Dasavataram

The ten incarnations of vishnu

Iconic Calligraphy by

Poosapati Parameshwar Raju

 Dasavatara - the ten incarnations of vishnu
Copyright Poosapati Parameshwar Raju.
Edited by Prema Dutta
Designed by Suresh Vaskuri
All right reserved. No part of this publication may be reponroduced,
stored in a retrieval system, or transmitted, in any form or by any means,
eletronic, mechanical, photocopying, recording or otherwise,
without the prior permission of the author.

ppraju.com
parameshwararaju@gmail.com
G1,vijayanagar Apartments, Reti Bowil, Mehdipatnam,
Hyderabad-50028 India.
91 9848622820, 91 40 66758195

Koeli Mukherjee Ghose

Art historian Curator
+91 9652666775

Quotes from Jayadeva's Dasavatara Stotra

Published by Sri Ramakrishna Math, Chennai
Page 13 to 20
 With unbounded love for my parents
Smt Satyavati & Dr Lt Col Poosapati Appala Raju
 I

Parameshwar Raju composed the Dasavatara in his personalized calligraphic style in the year 2013 in
Delhi, while with his traveling exhibition of the Ramayanam and Krishna Leela at the India
International Centre. He would sit and work, transforming the area around him into a contemplative
studio space with the bottle of ink in front of his sketch book and a few small size English poster nibs.
As imagination and skill embraced each other, the ten forms of the incarnation of Vishnu ensued in a
flow. The artist in a fine balance of sequence would look up to greet the visitor, receive a question or
two from the onlooker, and dip his calligraphy nib into the ink while answering with an earnest note.
He would then with a couple of strokes complete his compositions. In this manner, an evolving
exhibition of the artist-at-work emerged within an exhibition space.
Simple forms convincingly emerge as the Matsya, Kurma, Varaha, Narasimha, Vamana, Buddha,
Krishna, Rama and Parashurama; created within the calligraphic parameters of the basic thin, thick
and thin laying of strokes that is propagated and practiced as part of an academic training imparted
to the calligraphers. Parameshwar interprets this rhythmic sequence of the strokes as a metaphor of
beginning, continuation and dissolution in beginning again as in lived life. The created forms of the
avataras have an uniformity in the basic character of the axial stroke with a four-sided or diamond-
formed stroke, representing the head of the nine Avatars. Only the Vamana avatar has been
conceptualized with a rounded stroke signifying beauty.
The Ayudha's or the attributes and the specific forms of each of the avatars such as the form of the
fish with a conspicuous tail end for the Matsya Avatar, the tortoise shell suggested by the fluent semi
circular stroke suggesting the Kurma Avatar were conceptualized by the artist while he came up with
images in a spontaneous composing of elements innate to his daily practice and in keep with the
sequence of the narrative.
deep-rooted in ancient beliefs, signs and symbols are integral elements of art forms of many cultures, for
example: the Sumerians, Babylonians, Israelites, Hittites, Assyrians, Phoenicians Canaanites and
several other ancient civilizations of Western Asia. Many of these signs and symbols constituted a
cogent figurative lexis along with their magical and mystical qualities. Usually found on specific
objects of indigenous cultures, such as decorative vessels, amulets, wall murals, crafts, carpets, textiles
and furniture. Ancient signs and symbols have been appropriated by modern and contemporary artists
from these places. In the 1920's for instance, Israeli artists of the first generation of European
immigrants to Palestine made reference to ancient religious symbols as a way of creating authentic
Jewish art. Signs have also been used by artists in their work that investigate mystical symbolism and
the subconscious appearing as part of the composition or as the key composition of the work.
Traditional cultures are the reserve of many myths and legends, and each country has its cherished
ones. Stories that have become integral to its contemporary experiences allow associations between
past, present and future. Narratives passed down from one generation to the next become popular,
among artists for creating expressive images. Artists connect with the viewers through the characters, to
keep alive the narratives and their aesthetic practice.
The word calligraphy means art of beautiful writing. Some of the early forms of calligraphy appear in
the rock cut edicts of Ashoka in Brahmi script in north-central India, dated to 250 between 232 BC.
Inscriptions are precious testimonials of the past, allowing one to gauge the political, social and
economic state of affairs of times in history and communicates with the reality and sensibilities of the
modern reader across time.
There is proof of 30,000 scripts in India, handwritten on palm leaves, bark, or metal. Common
scripts in use were Devanagari, Nandi nagari, Grantha and Telugu. Examples to titles using these
scripts are Vijnananidhi i.e the treasury of discernment , Kalachakravatara, Shaivagamatantra,
Maitreyavyakaranam, Astasahsrika, Kubjikamata, Samputatika, mahabhasya,
upmitibhavaprapanchakatha, Kurbararattamala, Chikitsasarasangeaha, Basavapurana, Shunya
Sampadane, Natyashastra, Dhuk wa, Sarvarogaharanegunagambhirata, Gitagovinda,
Arsharamayana, Ramayana.
Recent archaeological research indicates that the rise and spread of calligraphy is too complex to
comprehend easily. Initially, a reed or stick was used to draw pictographs and abstract signs into
moistened clay in cuneiform, a reiterating feature across several cultures. Calligraphy was the visual
art form revered above all art forms in traditional East Asia. Painting and calligraphy came to
existence almost at the same time with the tools of brush and ink being the common factors. Yet,
calligraphy was venerated as a fine art long before painting; indeed, it was not until the Song Dynasty
(420-479), that painting became ranked high up with calligraphy in aim, form, and technique.
The importance of calligraphy reflects the significance of 'word' in East Asia - a culture dedicated to
the influence of the word. From the beginning, emperors asserted their authority over posterity as well
as on the present by engraving their proclamations on mountain sides and on stone steles erected
outdoor. In pre-modern times, scholars whose main preoccupation was the written word, took up
dominant positions in government, society, and culture. In addition, what makes the written language
distinctive is its visual form. In Vietnamese, Taiwanese, Chinese, Japanese, Korean and other
traditional cultures of the East, each word is represented by its own unique symbol, a kind of abstract
diagram and so each word must be learned separately through a laborious process of writing and
rewriting the character until it has been internalized.
Yet the limitation of the written language is also its strength. Unlike written words formed from
alphabets, characters convey more than phonetic sound or semantic meaning. Traditional writings
about calligraphy suggest that its very form reveals itself to be an honorable paradigm, as well as a
manifestation of the power of the being and the liveliness of nature itself. An unsigned essay of the
Tang dynasty (618-907AD) elucidates that a written or drawn character should stand balanced on all
four sides, leaning or standing upright like a proper gentleman; the upper half of the character should
sit comfortably while the bottom half supports it.

