Lord Brahma is the creator, Lord Vishnu the protector and Lord Shiva the.
) about the political Emergency imposed by the Indira Gandhi government. The Hindu religion reveres Lord Brahma, Vishnu and Shiva as the three main Gods. ) is about the loneliness of a lesbian woman in a big city, and Delhi Calm (Ghosh 2010 Ghosh, Vishwajyoti. ) is about the forced displacement caused by the building of the Narmada dam Kari (Patil 2008 Patil, Amruta. The first graphic novel River of Stories (Sen 1994 Sen, Orijit. You are the one-horned boar, conqueror of past and future enemies. (translated by Jesse Knutson)ģ In general, Indian graphic novels tend to adopt disturbing episodes from recent history on issues of social and political marginalization and oppression. You are the blessed god, lord Nārāyaṇa, the lord who has the discus as his weapon Spoke: listen to my true speech, you who have truth as your power
To him who was speaking this Brahmā best of those who know brahma Tell me lord who I am and where I come from. I think of myself as a man, Rāma son of Daśaratha.
Yuge tv atha parāvṛtte kāle praśithile prabhuḥ // MatsP_47.34 // While it is possible to read Amar Chitra Katha’s mythological tales as critical secular biographies, the graphic narratives Bhimayana and Munnu are so driven by illustration in the form of metaphors, puns and allegories that their visual component loses its narrative traction, becoming in many ways merely decorative and artistic.ġ tyaktvā divyāṃ tanuṃ viṣṇur mānuṣeṣv iha jāyate / This is further complicated by the comic medium’s penchant for dialectical reversals. I argue that the combination of an individual’s iconoclastic trajectory, along with the desire to iconize that very trajectory through a mythic or indigenous idiom, leads to conflicts between decisions made at the level of form and those made at the level of subject matter. At the same time, in so far as it is about the life narrative of an iconoclastic individual, the graphic narrative cannot entirely avoid speaking the language of a rational and sovereign subject. The comic medium’s linear and sequential narrative is often identified by graphic novel theorists with an ‘Enlightenment’ logic inadequate to a vernacular reality. This implies frequently departing from the comic medium’s typical grid structure of regular panels interrupted by gutter space. The Indian graphic novel tells stories through indigenous or mythographic prisms.