Bhagavad Gita Art Collection
The Essential 18
Eighteen chapters. Eighteen carefully chosen verses.
One visual conversation with the Bhagavad Gita.
Available soon
Bhagavad Gita 1.30
The Quiet
Fault
A moment before certainty. Cool stone holds a fine fracture of light, while the words remain steady.
Arjuna describes the loss of his physical and mental steadiness. His question comes before Krishna’s teaching.
Text, context & sources
गाण्डीवं स्रंसते हस्तात्त्वक्चैव परिदह्यते ।
न च शक्नोम्यवस्थातुं भ्रमतीव च मे मनः ॥ ३० ॥
Gandiva slips from my hand and my skin burns. I cannot remain standing; my mind seems to reel.
Original King of Dwarka English rendering
gāṇḍīvaṃ sraṃsate hastāttvakcaiva paridahyatena ca śaknomyavasthātuṃ bhramatīva ca me manaḥ
Arjuna describes the loss of his physical and mental steadiness. His question comes before Krishna’s teaching.
Gandiva is Arjuna’s bow. The complete verse follows the existing King of Dwarka edition. Both Sanskrit Documents and the scholarly Bhagavadgita.eu witness preserve this passage as 1.30; some other editions divide nearby Chapter 1 verses differently.
The complete verse, reference and transliteration were checked against two independent textual witnesses. The English preserves King of Dwarka’s established rendering.
Read within the chapterBhagavad Gita 2.47
Sculpted
Radiance
An ivory surface shaped by light. Quiet folds gather around the verse, giving its words a place to rest.
Krishna teaches Arjuna to act with sincerity while releasing attachment to the fruits of action: responsibility without possession, effort without anxiety over reward.
Text, context & sources
कर्मण्येवाधिकारस्ते मा फलेषु कदाचन ।
मा कर्मफलहेतुर्भूर्मा ते सङ्गोऽस्त्वकर्मणि ॥ ४७ ॥
Your responsibility is for action alone, never for its fruits. Do not make the fruit of action your motive, and do not become attached to inaction.
Original King of Dwarka English rendering
karmaṇy evādhikāras temā phaleṣu kadācanamā karma-phala-hetur bhūrmā te saṅgo ’stv akarmaṇi
Krishna speaks to Arjuna in the second chapter, on action, its fruits and the temptation to withdraw from action.
Adhikāra can mean right, entitlement or sphere of responsibility. The English here preserves King of Dwarka’s established choice of “responsibility”. The phrase concerning the fruit of action permits readings about both cause and motive; this rendering follows the motive-oriented reading.
The final instruction is equally important: do not become attached to inaction. The verse is not a claim that consequences do not matter.
The complete Sanskrit was checked against Vedabase and Sanskrit Documents, including matras, conjuncts, sandhi, punctuation and verse reference. The witnesses agree on the verse; their printed number format differs.
- Vedabase · Bhagavad-gītā 2.47
- Sanskrit Documents · Chapter 2, verse 47
- Bhagavadgita.eu · Syntax and grammar of 2.47
The supporting grammar and the existing King of Dwarka reading notes were reviewed for meaning and context. The English is the site’s original rendering, not a reproduced modern translation. Every chapter artwork retains its own verified verse and source notes.
Read within the chapterBhagavad Gita 3.19
Unbroken
Current
A continuous form, quietly in motion. Light follows its edge as action finds a direction without holding on.
Krishna asks Arjuna to perform the action that ought to be done, steadily and without attachment.
Text, context & sources
तस्मादसक्तः सततं कार्यं कर्म समाचर ।
असक्तो ह्याचरन्कर्म परमाप्नोति पूरुषः ॥ १९ ॥
Therefore, without attachment, continually carry out the action that ought to be done. For a person who acts without attachment reaches the highest.
Original King of Dwarka English rendering
tasmād asaktaḥ satataṃkāryaṃ karma samācaraasakto hy ācaran karmaparam āpnoti pūruṣaḥ
Krishna asks Arjuna to perform the action that ought to be done, steadily and without attachment.
