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With his small band of followers in a little storefront, he was already sharing a vision of spreading “Krishna consciousness” around the world. The record helped the early spread of what he called “the Hare Krishna movement”. He slowly gained a following, mainly from young people of the 1960s counterculture. He then approached one of his well-wishers, Sumati Morarjee, the head of the Scindia Steam Navigation Company, to ask for free passage to America on one of her cargo ships. From 1962 to 1965, Bhaktivedanta Swami stayed in Vrindavan at the Radha-Damodar temple.
Every day, young Abhay, accompanied by his parents or servants, attended temple services. Opposite the De house was a temple of Radha-Krishna that for a century and a half had been supported by the Mullik family. Following Indian tradition, Abhay’s father invited an astrologer, who predicted that at the age of seventy, Abhay would cross the ocean, become a famous religious teacher, and open 108 temples around the world.
Because the living beings belong to Krishna’s “superior energy”, Prabhupada taught, they share in Krishna’s divine qualities, including knowledge, bliss, and eternality (sat, cit, and ananda). Among Krishna’s energies, Prabhupada taught, the ingredients of this world collectively belong to Krishna’s “inferior energy” — inferior in that, being inert matter, it lacks consciousness. Prabhupada taught Chaitanya’s doctrine of achintya bheda-abheda-tattva, in which everything is seen as simultaneously, inconceivably one with the Absolute — that is, with Krishna — and yet different. In the Hindu pantheon, he taught the gods other than the Vishnu forms are demigods — that is, assistants of the Supreme Personality of Godhead. In the Srimad-Bhagavatam, and so in Prabhupada’s teachings, Krishna is seen as the original and supreme manifestation of Bhagavan – in Sanskrit, svayam-bhagavan, or the Supreme Personality of Godhead Himself.
Because of Hare Krishna kirtan, Prabhupada’s movement itself came to be known simply as “Hare Krishna” and its followers as “Hare Krishnas”.h Following Prabhupada, his disciples soon began prabhu365-nepal.com/ne holding kirtans regularly in streets, parks, temples, and other venues in major cities in North America and Europe and then in Latin America, Australia, Africa, and Asia. In accordance with the Bhagavad-gita and in opposition to the modern Hindu caste system, Prabhupada taught that one’s varna, or occupational standing, should be understood in terms of one’s qualities and the work one actually does, not by one’s birth.
ISKCON-related
Dormant within every living being, Prabhupada taught, is an eternal loving relationship with that Absolute, or Krishna, and when that loving relationship is revived, the living being resumes its natural eternal and joyful life. Though the Absolute Truth is one, he taught, that one Absolute is progressively realized in these three features according to one’s level of spiritual advancement. Prabhupada’s extensive commentaries on the sacred texts follow those of Bhaktisiddhanta, Bhaktivinoda, and other traditional teachers, such as Baladeva Vidyabhushana, Vishvanatha Chakravarti, Jiva Goswami, Madhvacharya, and Ramanujacharya. In 1977, four months before his death, he appointed eleven senior disciples to perform spiritual initiations on his behalf while he was ill. His burial site is located in the courtyard of the temple beneath a samadhi (memorial shrine) built by his followers. He came back to India with a party of Western disciples — ten American sannyasis and twenty other devotees — and for the next seven years focused much of his effort on establishing temples in Bombay, Vrindavan, Hyderabad, and a planned international headquarters in Mayapur, West Bengal (the birthplace of Chaitanya Mahaprabhu).
Indeed, he even quotes from other texts in the canon (whether written before the Gita or after) to indicate the intention of the Gita, “as though they have the same authority as the Gita itself”. Baird takes upon himself the task of not merely seeing Prabhupada as “an authentic proponent of Vaishnavism” but of examining as an academic scholar the way Prabhupada reads the Bhagavad-gita. Eric Sharpe, scholar of religion, considers Prabhupada’s reading of Bhagavad-gita single-minded and fundamentalist.
