and constructed with fine artistic skill. Such palaces and gates held golden waterpots (kalaśas). These waterpots on the gates or on the palaces are considered auspicious signs.

Krsna Book 70:

First of all the jokers would talk in such a way that the Lord and His associates would enjoy their humor, which would refresh the morning mood. The dramatic actors would then play their parts, and the dancing ballet girls would separately display their artistic movements. All these functions would be accompanied by the beating of mṛdaṅga drums and the sounds of the vīṇā, flutes and bells, followed by the sound of the muraja, another type of drum. To these musical vibrations, the auspicious sound of the conchshell would be added. The professional singers called sūtas and māgadhas would sing, and others would perform their dancing art. In this way, as devotees, they would offer respectful prayers to the Supreme Personality of Godhead.

Krsna Book 75:

When Duryodhana saw that Mahārāja Yudhiṣṭhira had become very famous after performing the Rājasūya-yajña and was fully satisfied in every respect, he began to burn with the fire of envy because his mind was always poisonous. For one thing, he envied the imperial palace constructed by the demon Maya for the Pāṇḍavas. The palace was excellent in its puzzling artistic workmanship and was befitting the position of great princes, kings or leaders of the demons. In that great palace, the Pāṇḍavas lived with their family members, and Queen Draupadī served her husbands very peacefully. And because in those days Lord Kṛṣṇa was also there, the palace was also decorated by His thousands of queens. When the queens, with their heavy breasts and thin waists, moved within the palace and their ankle bells rang very melodiously with their movement, the whole palace appeared more opulent than the heavenly kingdom.

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.

Renunciation Through Wisdom

Renunciation Through Wisdom 5.1:

I worship Govinda, the primeval Lord, residing in His own realm, Goloka, with Rādhā, resembling His own spiritual figure, the embodiment of the ecstatic potency possessed of the sixty-four artistic activities, in the company of Her confidantes (sakhīs), embodiments of the extensions of Her bodily form, permeated and vitalized by His ever-blissful spiritual rasa.

Lowest of all is located Devī-dhāma (mundane world), next above it is Maheśa-dhāma (abode of Maheśa); above Maheśa-dhāma is placed Hari-dhāma (abode of Hari) and above them all is located Kṛṣṇa's own realm named Goloka. I adore the primeval Lord Govinda, who has allotted their respective authorities to the rulers of those graded realms.