The picture of the world in our minds as a bounded circle is what could be said to be mystical. It appears that early on in at least this civilization of several over-lapping layers the deeply seeing seer-eyes gave birth to the yantras and the mandalas and other signs and symbols of potent power. The function of these yantras and mandalas (and the mantras that verbally spelled them out.
Was two fold: on the one hand the penetration into such a sacred space was an initiation of ones soul. And on the other had the yantras and the mandalas were to protect the neophytes against every harmful force from without while at the same time helping them concentrate and find their center. often the sacred space was in the genuinely consecrated temple. And this a point of enormous force.
Tanaji Awaghade from Maharashtra is well versed in the long lasting, ancient, intuited system that could be dubbed as the 'technology of the soul;' a spiritual technology harnessing the wayward mind as the unruly senses by being attuned to that Whole of which we are particles. Today's humanity in every country is largely innocent, or call it ignorant, of all such knowledge, a knowledge which finally brings in us an enlightenment, call it a liberation, from our ignorance. This artist knows the overarching reality which we inhabit inside out. And by plying his brush he gives it fabulous forms.
The magnetic energy of a cosmic space that stirs our minds, energizes our imagination.
Now Tanaji, like a few others before his time, is so very naturally rooted in his craft, as much as in the lore of a rich culture as to embody a spiritual quality in the eternal symbolic forms. His oval egg symbolizing the spinning universe as also the incandescent consciousness. These metaphysical concepts are geometric in nature but they are infused with a pulsating core that startles the viewers' eyes. The best of this spirit-ringed.
Art is only possible if the crafter is an initiate, so as to carry true conviction.
As artist Tanaji has this attitude in plenty; you see it in the choicest of his compositions as much as when one speaks with him. His total immersion in what he paints is complete, quite unlike those whose lives and their an are poles apart. Tanaji on the other hand 'lives' his actions as much as he does his craft in line with the great artistic traditions of the past. So in him body and spirit are in unison. In him the subjective and the objective cannot be told apart. The artist is not indulging in fantasies, but is in full rapport with the face and form of an invisible but yet felt reality. He gives dry, conceptual thought an imaginative map of life; an anchor to consciousness in the scheme of things. All artists in his line of work must do so and thus they remind us over and over of the light everlasting; the light from the metaphysical realm. It is this way the truth of existence comes to us: in a blinding flash. Tanaji's an is thereby the total him. The expression being of an unwordable faith.
And if it has to do with energy it is not in its mundane forms. He adumbrates the powerhouse of the cosmos, as of the consciousness: a point of light gravitating around the greater light pulsating from the immaterial but inexhaustible universal source.
In sum, Tanaji's work seeks to express the fascinating bond between the microcosm and the macrocosm in symbolic terms. He achieves this through the fundamental relationship of the point and the circle in painstakingly executed geometric patterns. His work, as of some others in the genre, are of rigorous simplicity, full of meaning for those who look beyond the parameters of a pragmatic, mentally too fragmented world, in search of light, more light, not else.