“The highest” preserves the breadth of param. The verse calls for action without attachment, within a chapter concerned with duty and responsibility for the world.
The complete verse, reference and transliteration were checked against two independent textual witnesses. The English preserves King of Dwarka’s established rendering.
Read within the chapterBhagavad Gita 4.38
An Inner
Dawn
Light gathered inward. A limestone recess opens around the verse, holding the quiet arrival of understanding.
Krishna speaks of knowledge as a purifier, discovered within through a practice that matures over time.
Text, context & sources
न हि ज्ञानेन सदृशं पवित्रमिह विद्यते ।
तत्स्वयं योगसंसिद्धः कालेनात्मनि विन्दति ॥ ३८ ॥
Nothing here purifies as knowledge does. One matured through yoga discovers it in the self in time.
Original King of Dwarka English rendering
na hi jñānena sadṛśaṃ pavitramiha vidyatetatsvayaṃ yogasaṃsiddhaḥ kālenātmani vindati
Krishna speaks of knowledge as a purifier, discovered within through a practice that matures over time.
The words “in time” matter. Knowledge is discovered within as practice matures; this is not a promise of instant transformation.
The complete verse, reference and transliteration were checked against two independent textual witnesses. The English preserves King of Dwarka’s established rendering.
Read within the chapterBhagavad Gita 5.11
The Poise
of Action
A measured surface, held in balance. One fine channel meets a broad stone ledge, giving action a quiet sense of direction.
Krishna describes action with body, mind, understanding and senses, relinquishing attachment for the purification of the self.
Text, context & sources
कायेन मनसा बुद्ध्या केवलैरिन्द्रियैरपि ।
योगिनः कर्म कुर्वन्ति सङ्गं त्यक्त्वात्मशुद्धये ॥ ११ ॥
Yogis act with body, mind, understanding, and even the senses alone, relinquishing attachment for the purification of the self.
Original King of Dwarka English rendering
kāyena manasā buddhyā kevalairindriyairapiyoginaḥ karma kurvanti saṅgaṃ tyaktvātmaśuddhaye
Krishna describes action with body, mind, understanding and senses, relinquishing attachment for the purification of the self.
The verse joins bodily action, thought, understanding and the senses to the relinquishment of attachment. “Alone” preserves the site’s reading of kevalaiḥ; other readings emphasize the senses as purified or free of possessiveness.
The complete Sanskrit, reference and transliteration were checked against two independent textual witnesses. The English preserves King of Dwarka’s established rendering.
Read within the chapterBhagavad Gita 6.26
The Returning
Quiet
A still place to return to. Opposing mineral contours soften around the words, settling into a wide, quiet centre.
Krishna teaches the repeated return of the wandering mind to the self, within a sustained account of meditation and disciplined attention.
Text, context & sources
यतो यतो निश्चरति मनश्चञ्चलमस्थिरम् ।
ततस्ततो नियम्यैतदात्मन्येव वशं नयेत् ॥ २६ ॥
Wherever the restless and unsteady mind wanders, restraining it from there, one should bring it under control in the self.
Original King of Dwarka English rendering
yato yato niścaratimanaś cañcalam asthiramtatas tato niyamyaitadātmany eva vaśaṃ nayet
Krishna teaches the repeated return of the wandering mind to the self, within a sustained account of meditation and disciplined attention.
The repeated “wherever” and “from there” make returning part of the practice. This edition preserves niścarati, “wanders out”, supported by both textual witnesses. Other editions read niścalati; the scholarly source records this variant.
The complete Sanskrit, reference and transliteration were checked against two independent textual witnesses. The English preserves King of Dwarka’s established rendering.
Read within the chapterBhagavad Gita 7.7
The Unseen
Thread
Separate planes, one continuity. A fine line of light reveals the depth beneath a midnight surface.
Krishna describes himself as the highest ground of existence, upon whom all is strung like gems on a thread. Dhananjaya is a name of Arjuna.