Note: The Upanishad's are composed through five centuries during the later Vedic period between 800 and 500 BC .There are over 200
Upanishads. The Upanishad's record sessions of inspirational teachings from the spiritual teacher and his disciples, from his own experiential
knowledge. Some of the basic doctrines of Upanishads are Samsara, Karma, Dharma, and Moksha.
 II
Parameshwar's calligraphy emerges with a balance of linear strength, that in established rudimentary
for calligraphic quality is acknowledged as 'sagelike' and it is believed that every artist proceeds in
accordance with the manifestation of his absorption and expending of energy. The mythological
composition of the Dasavatara has been visualized in a variety of stylistic genres in Indian art but
Parameshwar has re imagined the form employing the basic strokes of calligraphy, this not only
ascribes an academic strength to the work, but also emerges as a new genre called iconic calligraphy.
This establishes a connection with the mythological or cultural narration by creating the relevant signs
and symbols in the artist's personalized style which is then brought together to function as a language
to complete the narrative of the iconography that he depicts. For example, to depict the varaha
avatara he creates the Urdhva Pundra – the auspicious mark on Vishnu's forehead, shankha and
chakra, these are the signifiers of Vishnu, then with a few stroke he constructs the head of the boar
with its conspicuous tusk balancing a circular disc in solid red. This disc is the signifier of the Goddess
Bhudevi.
All these elements mentioned here when seen separately are individual forms of shankha, Chakra, a
boar and a circular disc but as soon as Parameshwar aligns these parts in relation to each other, the
context and the form become inseparable. These elements become integral part of the description of the
Varaha Avtatara. Individual avataras are expressed in minimalistic artistic abbreviation and like the
pictographs, they can be easily comprehended. The form takes up the role of being an icon.
The medium has much to do with it. The seeming simplicity of the tools is weighed down by the
complexity of effects allowing the ink to almost run out before dipping the brush in the ink again.
Working with the steel brush or the original poster nib throws in challenges of a rigid instrument that
Parameshwar takes in his stride and creates variations in the width of strokes by overlaying of strokes
and adding dimension by using the tip or side of the nib.
But as expressive as calligraphy is, it is also an art of control. Consciously controlling the speed with
which he exert the nib and the amount of pressure applied on the paper, he creates variety of effects
with tempered strokes and brings a robust Narasimha to life. The nib then becomes an extension of
his arm, indeed, his entire persona. But the physical gestures produced by the wielding of the brush
reveal much more than physical motion; they reveal much of the artist himself - his impulsiveness,
restraint, elegance, rebelliousness. Abstract as it appears, calligraphy more readily conveys emotion
and surfaces with incredible detail about the artist's qualities.
A counterbalance of order and dynamism is manifested in all aspects of laying a stroke. Although the
forms of his image signs are imagined, Parameshwar does not write characters in a haphazard: an
established stroke order ensures that a character is written in exactly the same way every time. This
not only makes the difficult task of recalling a form simple, but ensures that each character will be
written with wisdom of equilibrium and proportion, and that one is able to write with an continuous
flow and rhythm. A calligrapher and a well rehearsed performer have much in common. Each
maintains compositional order and coordinated movements. But once the rudimentary have been
internalized, both have the possibility to have autonomy in expressing a personal vitality.
While changes in the consistency and tonality of the ink show that Parameshwar replenishes his ink
supply to the nib or the steel brush several times, there is no palpable change in the momentum of his
forms. Instead, the inter spacing of forms, scale, and tonality of the characters primarily reflect the
artist's emotional response to the context. These images being figures and not scripts can be
comprehended by any language group, much like pictographs.
Abstract or symbolic forms contains closely related eight fundamental terms abhasa, sadrsya,
swarupya, anukarana, anuhriti, anukulam chaya, bimba, pratibimba, linga pinda and vritti riti.
Kalatattvakosha, a lexicon of fundamental concepts of Indian tradition elucidates that in an act of
perception there are four factors involved: intelligence compounded with perception, experience along
with memory, object intelligence with association and awareness of the result. This is called
Abhasavada, the premise of impression. The avataras in Parameshwar Raju's calligraphy epitomize
this theory in a lucid manner. As we see the distinctive forms of the avataras we experience the active
role of Abhasa that helps realize the structure, Sadrsya or the believability, Swarupya or conformity
(also stand for semblance) persisting between the idea and its creation. In this sense the forms of
avataras created by Parameshwar is akin to the original description in the compositions of poet
Jayadeva.

