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How does one depict the idea that God is within, and without, us, in a painting?

Perhaps the best answer to this question comes from this painting – the Three Aspects of the Absolute, from the Shri Nath Charit, the definitive text of the Nath yogis or ascetics.

In 1823, the painter - Bulaki achieves this through a triptych.

The first shows a shimmering sea of yellow-gold, meant to depict the formless Absolute itself, eternal and ‘self-luminous.’ The second shows a siddha or a self-realized Nath yogic master, the Absolute in human form, floating in the nothingness of cosmic divinity, a glowing halo around him, and the third is the ‘grounding’ so to speak, of the master, a connection of earth, as shown in the grey ground in which he is now located, the appearance as it were of human consciousness.

The yellow-golden, shimmering divine consciousness flows from one panel to another in a sweep that suggests the idea of divine omniscience.

This painting is perhaps one of the most evolved artistic expressions of the idea of God.

Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823

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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Canvas Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Canvas Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Canvas Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Canvas Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Canvas Framed Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Canvas Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Canvas Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Canvas Framed Print
Framed • 18x7 inches

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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Canvas Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Canvas Framed Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Canvas Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Canvas Framed Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Framed Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Framed Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Framed Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Large Canvas Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Large Canvas Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Large Canvas Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Large Framed Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Large Framed Print
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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Large Canvas Print
Wrapped • 24x60 inches

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Three Aspects Of The Absolute From A Manuscript Of The Nath Charit, 1823 Large Framed Print
Framed With Mat • 24x60 inches

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How does one depict the idea that God is within, and without, us, in a painting? Perhaps the best answer to this question comes from this painting – the Three Aspects of the Absolute, from the Shri Nath Charit, the definitive text of the Nath yogis or ascetics. In 1823, the painter - Bulaki achieves this through a triptych. The first shows a shimmering sea of yellow-gold, meant to depict the formless Absolute itself, eternal and ‘self-luminous.’ The second shows a siddha or a self-realized Nath yogic master, the Absolute in human form, floating in the nothingness of cosmic divinity, a glowing halo around him, and the third is the ‘grounding’ so to speak, of the master, a connection of earth, as shown in the grey ground in which he is now located, the appearance as it were of human consciousness. The yellow-golden, shimmering divine consciousness flows from one panel to another in a sweep that suggests the idea of divine omniscience. This painting is perhaps one of the most evolved artistic expressions of the idea of God.

Bulaki tackled the concept of a formless, timeless, and luminous essence, which is the basis of the universe in many Hindu traditions. Bulaki portrayed the emergence of all matter and being sequentially by dividing the page into three panels, first on the left representing the absolute as a field of solid, unmodulated gold, a minimal abstraction unprecedented in Indian art.   The second phase conveys bliss—shown as a Nath yogi—and is the first manifestation of the universe as form (or matter). The third stage of creation is vast, cosmic waters, which Bulaki depicted as a silver river flowing from the body of a Nath yogi.

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