Text, context & sources
मत्तः परतरं नान्यत्किञ्चिदस्ति धनञ्जय ।
मयि सर्वमिदं प्रोतं सूत्रे मणिगणा इव ॥ ७ ॥
There is nothing whatsoever higher than me, Dhananjaya. All this is strung upon me as gems are strung upon a thread.
Original King of Dwarka English rendering
mattaḥ parataraṃ nānyatkiñcidasti dhanañjayamayi sarvamidaṃ protaṃ sūtre maṇigaṇā iva
Krishna describes himself as the highest ground of existence, upon whom all is strung like gems on a thread. Dhananjaya is a name of Arjuna.
“Me” refers to Krishna, who is speaking to Arjuna. The gems and thread express the relation between the many forms of existence and their sustaining ground, within this chapter’s teaching on knowledge of Krishna.
The complete Sanskrit, reference and transliteration were checked against two independent textual witnesses. The English preserves King of Dwarka’s established rendering.
Read within the chapterBhagavad Gita 8.7
The Abiding
Horizon
A horizon held through changing depths. Quiet layers of indigo gather beneath the words, carrying a fine continuity of light.
Krishna asks Arjuna to remember him at all times while fulfilling his duty. Mind and understanding are offered to Krishna, so remembrance continues within action rather than apart from it.
Text, context & sources
तस्मात्सर्वेषु कालेषु मामनुस्मर युध्य च ।
मय्यर्पितमनोबुद्धिर्मामेवैष्यस्यसंशयः ॥ ७ ॥
Therefore remember me at every moment, and fight. With mind and understanding offered to me, you will come to me alone, without doubt.
Original King of Dwarka English rendering
tasmātsarveṣu kāleṣu māmanusmara yudhya camayyarpitamanobuddhirmāmevaiṣyasyasaṃśayaḥ
Krishna asks Arjuna to remember him at all times while fulfilling his duty. Mind and understanding are offered to Krishna, so remembrance continues within action rather than apart from it.
This instruction follows the teaching on remembrance at death. Krishna extends remembrance to every moment while retaining Arjuna’s responsibility in the dialogue. The words “and fight” address Arjuna in that setting.
The complete Sanskrit, reference and transliteration were checked against two independent textual witnesses. The English preserves King of Dwarka’s established rendering.
Read within the chapterBhagavad Gita 9.26
The Nearness
of Offering
Warm stone opens around a quiet centre. A soft hollow of light gives a simple offering the dignity of being received.
Krishna receives even a leaf, a flower, a fruit or water when it is offered with devotion. The verse gives weight to the devotion of the giver, rather than the wealth of the gift.
Text, context & sources
पत्रं पुष्पं फलं तोयं यो मे भक्त्या प्रयच्छति ।
तदहं भक्त्युपहृतमश्नामि प्रयतात्मनः ॥ २६ ॥
When someone offers me a leaf, a flower, a fruit, or water with devotion, I receive that devoted offering from the person of a disciplined heart.
Original King of Dwarka English rendering
patraṃ puṣpaṃ phalaṃ toyaṃ yo me bhaktyā prayacchatitadahaṃ bhaktyupahṛtamaśnāmi prayatātmanaḥ
Krishna receives even a leaf, a flower, a fruit or water when it is offered with devotion. The verse gives weight to the devotion of the giver, rather than the wealth of the gift.
Bhaktyā means “with devotion”. The receiving of the offering is the centre of this verse; the following verse extends the act of offering to the activities of daily life. “A disciplined heart” preserves the established rendering of prayatātmanaḥ.
The complete Sanskrit, reference and transliteration were checked against two independent textual witnesses. The English preserves King of Dwarka’s established rendering.
Read within the chapterBhagavad Gita 10.41
A Measure
of Splendour
A quiet radiance opens into breadth. Carved planes carry light outward, while the words remain gathered at the centre.
Krishna asks Arjuna to recognize every manifestation of magnificence, beauty and strength as arising from a portion of his radiance. The world’s splendour points beyond itself.
