Tiger
In Tiger, Suresh Kumar Dhurve draws upon the rich spiritual traditions of the Gond community to portray Thakur Dev, the revered village guardian believed to protect people, livestock, and the land from harm. According to Gond oral traditions, Thakur Dev possessed the ability to assume many forms—including a tiger, deer, snake, cow, or even a child—as he moved silently through the village, ensuring its safety without revealing his divine identity. The tiger, one of his most powerful manifestations, symbolises courage, vigilance, and protection. Dhurve explains that elders believed the presence of Thakur Dev kept illness, misfortune, and danger away from the village. During the festival of Nag Panchami, the deity is worshipped, and it is believed that he speaks through an inspired devotee, offering guidance on the coming year, including predictions about rainfall, harvests, and the well-being of the community. Even today, the Gond community continues to honour Thakur Dev through traditional rituals and offerings, preserving a spiritual heritage that has been passed down through generations. By depicting the deity in the form of a tiger, Dhurve celebrates the enduring bond between faith, nature, and community, presenting the majestic animal as a timeless symbol of divine guardianship and the protector of village life.
Siddhadatri
Siddhidatri, the ninth and final form of Goddess Durga, is revered by Suresh Kumar Dhurve as the bestower of blessings, fulfilment, and divine grace. In Gond tradition, she is worshipped during the Jawar Jamara festival, when elaborately decorated ceremonial shrines (madai) are carried in joyous processions through the village and marketplace as an expression of devotion. The artist explains that the celebrations are accompanied by music and dance, and devotees often enter a spiritual trance, believing that the goddess has descended among them. During the procession, offerings are collected and later presented to the goddess in prayer and thanksgiving. According to Gond belief, Maa Siddhidatri listens to the heartfelt wishes of her devotees and grants sincere prayers. Those seeking children, prosperity, health, or the fulfilment of a cherished wish pray before the goddess with deep faith. A coconut, symbolising the goddess's blessing, is often placed in the devotee's lap as a sacred sign that their prayer has been accepted and their wish will be fulfilled. Through the intricate patterns and vibrant symbolism of Gond art, Dhurve portrays Siddhidatri as the compassionate giver of blessings and the fulfiller of aspirations. The painting honours the ninth manifestation of Durga, celebrating faith, devotion, and the enduring belief that the Divine Mother responds to sincere prayers with grace and abundance.
Shiva Kaali
In Shiva & Kali, Suresh Kumar Dhurve depicts one of the most powerful episodes from Hindu mythology—the moment when Maa Kali's fierce wrath is calmed by Lord Shiva. The painting portrays Kali as the embodiment of divine power, whose unstoppable rage threatens to destroy the world in her mission to vanquish evil. According to the legend, the gods realise that only Lord Shiva can pacify the enraged goddess. To halt the impending destruction, Shiva lies down in her path. As Kali advances in her fury, she unknowingly steps upon her husband. The instant she recognises him beneath her feet, she is overcome with shock and remorse. In that moment, she extends her tongue and stops, her anger dissolving into awareness and compassion, thus preventing the destruction of the universe. Rendered in the intricate visual language of Gond art, Dhurve's interpretation captures the delicate balance between Shakti and Shiva, symbolising the harmony of power and restraint. Through vibrant patterns and expressive forms, Shiva & Kali celebrates the transformative moment when compassion triumphs over fury, reminding us that even the fiercest divine energy is ultimately guided by wisdom, love, and balance.
Mor Morni (Peacock and Peahen)
In Mor Morni, Suresh Kumar Dhurve celebrates the beauty of courtship in the natural world through the graceful relationship between the peacock and the peahen. Inspired by the forests that are central to Gond life and culture, the painting portrays the peacock performing its magnificent dance to attract and delight its mate. The artist imagines the peacock spreading its vibrant feathers and dancing before the peahen during the monsoon season, when the rumble of thunder and the arrival of rain awaken nature. The rhythmic movements of the bird, set against the energy of the rains, become a joyful expression of love, attraction, and the continuity of life. Once the peahen accepts her companion, the pair begin a new cycle of life, ensuring the growth of future generations. Rendered in the intricate visual language of Gond art, Mor Morni is a celebration of love, fertility, and the harmony of nature. Through vivid colours, flowing patterns, and imaginative storytelling, Dhurve transforms a familiar scene from the forest into a symbolic portrayal of life's enduring rhythms and the deep connection between all living beings.
