Brahma Dreaming is a collection of mythological adaptations in three parts, each centring on one of the great gods within the Hindu trinity, or 'trimurti'. Brahma, Shiva and Vishnu correspond to the cosmic forces of Creation, Destruction and Preservation, and it is largely their adventures that drive the story forward. From the moment that Lord Brahma dreams the world into existence, Hindu mythology is filled with moments that are also an illustrator's dream – and my collaborator Daniela Jaglenka Terrazzini has really made the most of the opportunity. This wonderful picture shows the 60,000 sons of King Sagara, who were 'the seeds' born from a melon.
Illustration: Daniela Jaglenka Terrazzini
In this story, the gods realise they are losing their struggle with the demons. They need to obtain divine ambrosia (amrita) in order to gain the upper hand – and that can only be done by churning the Milk Ocean. The gods use mount Mandara as a churning stick and the cobra Vasuki as a rope – and even trick the demons into helping them. All manner of creatures, objects and substances rise to the surface as they gradually succeed. This story exemplifies what fascinates me about Hindu mythology - the combination of fantastical details with behaviour that we can all recognise.
Illustration: Daniela Jaglenka Terrazzini
All religions need to explain how 'bad' things like envy and deceit entered the world. This tale concerns the snake Kadru, and Vinata, her sister, who is envious of Kadru's fecundity. Daniela has depicted the moment in their dispute when Kadru encourages her children to hang from a white horse's tail to create the impression that it is black. I have always been fascinated with the tendency of myths and fables to ascribe immoral behaviour to animals – a neat way of sparing human blushes. Just as in Genesis, here it is the snake's fault!
Illustration: Daniela Jaglenka Terrazzini
The 'Tales of Destruction', which focus on the fearsome Lord Shiva, follow the 'Tales of Creation' (focusing on Brahma) and precede the 'Tales of Preservation' (focusing on Vishnu). This illustration shows Sati, a shy princess who falls in love with Shiva and marries him despite her father Daksha's disapproval. Their story is a tragic one, because Sati throws herself on a fire during a banquet at king Daksha's palace when she cannot bear his rejection. Until prohibited by the British Raj, Hindu wives were permitted to demonstrate wifely devotion by incinerating themselves on their husbands' funeral pyres. Although Sati perishes, her body remains intact. This illustration demonstrates Daniela's ability to home in on the key moments within a story.
Illustration: Daniela Jaglenka Terrazzini
The tale of Shiva and Sati is another example of how the Hindu gods often display recognisably human, even 'ungodlike', behaviour. Shiva is the dark Lord of Destruction whose dreadful demeanour nonetheless captures the heart of the meek Sati. Daniela wanted to convey the feeling that these two outcasts had found themselves in their love for each other. Their touching union makes the story's ending all the more tragic. Literature returns again and again to the battle between love and social convention - it's an idea with a very human, and very lasting, appeal.
Illustration: Daniela Jaglenka Terrazzini
When Sati dies, Shiva retreats to frozen mount Kailas in grief. His wife's spirit lives on, though - and can be seen in the eyes of Uma, the daughter of the god Himavat. She yearns from birth to be reunited with her love. Uma sets out to Kailas, followed by Kama - the god of love, who travels on the back of a green parrot. But when Kama fires an arrow into Shiva's heart to wake him, the Lord of Destruction is furious and scorches everything in sight. Hindu mythology rejoices in colour, but this picture shows how simple black ink can convey its richness equally powerfully.
Illustration: Daniela Jaglenka Terrazzini
Change is at the heart of many religions and all good stories. This illustration depicts the dance through which Uma changes form into the hideous goddess Kalee - developing a third eye and dripping blood. I know that Daniela relished conveying the darkness and raw power of this scene. This illustration clearly shows the influence of Aubrey Beardsley, both in its exploration of female psychology and its striking deployment of line. Thankfully, this terrible transformation is only temporary, as Uma later becomes the beautiful Parvati.
Illustration: Daniela Jaglenka Terrazzini
Ganesha is one of the most famous Hindu gods. He has an elephant's head and rides on the back of a rat. I find him a likable god, but we witness his merciless side in this story. After he is mocked by Chandra, the boisterous moon god, Ganesha makes a curse so that anyone who looks on Chandra will feel guilt. Chandra is so hurt that he hides inside a lotus flower. I like the way that this picture reveals Chandra's vulnerable side. As a gardener, I find the intricate patterns of the petals splendid, too.
Illustration: Daniela Jaglenka Terrazzini
The 'Tales of Preservation', which concern Vishnu and the birth of his son Krishna, who famously became coloured blue, are a good example of the closeness of the divine and human worlds that we find within Hindu mythology. This story is about the generous-spirited Pritha, who was taken into the court of the King of Shuraseva as a young girl. When Pritha looks after the wise man Durvasas, he grants her the ability to choose five gods to be the fathers to her sons. The illustration shows Pritha with the god Indra, who throws down a thunderbolt before coming to earth.
Illustration: Daniela Jaglenka Terrazzini
Rama is a noble prince who calls upon the monkey god Hanuman to help rescue his wife Sita, who is being held captive at the palace of Ravana, a 10-headed demon. This atmospheric illustration shows Sita being held in a grove of trees by a horde of demon women with the heads of pigs and foxes. Quite aside from the exotic details, this tale is one of the most exciting for me in pure storytelling terms. It has all the hallmarks of a classic thriller - with the hero being called back for 'one last adventure'.
Illustration: Daniela Jaglenka Terrazzini