Text, context & sources
यद्यद्विभूतिमत्सत्त्वं श्रीमदूर्जितमेव वा ।
तत्तदेवावगच्छ त्वं मम तेजोऽंशसम्भवम् ॥ ४१ ॥
Whatever being possesses magnificence, beauty, or strength, understand it to arise from a portion of my radiance.
Original King of Dwarka English rendering
yadyadvibhūtimatsattvaṃ śrīmadūrjitameva vātattadevāvagaccha tvaṃ mama tejo’ṃśasambhavam
Krishna asks Arjuna to recognize every manifestation of magnificence, beauty and strength as arising from a portion of his radiance. The world’s splendour points beyond itself.
After the many manifestations named in this chapter, Krishna offers a principle for recognizing splendour wherever it appears. Tejo’ṃśa joins radiance with a portion or share; the verse does not confine that presence to a list of particular objects.
The complete Sanskrit, reference and transliteration were checked against two independent textual witnesses. The English preserves King of Dwarka’s established rendering.
- Arsha Bodha Center · Chapter 10, page 11 · Bhagavad Gita 10.41
- Prabhupada Books · Bhagavad Gita 10.41
- Bhagavadgita.eu · Text and grammar of 10.41
Bhagavad Gita 11.16
Beyond
All Measure
A depth without an obvious end. Midnight planes recede beyond the frame, interrupted by narrow seams of light.
Arjuna addresses Krishna as the Lord of the universe, seeing neither beginning, middle nor end in the revealed form. The verse gives voice to his awe before a vision beyond ordinary measure.
Text, context & sources
अनेकबाहूदरवक्त्रनेत्रं
पश्यामि त्वां सर्वतोऽनन्तरूपम् ।
नान्तं न मध्यं न पुनस्तवादिं
पश्यामि विश्वेश्वर विश्वरूप ॥ १६ ॥
I see you everywhere in endless forms, with many arms, bellies, mouths, and eyes. I see neither your end nor your middle nor your beginning, Lord of the universe, whose form is the universe.
Original King of Dwarka English rendering
anekabāhūdaravaktranetraṃpaśyāmi tvāṃ sarvato’nantarūpamnāntaṃ na madhyaṃ na punastavādiṃpaśyāmi viśveśvara viśvarūpa
Arjuna addresses Krishna as the Lord of the universe, seeing neither beginning, middle nor end in the revealed form. The verse gives voice to his awe before a vision beyond ordinary measure.
Arjuna is the speaker here. He addresses Krishna after receiving the vision of the universal form. The absence of beginning, middle and end describes the limit of Arjuna’s perception within that revelation.
The complete Sanskrit, reference and transliteration were checked against two independent textual witnesses. The English preserves King of Dwarka’s established rendering.
Read within the chapterBhagavad Gita 12.15
A Gentle
Steadiness
Quiet warmth, held in balance. Fine layers of ivory settle around an open centre, giving gentleness a steady presence.
Krishna describes a devotee who neither troubles the world nor is unsettled by it, free from elation, resentment, fear and agitation. Such a person, he says, is dear to him.
Text, context & sources
यस्मान्नोद्विजते लोको लोकान्नोद्विजते च यः ।
हर्षामर्षभयोद्वेगैर्मुक्तो यः स च मे प्रियः ॥ १५ ॥
One who does not disturb the world and is not disturbed by it, who is free from elation, resentment, fear, and agitation, is also dear to me.
Original King of Dwarka English rendering
yasmānnodvijate loko lokānnodvijate ca yaḥharṣāmarṣabhayodvegairmukto yaḥ sa ca me priyaḥ
Krishna describes a devotee who neither troubles the world nor is unsettled by it, free from elation, resentment, fear and agitation. Such a person, he says, is dear to him.
This verse belongs to Krishna’s description of the qualities of a dear devotee. Amarṣa carries the sense of resentment or intolerance; freedom from agitation is expressed alongside care in one’s relation to the world.
