The Meherbad Project Slideshows - Right Wall
MURAL NINE - The left wall ended with Mural Eight of Baba and the Masts. Now, for Mural Nine, we cross over directly to the right wall where we continue the series with Baba relaxing in Nature and sport. The colours of the full blaze of the sun continue. The central figure of Baba shows Him playing gili-danda, or iti-danda, an Indian game played with a wooden stick and smaller pieces of wood. The rest of the painting is about Our Beloved Lord relaxing in Nature and enjoying His creation.
MURAL TEN - The tenth painting is about a more serious topic, His Universal Work. His work is beyond our minds to understand. Put simply, universal cleaning, maintenance, and the awakening of Love Divine could describe it. I haven't included the element of suffering that He underwent in this work, but the expression on Baba's face indicates the serious nature of it. I used the white horse and the alphabet board to symbolize the silent work of the White Horse Avatar.
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MURAL ELEVEN - The eleventh painting could be entitled, How Beautiful You Are. I couldn't resist doing one painting without a specific theme. The portraits are expressions of Baba that I never tire of. The far left is from the early years when He was gathering His Western disciples. The far right pose is so human and so graceful. I meant to emphasize His natural humanity. In contrast, the larger central portrait could be called, Meher Baba Manifesting.
In February of 1967, Baba said, "It is easy to love Me, because I am love. But it is difficult to love Me with that love by which I am attained."
MURAL TWELVE - The twelfth painting is about Baba's "right hand," Eruch Jessawala. During the forty-four years that Meher Baba kept silence, every gesture had significance. He chose Eruch to interpret His gestures to the world. Again, as in the previous painting, I have tried to emphasize Baba's humanity. I am aware that, as time goes by, His Divinity will tend to take precedence, hence, my natural urge to uphold His humanity.
In February of 1967, Baba said, "It is easy to love Me, because I am love. But it is difficult to love Me with that love by which I am attained."
MURAL TWELVE - The twelfth painting is about Baba's "right hand," Eruch Jessawala. During the forty-four years that Meher Baba kept silence, every gesture had significance. He chose Eruch to interpret His gestures to the world. Again, as in the previous painting, I have tried to emphasize Baba's humanity. I am aware that, as time goes by, His Divinity will tend to take precedence, hence, my natural urge to uphold His humanity.
MURAL THIRTEEN - The thirteenth painting is composed of two different scenes. On the left side is Baba bowing down to a poor man with Pendu helping. Francis Brabazon, Baba's poet, is in the background, pondering the scene and reflecting, "Who can fathom the significance."
Baba said, "When I bow down to the mandali, to the poor, to the sadhus, the lepers, and so forth, this bowing down is no show; neither is it an expression of humility. I do it out of My love for humanity."
The right side depicts Baba bathing a leper in Pandharpur with Saint Gadge Maharaj. Baba said, "In the diseased physical cages of these lepers dwell beautiful souls. I don't bow down to them as lepers; by My laying My head on their feet, God is bowing down to God. Suffering brings one nearer to God, and for that, these lepers are dear to Me."
MURAL FOURTEEN - In the fourteenth painting I recalled the images of Baba bowing to or sitting amongst the darshan crowds to show His Oneness with all. So this painting is about Baba's darshan programs, where He would be giving and giving His darshan to Himself in everyone.
MURAL FIFTEEN - In the fifteenth painting, Meherazad, that image of Baba and Mehera together has always touched me deeply. It is so very intimate, Baba's burden of suffering so obvious, and Mehera's deep love and total support so profound, yet child-like. The colours of the sunset, with Seclusian Hill in the background, frame their images.
Baba said, "When I bow down to the mandali, to the poor, to the sadhus, the lepers, and so forth, this bowing down is no show; neither is it an expression of humility. I do it out of My love for humanity."
The right side depicts Baba bathing a leper in Pandharpur with Saint Gadge Maharaj. Baba said, "In the diseased physical cages of these lepers dwell beautiful souls. I don't bow down to them as lepers; by My laying My head on their feet, God is bowing down to God. Suffering brings one nearer to God, and for that, these lepers are dear to Me."
MURAL FOURTEEN - In the fourteenth painting I recalled the images of Baba bowing to or sitting amongst the darshan crowds to show His Oneness with all. So this painting is about Baba's darshan programs, where He would be giving and giving His darshan to Himself in everyone.
MURAL FIFTEEN - In the fifteenth painting, Meherazad, that image of Baba and Mehera together has always touched me deeply. It is so very intimate, Baba's burden of suffering so obvious, and Mehera's deep love and total support so profound, yet child-like. The colours of the sunset, with Seclusian Hill in the background, frame their images.
MURAL SIXTEEN - The sixteenth painting, Samadhi, is the last in this series, to the right of the entrance to the dining hall. It illustrates this quote from Baba:
"I never come and I never go.
I am present everywhere.
Isn't it wonderful that I never leave?"
I am present everywhere.
Isn't it wonderful that I never leave?"
The last portrait on the right that I call, The Look That Beckons, is about His Divinity.
"I am always with you.
I watch over you all --
My Nazar is on you always."
I watch over you all --
My Nazar is on you always."