Matsya Avatar
Matsya, the first avatar of Lord Vishnu, is interpreted by Suresh Kumar Dhurve as the divine force that emerges from the waters to protect and sustain life. Drawing upon traditional beliefs, the artist associates the fish with the sacred origins of creation, seeing it as a symbol of renewal, wisdom, and the life-giving power of water. Dhurve explains that the many forms of fish found in rivers and oceans reflect the diverse manifestations of the divine. In his imagination, Lord Vishnu emerges in the form of the fish from the depths of the waters, representing the beginning of the Dashavatara and the triumph of life over chaos. Rendered in the intricate visual language of Gond art, Matsya Avatar celebrates the sacred relationship between water, nature, and divinity. Through rhythmic patterns and flowing forms, the painting honours the first incarnation of Vishnu as the protector of creation and a reminder of the profound connection between all living beings and the natural world.
Mahagauri
Mahagauri, the eighth form of Goddess Durga, is celebrated in Suresh Kumar Dhurve's work through a unique Gond ritual that honours the goddess as a symbol of purity, strength, and auspiciousness. The artist draws upon a long-standing community tradition in which Gaura-Gauri is worshipped during an annual festival dedicated to the divine couple. As part of this sacred observance, devotees prepare wooden platforms from the Sal tree and create two small idols, Gaura and Gauri, using cow dung. The idols are worshipped through the night with prayers and offerings, and at dawn they are ceremonially immersed, marking the completion of the ritual. This annual celebration reflects the Gond community's deep reverence for the goddess and their enduring connection with nature. Through the intricate patterns and symbolic forms of Gond art, Dhurve portrays Mahagauri as the embodiment of serenity, spiritual power, and renewal. The painting honours the eighth manifestation of Durga, celebrating the sacred traditions that continue to unite faith, community, and the natural world during every Navratri.
Kushmanda
Kushmanda, the fourth form of Goddess Durga, is interpreted by Suresh Kumar Dhurve through the symbolism of bamboo, an element deeply woven into the traditions of the Gond community. Drawing upon inherited oral beliefs, the artist reflects on bamboo as a sacred material that accompanies every stage of human life—from birth to death—and sees it as an embodiment of the goddess's presence. Dhurve explains that bamboo is used to craft the traditional cradle in which newborns are gently laid, symbolising the beginning of life. At the other end of life's journey, bamboo is used to make the funeral bier that carries a person on their final passage. Through this continuous presence, bamboo becomes a powerful symbol of the eternal cycle of birth, life, and death. Inspired by this understanding, the artist imagines Maa Kushmanda as the divine force that watches over every stage of existence. Rendered in the distinctive Gond style, the paintig honours the fourth manifestation of Durga as a guardian of life's journey, expressing the interconnectedness of nature, tradition, and the sacred cycle that unites all living beings.
Katyayini
Katyayani, the sixth form of Goddess Durga, is revered in Suresh Kumar Dhurve's interpretation as the guardian of marriage, family, and new beginnings. Rooted in Gond traditions, she is invoked before every wedding ceremony, as families seek her blessings for a harmonious union and the well-being of the bride as she leaves her home to begin a new life. The artist explains that before the wedding procession departs, prayers are offered to Maa Katyayani, asking her to protect the bride in her new village and ensure that she is welcomed with happiness, peace, and prosperity. The goddess is also believed to safeguard both families from negative influences, creating an atmosphere of harmony and spiritual protection during this important transition. Through the vibrant visual language of Gond art, Dhurve portrays Katyayani as a benevolent guardian whose presence blesses marriages with love, security, and enduring familial bonds. The painting reflects the deep connection between Gond spiritual traditions and the rituals that celebrate life's most significant milestones, honouring the sixth manifestation of the Divine Mother as a protector of family, community, and sacred relationships.