The complete Sanskrit, reference and transliteration were checked against two independent textual witnesses. The English preserves King of Dwarka’s established rendering.
Read within the chapterBhagavad Gita 13.3
The Knowing
Field
Light pauses at the edge of pale stone. A second plane sits just beneath it, making depth visible through a quiet change of tone.
Krishna asks Arjuna to know him as the knower in every field. He names knowledge of the field and its knower as knowledge itself, extending the distinction introduced at the chapter’s opening.
Text, context & sources
क्षेत्रज्ञं चापि मां विद्धि सर्वक्षेत्रेषु भारत ।
क्षेत्रक्षेत्रज्ञयोर्ज्ञानं यत्तज्ज्ञानं मतं मम ॥ ३ ॥
Know me also as the knower in every field, descendant of Bharata. Knowledge of the field and its knower is what I regard as knowledge.
Original King of Dwarka English rendering
kṣetrajñaṃ cāpi māṃ viddhi sarvakṣetreṣu bhāratakṣetrakṣetrajñayorjñānaṃ yattajjñānaṃ mataṃ mama
Krishna asks Arjuna to know him as the knower in every field. He names knowledge of the field and its knower as knowledge itself, extending the distinction introduced at the chapter’s opening.
This edition includes Arjuna’s opening question and numbers the passage 13.3, as do both linked Sanskrit witnesses. Editions that omit that question may number the same passage 13.2. The field and its knower continue the distinction introduced in the preceding verse.
The complete Sanskrit, reference and transliteration were checked against two independent textual witnesses. The English preserves King of Dwarka’s established rendering.
Read within the chapterBhagavad Gita 14.19
The Still
Witness
Pearl and burnished stone meet a deep, still surface. Three distinct materials hold their tension around an unbroken centre.
Krishna describes the seer who recognizes the qualities as the agents of action and knows what lies beyond them. This discernment leads beyond their changing influence toward his being.
Text, context & sources
नान्यं गुणेभ्यः कर्तारं यदा द्रष्टानुपश्यति ।
गुणेभ्यश्च परं वेत्ति मद्भावं सोऽधिगच्छति ॥ १९ ॥
When the seer recognizes no agent apart from the qualities and knows what is beyond the qualities, that seer reaches my being.
Original King of Dwarka English rendering
nānyaṃ guṇebhyaḥ kartāraṃ yadā draṣṭānupaśyatiguṇebhyaśca paraṃ vetti madbhāvaṃ so’dhigacchati
Krishna describes the seer who recognizes the qualities as the agents of action and knows what lies beyond them. This discernment leads beyond their changing influence toward his being.
The qualities are the three guṇas described throughout this chapter. The verse distinguishes their activity from what lies beyond them. “My being” preserves the openness of the established rendering of madbhāvam; traditions explain this relation in different ways.
The complete Sanskrit, reference and transliteration were checked against two independent textual witnesses. The English preserves King of Dwarka’s established rendering.
Read within the chapterBhagavad Gita 15.1
Rooted
Above
Weight gathers overhead, then opens into light. Suspended planes draw the eye toward an origin beyond the visible surface.
Krishna opens the chapter with the image of an enduring sacred fig tree: roots above, branches below, and Vedic verses as its leaves. The image introduces the inquiry into worldly entanglement, detachment and its source.
Text, context & sources
ऊर्ध्वमूलमधःशाखमश्वत्थं प्राहुरव्ययम् ।
छन्दांसि यस्य पर्णानि यस्तं वेद स वेदवित् ॥ १ ॥
Krishna said: They speak of an enduring sacred fig tree with roots above and branches below, whose leaves are the Vedic verses. One who knows this tree knows the Veda.
Original King of Dwarka English rendering
ūrdhvamūlamadhaḥśākhamaśvatthaṃ prāhuravyayamchandāṃsi yasya parṇāni yastaṃ veda sa vedavit
Krishna opens the chapter with the image of an enduring sacred fig tree: roots above, branches below, and Vedic verses as its leaves. The image introduces the inquiry into worldly entanglement, detachment and its source.
