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Bhagat Singh’s newest Fantasy Painting called – ‘Blind Chakram on Howdah’ – is a story of two Nihangs defending their Temple from blood-thirsty demons, storming through the demon hordes atop their enraged four-tusked elephant.

The main character, the wise Chakram is the one riding on the elephant’s back, in the wooden structure known as the Howdah. Behind him you can see the Temple and surrounding city under siege. The buildings are being destroyed and civilians murdered. Amongst this chaos, our Nihang hero Chakram, his Nihang partner, and his four-tusked elephant storm through the demon front lines. His elephant stomps through the horned beasts filled with rage, in a dynamic scene, while his Nihang partner impales a demon with his spear.

Chakram is blind himself and relies solely on his faith, his inner sight to guide his attacks. His tall turban serves as a high-reaching lightning rod that helps him to channel the immense power of the roaring heavens. Suddenly, in a quick flash of insight, the lightning strikes his turban and empowers him. He creates a sharp ring, known as a chakram, out of the lightning and then fires it on to the oncoming army.

‘Blind Chakram on Howdah’ is the newest paintings in a series of Sikh Fantasy Paintings by the artist Bhagat Singh. While its content is imaginary, the painting is based on spiritual ideas. It is a spiritual puzzle that is meant to be solved by the viewer.

Gallery of Sikh Fantasy Artwork »

“With my eyes I look, and I see none other than Hari. My eyes are lovingly fixated, and I cannot speak of anything else.”

– Guru Angad Dev ji (Guru Granth Sahib, 655)

Pita Mehta Kalu ji looks at newly born Baby Nanak’s face, in a peaceful and serene trance state, holding him in his hands for the first time. In this painting, I wanted to paint a portrait of Mehta Kalu ji, keeping the main focus on Pita ji, while also showing the light of Guru Nanak Dev ji and his divine arrival on earth.

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Artist’s Notes

Father’s Amazement
One the of issues I was facing when painting this portrait was the identity of Pita Kalu ji. How would I paint a portrait of him and immediately have everyone know it is Mehta Kalu ji and not someone else? How would people identify him?

So I kept this question in my heart and I meditated as usual.

After several days I received my answer. As I was lying in bed, about to sleep, I had this scene of the painting come into my mind. It came to my mind, as a whole, a complete scene. In the scene, I saw Pita Kalu ji holding baby Nanak in his hands. There was no light anywhere. The only thing illuminating Pita ji was Guru Sahib himself. Guru Sahib was hidden but his light emanated from his face and lit up the room along with his father. In this manner, Guru Sahib guided me to work on this painting. Granting me the Amogh Darshan of what he wanted, all at once, such is his kindness.

Non-Dual Oneness
Guru sahib believed in the philosophy of what is known today as Vishisht Advait, meaning Non-Dual Oneness, so holds up one finger. As Ravidas ji explains –
ਤੋਹੀ ਮੋਹੀ ਮੋਹੀ ਤੋਹੀ ਅੰਤਰੁ ਕੈਸਾ ॥ ਕਨਕ ਕਟਿਕ ਜਲ ਤਰੰਗ ਜੈਸਾ ॥੧॥
You, Me, Me, You, what is the difference? The difference is like Gold and Jewellery, like Water and Waves.

Ravidas ji says – Hey Ram! You and I, we are different but one.

Baby Nanak holds up one finger as a symbol of this state of consciousness, that is non-dual oneness, that he comes to experience and share with us later in his life.

Father’s Embrace
In addition to Non-Dual Oneness, Guru Sahib preached hard work, dasan nowan di krit, work that has been done by your hands, your ten fingers. There’s a lot to be said as to why he taught it. However, in this painting I wanted to show that Mehta Kalu ji, was a hard-worker. His hands are that of a working man, who wanted to instill these ideals in his son, through whatever methods he knew, stern or otherwise.

So Pita ji’s embrace was important to show. Kalu ji holds Guru Sahib with his hands. These are the hands that helped shape Guru Sahib into the trader, the traveller and the disciplined man, just like his father. You and me, me and you; we are one, not just two.

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“The government officials are like deer and falcons, they are known to be trained and intelligent. But their training and intelligence is actually a trap with which they trap their own kind; hereafter they will find no place of rest.”

– Guru Nanak Dev ji (Guru Granth Sahib, 1288)

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Artist’s Notes

In this painting, Sant Jarnail Singh ji Bhindranwale defends against the attacks by the Indian army, who had brought in tanks in order to break through the fortifications put up by Sant Jarnail Singh ji. It was a tragic event that occured in June 1984, where many lost their lives, including the innocent pilgrims who had gathered at the temple to celebrate Guru Arjun Dev ji’s martyrdom.

Sometimes called the Akal Boonga, the Akal Takht in Amritsar, Punjab, had been built opposite to the Harimandir Sahib to hold congregations. It had become the Sikh centre of authority during the times of the sixth Guru. In those times, Akal Takht was a single-storey building that housed an eleven feet tall platform on which Guru Hari Gobind ji sat and held his court. However centuries after, under Maharaja Ranjit Singh ji, this gathering place was made into a five story tall building in the style of Mughal architecture.

In 1984, Sant ji had fortified the Akal Takht and had made it his base of operations. Feeling compelled to capture him, the Indian army attacked him at the Akal Takht. First with soldiers but when that failed they brought in a tank to blow the strong defence put up by Sant ji. The heavy fire power brutally damaged the Akal Takht, which caught in the crossfire between the two sides. It had to be rebuilt due to the heavy damage. The Indian government rebuilt the Akal Takht however tension ensued and some Sikhs demolished the structure and rebuilt it again in 1986.

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The body is Hari Mandir, the temple of Hari. He created it and dwells within it. Through the Guru’s teachings, those who connect to Hari within, are merged into him.

Bhagat’s spiritual painting depicts the radiant Golden Temple under the bright full moon and cool night sky. Amongst the hustle and bustle of the impatient crowd, there is one sikh who sits apart, in eternal patience. The people are giving importance to getting into the temple, whereas this man gives importance to what the temple stands for.

In front of the Harmandir Sahib, the man sits in deep meditation absorbing the scene and becoming one with it. He watches Hari’s hukam in action, and intuitively enters a peaceful state. He remains near the edge of the hukam as he sits at the edge of the pool and the steps.

We know the Golden Temple in Amritsar, Punjab as Hari Mandir, more commonly as Harmandir Sahib, however in Guru Granth Sahib, it is the body that is referred to as Hari Mandir. So you could say this painting actually shows two Hari Mandirs.

In Guru Granth Sahib, 1059, Guru Amar Das ji says –

ਕਾਇਆ ਹਰਿ ਮੰਦਰੁ ਹਰਿ ਆਪਿ ਸਵਾਰੇ ॥ ਤਿਸੁ ਵਿਚਿ ਹਰਿ ਜੀਉ ਵਸੈ ਮੁਰਾਰੇ ॥ ਗੁਰ ਕੈ ਸਬਦਿ ਵਣਜਨਿ ਵਾਪਾਰੀ ਨਦਰੀ ਆਪਿ ਮਿਲਾਇਦਾ ॥੪॥
The body is Hari Mandir, the temple of Hari. He created it and dwells within it. Through the Guru’s teachings, those who connect to Hari within, are merged into him.

The body itself becomes Hari Mandir when Hari comes to reside. And Hari fully comes to reside in the body only when the mind recognizes the Hukam taking place. In this manner, the spiritually exalted man meditates on the edge between past and future, on that which is happening right now, the Hukam of Hari.

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