The artist behind Ayodhya Ram Temple's hall on being a keeper of culture

How many of you have visited the new Ayodhya temple? The ongoing construction, featuring intricate depictions of the Ramayana in its Shri Ram Darbar Hall, isnt just about architecture. Its about physically manifesting the very heart of Indian cultural identity: bhakti (devotion). I recently had the chance to catch the perspective of artist Vasudeo Kamath, known for his deep involvement, composing 85 episodes for the Darbar Hall. His approach highlights how genuine artistic interpretation can offer insights far beyond initial impressions. Vasudeo is a contemporary visual artist who engages with texts and immerses himself in this wisdom, bringing out evocative depictions of mythological themes from his own personal revelations. One of his self-portraits is very popular because it aligns with the profound account of Hanuman tearing his chest to reveal the image of Rama within. In another work, he shows Hanuman ushering a toddler into the textual tradition. At first glance, while the sentiment of bhakti is obvious, a deeper appreciation of the skill and thought involved reveals the artists true intent. When you pause and look closer, you might ask: Did he use Hanuman merely as a symbol of devotion, or did he want to catch the eye of Hanumans countless followers? Was he searching for a glimpse of the divine through the idea of Rama, or is he suggesting that we, too, can find Rama as he did? Vasudeo Kamath has contributed 85 episodes of Ramayana for the Shri Ram Darbar Hall in the new Ayodhya temple On his personal journey, Vasudeo shared, I established myself as an artist initially through portraits and landscape works. Realism came naturally to me; I was blessed with that talent. However, the stories my grandmother told me during my childhood had a profound impact. In fact, it is due to the insights from the story of the little squirrel the one that contributed to building the sethu (bridge) to Lanka that I began to use a small squirrel as a signature in many of my Ramayana works. By incorporating this motif, Vasudeo subtly suggests that his artistic efforts, however grand they may appear, are ultimately his humble offering, acting as a bridge between text and tradition. On whether he uses mythology to convey social norms, he shared a powerful response, My first work in the Ramayana began with an imagery of a self-portrait painting the subject through the unconditional love and loyalty of Hanuman for Sri Rama. I definitely enjoy reinterpreting the stories, presenting them with a personal touch, as they have offered me life lessons. Having said that, in some of my other works, I also want to initiate a conversation on contemporary social problems. My paintings of Janaka finding Sita from the dirt have a very strong feminine undertone. Through the portrayal of Ahalya, I wanted to initiate a discourse on social right and wrong. Curse and Redemption A deeper seeing of his work will highlight a resplendent Janaka gently handling Sita with an act of unconditional love and acceptance; the artist deftly contrasts it with the harsh realities faced by women in society. This reinterpretation does not alter the original story but rather brings its underlying values of compassion and respect to the forefront, making them relevant to modern discussions of gender equality. Similarly, his depiction of Sri Rama offering flowers to the stone Ahalya initiates a dialogue on justice and redemption. This delicate change in how it is portrayed immediately prompts the onlooker to think differently and invites them to re-engage. Overall, what is truly commendable about Vasudeo is that he achieves all this while maintaining respect for the original creator of the text, which is a testament to his skill and his informed understanding of the tradition. He is neither appropriating nor distorting the narratives but rather drawing out their inherent potential for social commentary and moral reflection. Soil and substance The threat of distorted interpretations While there are many visual artists like Vasudeo from traditional and contemporary disciplines who demonstrate an informed and respectful approach to re-interpreting Indian epics and mythology, there are also fringe segments within academia and popular culture who are dramatically contrasting in their approach. No doubt, different interpretations and perspectives are a natural part of academic rigour. Here is where it is best advisable for academics not initiated in oral traditions to tread carefully and be mindful such that the sentiment and intent of the original author is retained while reinterpreting. After all, bhakti is a profound, complex sentiment that serves as the underlying current binding Indias civilisational pillars the theories of justice, goodness, and beauty, including liberation. It manifests sometimes as pure devotion, sometimes as love, a combination of dedication and discipline, and many times as an unwavering faith. The layering of this sentiment as a guiding force for socio-politics, socio-economics, socio-cultural, and socio-religious life is also why it can deliver both divine justice and poetic justice so effortlessly. It is this core aspect of the sentiment that is sadly missed or intentionally overlooked by interpretations that prioritise an agenda over authentic engagement. Bhakti, gatekeeper of oral traditions Ultimately, appreciating the depth and meaning of bhakti through temple art and the work of artists like Vasudeo Kamath reveals a multifaceted sentiment that is deeply personal yet universally resonant. It is a sentiment that binds individuals to their cultural heritage, inspires ethical reflection, and finds expression in creative endeavours. The careful and authentic absorption of this sentiment, if not through traditional texts, at least from Indic art, serves as a vital means of keeping the civilisational undercurrent alive, ensuring that the wisdom and beauty of these ancient stories continue to inform and enrich contemporary life.