The speaker heading identifies Krishna. Aśvattha is the sacred fig; chandas refers here to the Vedic verses or metres. The tree image develops in the following verses, where Krishna turns to detachment and the search for its original source.
The complete Sanskrit, reference and transliteration were checked against two independent textual witnesses. The English preserves King of Dwarka’s established rendering.
- Sanskrit Documents · Bhagavad Gita 15.1
- Vedabase · Bhagavad Gita 15.1
- Bhagavadgita.eu · Text and grammar of 15.1
Bhagavad Gita 16.5
The Inner
Standard
A clear surface, held by exact edges. Cool stone catches a quiet light while darker joints give its stillness strength.
Krishna distinguishes the divine endowment, which leads toward liberation, from the demonic, which binds. He then reassures Arjuna that he is born to the divine endowment.
Text, context & sources
दैवी सम्पद्विमोक्षाय निबन्धायासुरी मता ।
मा शुचः सम्पदं दैवीमभिजातोऽसि पाण्डव ॥ ५ ॥
The divine endowment is held to lead to liberation, the demonic to bondage. Do not grieve, son of Pandu: you are born to the divine endowment.
Original King of Dwarka English rendering
daivī sampadvimokṣāya nibandhāyāsurī matāmā śucaḥ sampadaṃ daivīmabhijāto’si pāṇḍava
Krishna distinguishes the divine endowment, which leads toward liberation, from the demonic, which binds. He then reassures Arjuna that he is born to the divine endowment.
Sampad means an endowment or wealth of qualities. Following the qualities described in the opening verses, Krishna contrasts what frees with what binds, then reassures Arjuna. The words “son of Pandu” address Arjuna within that dialogue.
The complete Sanskrit, reference and transliteration were checked against two independent textual witnesses. The English preserves King of Dwarka’s established rendering.
Read within the chapterBhagavad Gita 17.3
The Substance
of Faith
Pale surfaces pass over one another, revealing a quieter tone beneath. Warm parchment holds the words in a light that feels inward and slowly discovered.
Krishna teaches that faith accords with a person’s inward constitution. It is an orientation of trust that shapes a life, not a claim that belief alone makes something true.
Text, context & sources
सत्त्वानुरूपा सर्वस्य श्रद्धा भवति भारत ।
श्रद्धामयोऽयं पुरुषो यो यच्छ्रद्धः स एव सः ॥ ३ ॥
Everyone's faith accords with their inward constitution, descendant of Bharata. A person is formed of faith: whatever their faith is, that they are.
Original King of Dwarka English rendering
sattvānurūpā sarvasya śraddhā bhavati bhārataśraddhāmayo’yaṃ puruṣo yo yacchraddhaḥ sa eva saḥ
Krishna teaches that faith accords with a person’s inward constitution. It is an orientation of trust that shapes a life, not a claim that belief alone makes something true.
Sattva here is read as inward constitution or disposition, within Krishna’s account of faith arising from one’s nature. Śraddhā concerns the trust that orients a life. This is not a promise that any strongly held belief becomes fact.
The complete Sanskrit, reference and transliteration were checked against two independent textual witnesses. The English preserves King of Dwarka’s established rendering.
- Sanskrit Documents · Bhagavad Gita 17.3
- Vedabase · Bhagavad Gita 17.3
- Bhagavadgita.eu · Text and grammar of 17.3
Bhagavad Gita 18.73
The Ground
of Resolve
Deep peacock planes gather around a luminous centre. Their separate edges come to rest in one calm field, giving light the weight of something settled.
At the close of Krishna’s teaching, Arjuna answers that his delusion and doubt have gone. Remembrance has returned through Krishna’s grace; he stands firm, ready to act.
Text, context & sources
नष्टो मोहः स्मृतिर्लब्धा त्वत्प्रसादान्मयाच्युत ।
स्थितोऽस्मि गतसन्देहः करिष्ये वचनं तव ॥ ७३ ॥
My delusion has gone; through your grace I have recovered remembrance, Achyuta. I stand firm, my doubt is gone. I will do as you say.