Kaalratri
Kalaratri, the seventh form of Goddess Durga, is revered in Suresh Kumar Dhurve's interpretation as the fierce protector who dispels darkness, wards off evil, and safeguards the community from danger. In Gond tradition, she is worshipped as the guardian of the village, whose divine power shields people from calamity and misfortune. The artist describes an annual ritual performed during Dussehra and Diwali, when the entire village comes together in collective prayer. A ceremonial offering containing a variety of food and sacred offerings is prepared and carried to the outskirts of the village as an act of devotion to Maa Kalaratri. Through this ritual, villagers pray that the goddess will remove all negative forces and protect their homes, fields, and families from hardship throughout the coming year. Dhurve portrays Kalaratri not only as a powerful manifestation of Durga but also as a symbol of unity and collective faith. Rendered in the intricate visual language of Gond art, the painting honours the seventh manifestation of the Divine Mother as the eternal guardian who watches over the village, ensuring peace, protection, and resilience in the face of adversity.
Chandraghanta
Chandraghanta, the third form of Goddess Durga, is interpreted by Suresh Kumar Dhurve as the divine force that sustains agriculture and nourishes life. Drawing from Gond beliefs, the artist sees the goddess manifesting in many forms, becoming the life-giving energy that supports cultivation and transforms the earth's bounty into food for humankind. According to Dhurve, Maa Chandraghanta sends cool, gentle winds from the sky, creating the conditions for crops to flourish. She nurtures the grain as it ripens in the fields, filling each harvest with abundance and ensuring that farmers are blessed with a fruitful yield. For this reason, she is revered as a provider of nourishment and prosperity. In Gond tradition, the artist also associates Chandraghanta with Annadai—the Divine Mother who bestows food and sustenance. Through intricate patterns and vibrant forms characteristic of Gond art, this painting celebrates the sacred relationship between nature, agriculture, and the goddess, honouring the third manifestation of Durga as the eternal nurturer who fills the fields with life and abundance.
Brahmacharini
In Suresh Kumar Dhurve's interpretation, Brahmacharini, the second form of Goddess Durga represents the serene and life-giving essence of nature. Drawing from Gond oral traditions, he associates the goddess with the sacred Narmada River, believing that she flows through the landscape as a symbol of purity, nourishment, and spiritual strength. Just as the river emerges from the mountains and sustains all life along its course, Brahmacharini embodies an enduring divine presence that nurtures the world. The artist explains that Brahmacharini is the unmarried form of the Goddess, dedicated to spiritual discipline and inner strength. In Gond belief, there is little distinction between Maa Narmada and Brahmacharini; both are revered as manifestations of the same sacred feminine power. This understanding has been passed down through generations, shaping the artist's own vision of the goddess. Rendered in the distinctive Gond style, the painting celebrates the inseparable bond between divinity and nature. Through intricate patterns and flowing forms, Dhurve portrays Brahmacharini as the eternal spirit of the river—an embodiment of purity, resilience, and the life-sustaining force that flows through the natural world.
Bird Tree
In Bird Tree, Suresh Kumar Dhurve draws inspiration from a cherished practice in Gond villages that reflects the harmonious relationship between people and nature. After the rice harvest, the leftover paddy straw is carefully stacked on a raised bamboo platform, known locally as a Macha. While built for storing the harvest, the structure soon becomes a welcoming refuge for birds. The artist observes how, once the grain has been gathered, numerous birds arrive to build their nests within the layers of straw, finding shelter, safety, and a place to raise their young. What begins as a simple agricultural practice naturally transforms into a sanctuary for wildlife, illustrating the Gond community's deep respect for all living beings. Rendered in the distinctive visual language of Gond art, Bird Tree celebrates the coexistence of humans and nature. Through intricate patterns and vibrant forms, Dhurve honours a tradition in which every day rural life nurtures biodiversity, reminding us that even the simplest acts can create spaces where life flourishes in harmony.
Shailaputri
In Gond tradition, Shailaputri is revered as the first manifestation of the Divine Mother and a powerful protector who brings healing and well-being. Suresh Kumar Dhurve draws upon indigenous Gond beliefs, where the goddess is associated with safeguarding people during outbreaks of illness, particularly skin ailments. Offerings of water and sacred leaves are made in her honour, seeking her blessings for health, protection, and peace. The artist also connects Shailaputri with Dasahi, a revered deity in Gond culture believed to travel across all ten directions, watching over the world and removing suffering from people's lives. While known by different names in different traditions, Dhurve explains that Shailaputri and Dasahi embody the same divine force of protection and compassion. Rendered in the distinctive visual language of Gond art, the painting celebrates the goddess as a universal guardian whose presence extends across the entire world. Through intricate patterns and symbolic forms, the work expresses faith, healing, and the enduring spiritual traditions of the Gond community.