- Commenting on the role and degree of responsibility that Prabhupada’s statements about women played in their abuse in ISKCON, E. Burke Rochford notes that Prabhupada’s personal example in dealings with his earliest women disciples was “far more important”.
- In the Srimad-Bhagavatam, and so in Prabhupada’s teachings, Krishna is seen as the original and supreme manifestation of Bhagavan – in Sanskrit, svayam-bhagavan, or the Supreme Personality of Godhead Himself.
- After one such deprogramming failed, the New York City District Attorney’s Office charged two local Hare Krishna leaders with illegally imprisoning two Hare Krishna followers by brainwashing them.m
- Traveling constantly to lecture and tend to his disciples, Prabhupada circled the world fourteen times in ten years.
Association with devotees
Since Prabhupada, like his predecessors, insisted that anyone, from any race or nation, could become spiritually purified and fit to perform the duties of priests, he faced opposition from Hindu brahmins who held that performing such duties was an exclusive birthright of their caste. Outspoken and uncompromising as he was in the way he presented Krishna’s teachings in India, as elsewhere, Prabhupada found himself battling with opposing views of all sorts. Some local people, including even some Indian officials, suspected that the American devotees must be undercover operatives of the Central Intelligence Agency (CIA). When Prabhupada’s young American followers came to India in the early 1970s and began holding festivals, including public sankirtana, many Indians were surprised to see Westerners adopting Indian modes of worship and devotion.
Leadership
Following his instructions, the disciples, dressed in their robes and saris, began singing Hare Krishna regularly on London streets and at once attracted attention. At first, Bhaktivedanta Swami’s followers referred to him as “the Swami” or “Swamiji”. He would later establish this annual festival in major cities around the world, with big vehicles —”chariots” — and thousands of people taking part. Later that year, Bhaktivedanta Swami’s followers organized San Francisco’s first Ratha Yatra, the festival he had celebrated as a child in imitation of the massive parade held annually in the Indian city of Puri. To gain attention and raise funds, his disciples organized a two-hour concert with kirtan led by Bhaktivedanta Swami and rock performances by the Grateful Dead and other famous rock groups of the day. After he completed his Bhagavad-gita As It Is (by mid-January 1967), he asked a new disciple to find a publisher for it.
Posted: May 5, 2026 8:54 pm
According to Agung Rai
“The concept of taksu is important to the Balinese, in fact to any artist. I do not think one can simply plan to paint a beautiful painting, a perfect painting.”
The issue of taksu is also one of honesty, for the artist and the viewer. An artist will follow his heart or instinct, and will not care what other people think. A painting that has a magic does not need to be elaborated upon, the painting alone speaks.
A work of art that is difficult to describe in words has to be seen with the eyes and a heart that is open and not influenced by the name of the painter. In this honesty, there is a purity in the connection between the viewer and the viewed.
As a through discussion of Balinese and Indonesian arts is beyond the scope of this catalogue, the reader is referred to the books listed in the bibliography. The following descriptions of painters styles are intended as a brief introduction to the paintings in the catalogue, which were selected using several criteria. Each is what Agung Rai considers to be an exceptional work by a particular artist, is a singular example of a given period, school or style, and contributes to a broader understanding of the development of Balinese and Indonesian paintng. The Pita Maha artist society was established in 1936 by Cokorda Gde Agung Sukawati, a royal patron of the arts in Ubud, and two European artists, the Dutch painter Rudolf Bonnet, and Walter Spies, a German. The society’s stated purpose was to support artists and craftsmen work in various media and style, who were encouraged to experiment with Western materials and theories of anatomy, and perspective.
The society sought to ensure high quality works from its members, and exhibitions of the finest works were held in Indonesia and abroad. The society ceased to be active after the onset of World War II. Paintings by several Pita Maha members are included in the catalogue, among them; Ida Bagus Made noted especially for his paintings of Balinese religious and mystical themes; and Anak Agung Gde Raka Turas, whose underwater seascapes have been an inspiration for many younger painters.