Original King of Dwarka English rendering
naṣṭo mohaḥ smṛtir labdhātvat-prasādān mayācyutasthito ’smi gata-sandehaḥkariṣye vacanaṃ tava
At the close of Krishna’s teaching, Arjuna answers that his delusion and doubt have gone. Remembrance has returned through Krishna’s grace; he stands firm, ready to act.
Arjuna speaks in answer to Krishna’s question in the preceding verse. Achyuta is his address to Krishna. Smṛti is rendered as remembrance; the declaration of recovered steadiness leads to a readiness to act. The separate speaker heading is अर्जुन उवाच ।
The complete Sanskrit, reference and transliteration were checked against two independent textual witnesses. The English preserves King of Dwarka’s established rendering.
- Sanskrit Documents · Bhagavad Gita 18.73
- Vedabase · Bhagavad Gita 18.73
- Bhagavadgita.eu · Text and grammar of 18.73
The collection
The text.
The space
to return to it.
Eighteen distinct collectible artworks. One coherent collection, with a carefully chosen verse from each chapter of the Bhagavad Gita.
Each piece begins with the source. The Sanskrit, its meaning and its place in the dialogue guide the composition. Typography and space give the words a lasting presence, allowing the teaching to retain its depth and quiet power.
Eighteen chapters. Eighteen individually art-directed works. Prepared as a complete digital print collection.
Made to live with
Words with presence.
Art with a place.
One work can hold a room. Several can form a conversation. The collection moves between ivory, stone and deep peacock, giving each chapter a world of its own.
Designed framing studies. Paper, printing and frames are not included. The artwork is preserved in its complete proportions.
What you receive
An edition,
considered in full.
Every chosen artwork arrives in four print families, accompanied by clear guidance for choosing a size and bringing it to paper.
The art
Embedded-font vector PDFs in 2:3, 3:4, 4:5 and A-Series. Crisp Sanskrit, refined English and the complete composition.
The guidance
A welcoming README and Print Size Guide, with practical dimensions, framing advice and a simple path from file to print.
The permission
A Personal Use License for printing, private display and reasonable non-commercial gifts of physical prints.
Choose your edition
A single connection.
Or the whole conversation.
Begin with the work that speaks to you, choose a personal group, or bring the complete collection together.
Regional prices · Purchase access coming soon
Choose an edition to see its artworks, formats and personal-use details in one place.
Purchase access coming soon. No order is placed.
Inside Collector’s Edition
A collection to keep.
A text to return to.
The complete art collection, accompanied by a considered publishing edition. Read every verse in context, stay with an original reflection, and carry the artworks onto your screens.
Explore Collector’s Edition ↗Complete Essential 18
The art, in full.
All eighteen artworks, seventy-two vector print PDFs, the Print Size Guide, README and Personal Use License.
₹12,999 IndiaUS $219.99 International
Collector’s Edition
The art. The words. The keepsakes.
Everything in Complete Essential 18, with a forty-page Collector’s Companion, a portfolio cover, personal collection certificate, fifty-four screen editions, collection gallery and reading index.
₹17,999 IndiaUS $299.99 International
Print sizes
The right proportion.
The complete work.
Choose the frame first, then its matching file. The original 3:4 artwork stays whole. The other formats add a warm ivory edition margin, with no cropping or stretching.
2:3
8 × 12 in · 12 × 18 in · 16 × 24 in · 20 × 30 in · 24 × 36 in
Supplied at 24 × 36 inches
3:4
9 × 12 in · 12 × 16 in · 18 × 24 in · 24 × 32 in
Supplied at 24 × 32 inches
4:5
8 × 10 in · 12 × 15 in · 16 × 20 in · 20 × 25 in
Supplied at 20 × 25 inches
A-Series
A5 · A4 · A3 · A2 · A1
Supplied at A1, 594 × 841 mm
A5 is intended for close viewing. A3 and larger give the words greater presence on a wall. The diagrams show page proportions, not actual size.