Skandamata
Skandamata, the fifth form of Goddess Durga, is portrayed by Suresh Kumar Dhurve as the compassionate protector of those who venture into the forest. Drawing upon Gond traditions, the artist associates the goddess with Bhuri Mata, a forest deity who watches over travellers, woodcutters, and all who depend upon the wilderness for their livelihood. Before entering the forest, members of the community offer prayers and simple offerings, traditionally placing a stone in reverence to Bhuri Mata and seeking her blessings. They pray for protection from wild animals and other unseen dangers, asking the goddess to guide them safely through the forest and return them home unharmed. Dhurve explains that Skandamata protects her devotees with the same love and care that a mother shows her child, holding them close under her divine guardianship. Through the intricate patterns and symbolic imagery of Gond art, the painting celebrates the fifth manifestation of Durga as a nurturing mother and guardian of the forests, embodying the Gond community's deep respect for nature and their enduring faith in its sacred protectors.
Sinhabaaz Pair
In Sinhabaaz II, Suresh Kumar Dhurve expands upon the Gond legend of the mythical Sinhabaaz, the swift messenger who served the great Gond king, Hira Khan. While the legendary bird is often depicted as a single figure, the artist explains that it always travelled as a male and female pair, working together in service of the king. According to Gond oral tradition, the two Sinhabaaz had distinct yet complementary roles. The male messenger would gather information from men, while the female messenger would communicate with women, ensuring that no important news was overlooked. Together, they would scout ahead of the royal procession, returning with reports about the land, its people, and any potential dangers. Their partnership symbolised the belief that true success and harmony are achieved through the cooperation of both man and woman. Rendered in the intricate visual language of Gond art, Sinhabaaz III celebrates unity, balance, and shared responsibility. Through vibrant patterns and imaginative storytelling, Dhurve transforms an ancient legend into a powerful symbol of partnership, wisdom, and the complementary strengths that sustain both community and leadership.
Sinhabaaz
In Sinhabaaz III, Suresh Kumar Dhurve presents another interpretation of the legendary Sinhabaaz, the mythical guardian and messenger of the Gond king Hira Khan. Unlike the other depictions, this Sinhabaaz is portrayed as a secret protector, travelling unseen alongside the king and remaining hidden from view while carrying out its sacred duty. According to Gond oral tradition, this elusive messenger would move silently through the night, exploring distant places and gathering vital information before returning to the king. Its ability to remain invisible and travel undetected made it an exceptional guardian, ensuring the safety of the royal entourage without revealing its presence. Dhurve explains that Sinhabaaz was believed to possess the power to assume many forms, adapting its appearance as needed to fulfil its mission. Inspired by this belief, the artist has imagined this painting as the third manifestation of Sinhabaaz, celebrating its mystical nature and extraordinary abilities. Rendered in the distinctive visual language of Gond art, Sinhabaaz is a tribute to the themes of vigilance, transformation, and protection. Through intricate patterns and imaginative storytelling, the work brings to life a legendary being whose unseen presence symbolises wisdom, resilience, and the enduring spirit of Gond folklore.
Sinhabaaz Large
Inspired by Gond oral traditions, Sinhabaaz I depicts a mythical bird believed to have served the great Gond king, Hira Khan Kshatri. According to the legend, Sinhabaaz was a swift and vigilant messenger that would fly ahead of the king's army to scout the land, returning with news of safe passage or the presence of enemies. Its extraordinary speed and keen vision made it an indispensable guardian and guide. Suresh Kumar Dhurve brings this legendary creature to life through his imagination. Having never seen such a being, he interprets Sinhabaaz as a majestic bird that embodies the strength of a lion and the grace of a hawk. Richly patterned in the distinctive Gond style, the painting celebrates the power of folklore, memory, and imagination, transforming an ancient legend into a vibrant contemporary work of art.