Painters from the village of Batuan, south of Ubud, have been known since the 1930s for their dense, immensely detailed paintings of Balinese ceremonies, daily life, and increasingly, “modern” Bali. In the past the artists used tempera paints; since the introduction of Western artists materials, watercolors and acrylics have become popular. The paintings are produced by applying many thin layers of paint to a shaded ink drawing. The palette tends to be dark, and the composition crowded, with innumerable details and a somewhat flattened perspective. Batuan painters represented in the catalogue are Ida Bagus Widja, whose paintings of Balinese scenes encompass the sacred as well as the mundane; and I Wayan Bendi whose paintings of the collision of Balinese and Western cultures abound in entertaining, sharply observed vignettes.
In the early 1960s,Arie Smit, a Dutch-born painter, began inviting he children of Penestanan, Ubud, to come and experiment with bright oil paints in his Ubud studio. The eventually developed the Young Artists style, distinguished by the used of brilliant colors, a graphic quality in which shadow and perspective play little part, and focus on scenes and activities from every day life in Bali. I Ketut Tagen is the only Young Artist in the catalogue; he explores new ways of rendering scenes of Balinese life while remaining grounded in the Young Artists strong sense of color and design.
The painters called “academic artists” from Bali and other parts of Indonesia are, in fact, a diverse group almost all of whom share the experience of having received training at Indonesian or foreign institutes of fine arts. A number of artists who come of age before Indonesian independence was declared in 1945 never had formal instruction at art academies, but studied painting on their own. Many of them eventually become instructors at Indonesian institutions. A number of younger academic artists in the catalogue studied with the older painters whose work appears here as well. In Bali the role of the art academy is relatively minor, while in Java academic paintings is more highly developed than any indigenous or traditional styles. The academic painters have mastered Western techniques, and have studied the different modern art movements in the West; their works is often influenced by surrealism, pointillism, cubism, or abstract expressionism. Painters in Indonesia are trying to establish a clear nation of what “modern Indonesian art” is, and turn to Indonesian cultural themes for subject matter. The range of styles is extensive Among the artists are Affandi, a West Javanese whose expressionistic renderings of Balinese scenes are internationally known; Dullah, a Central Javanese recognized for his realist paintings; Nyoman Gunarsa, a Balinese who creates distinctively Balinese expressionist paintings with traditional shadow puppet motifs; Made Wianta, whose abstract pointillism sets him apart from other Indonesian painters.
Since the late 1920s, Bali has attracted Western artists as short and long term residents. Most were formally trained at European academies, and their paintings reflect many Western artistic traditions. Some of these artists have played instrumental roles in the development of Balinese painting over the years, through their support and encouragement of local artist. The contributions of Rudolf Bonnet and Arie Smit have already been mentioned. Among other European artists whose particular visions of Bali continue to be admired are Willem Gerrad Hofker, whose paintings of Balinese in traditional dress are skillfully rendered studies of drapery, light and shadow; Carel Lodewijk Dake, Jr., whose moody paintings of temples capture the atmosphere of Balinese sacred spaces; and Adrien Jean Le Mayeur, known for his languid portraits of Balinese women.
Agung Rai feels that
Art is very private matter. It depends on what is displayed, and the spiritual connection between the work and the person looking at it. People have their own opinions, they may or may not agree with my perceptions.
He would like to encourage visitors to learn about Balinese and Indonesian art, ant to allow themselves to establish the “purity in the connection” that he describes. He hopes that his collection will de considered a resource to be actively studied, rather than simply passively appreciated, and that it will be enjoyed by artists, scholars, visitors, students, and schoolchildren from Indonesia as well as from abroad.
Abby C. Ruddick, Phd
“SELECTED PAINTINGS FROM THE COLLECTION OF THE AGUNG RAI FINE ART GALLERY”
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