Open the Print Size Guide · PDFChoose your size
Match the frame’s print size or mat opening to the guide. Use the original PDF for the selected chapter and print family.
Work with a printer
Professional printing is recommended. Request proportional scaling, the complete page and a paper proof before the final print.
Give it room
Choose a frame and mat that preserve the text and maker’s mark. Screen, paper and ink can vary; champagne is printed colour, not foil.
Source & verification
The text is
part of the craft.
Each work belongs to one chapter and one selected verse of the Bhagavad Gita. The Sanskrit follows the collection’s established two-source verification process. The English is the approved King of Dwarka rendering.
Exact references, retained source notes and careful typography accompany the visual design. Open a chapter’s notes for the deeper reading.
Read the verse notes
The complete Sanskrit was checked against two independent textual witnesses for every chapter. The English is King of Dwarka’s original rendering. Existing textual and numbering distinctions remain explained with their verses.
Personal use
To keep.
To frame.
To give.
Personal printing and display are included, as are reasonable non-commercial gifts of physical prints. Digital files may not be shared or resold. Commercial use requires a separate license.
You may share a file privately with a printer solely to fulfil your permitted print request. Digital redistribution, resale, commercial use and tokenization require separate permission.
Read the Personal Use LicenseBefore your edition
A few thoughtful details.
Is this a physical print or a digital edition?
The Essential 18 is a digital art edition. Your chosen artwork or collection is supplied as print PDFs. Paper, printing, frames and physical delivery are not included.
Can I purchase it now?
Purchase access is coming soon. These are the approved India and International regional prices. You may explore the editions and build a selection; checkout and payments are not enabled.
What comes with each artwork?
Each artwork includes four print PDFs, one for each family: 2:3, 3:4, 4:5 and A-Series. A Print Size Guide, README and Personal Use License accompany the package.
How do Choose Any 3 and Choose Any 6 work?
Select three or six distinct chapter artworks from the collection. Every selected work includes the same four print families. The current selection tool is a preview only; it does not place an order or reserve an edition.
Which file should I print?
Match your frame’s print size to the Print Size Guide. For example, use 2:3 for 12 × 18 inches, 3:4 for 12 × 16 inches, 4:5 for 16 × 20 inches, and A-Series for A3. Ask your printer to keep the complete page and its proportions.
Why do some files have ivory margins?
The original artworks use a 3:4 proportion. The other print families add a warm ivory edition margin around the unchanged composition, allowing it to sit naturally in a different frame shape. Nothing is stretched or cropped.
Can I print A5, A4, A3, A2 or A1?
Yes. The A-Series file is an A1 PDF designed to scale proportionally to A5, A4, A3 and A2. Choose the required A paper size and Fit, keeping the entire page visible. A5 is best for close viewing; larger formats give the typography more presence on a wall.
Will the colours match my screen?
Paper, ink, lighting and screen settings can change how colour appears. Ask a professional printer for a proof on your chosen paper. Champagne details are printed colour, not metallic foil, and sculptural effects remain part of the flat image.
Can I give an artwork as a gift?
You may give a reasonable number of physical prints as non-commercial gifts. Keep the digital files and download access private. The recipient receives the physical print, not permission to reproduce or sell it.
Can I use a professional print service?
Yes. You may send the selected file privately to a printer solely to fulfil your permitted personal printing request. The printer may not reuse the artwork or sell copies to others.
How is the verse text treated?
Each chapter artwork uses its selected Bhagavad Gita verse, with Sanskrit checked through the established two-source process and an approved King of Dwarka English rendering. The collection’s verse references and deeper source notes remain available for reading.
What does Collector’s Edition add?
Everything in Complete Essential 18, plus a forty-page Collector’s Companion with original reflections for every verse, a portfolio cover, a personal collection certificate, 54 desktop, tablet and phone screen editions, a collection gallery and a reading index.
How will files be delivered?
Download access will be enabled when purchasing opens. The current page presents the editions and selection options without taking payment or creating an order.