Chapter 4, Verse 8 of Bhagavat Gita. Translation my own

 III
The Bhagavad Gita is found in the ancient scripture of Mahabharata and consists of 700 verses in
18 chapters. It is believed to contain the essence of the Upanishads. The Bhagavad Gita, dissipates
supreme knowledge and at the same time deals with subject matters for example yoga, right attitude,
skillful action, meditation, dispassion, devotion, life, death and liberation.
Veda Vyasa's composition of the Srimad Bhagwat or Bhagavatam is one of the bastions of Vaishanva
tradition. It eulogizes the various avatars of Vishnu. The notion of the Bhagavatam is to speak about
Vishnu in the role of the all encompassing God of living beings whom the world needs at the time of
anarchy. He is thus, the savior of mankind during turbulent times.
In reference to this context, Sri Krishna deliberates in the Bhagavad Gita, when he speaks to Arjuna
at the battle of Kurukshetra.
Krishna recognizes Arjuna's dilemma in having to battle against his own cousins and family
members. He skillfully disentangles Arjuna from despair and dejection, urging him to perform his duty
without desiring the fruit of action. In the subsequent chapters, Lord Krishna goes on to enlighten
Arjuna on the supreme reality: life, the nature of creation, mind, action, the three gunas, etc.
“paritranaya sadhunam vinasaya ca duskrtam dharma-samsthapanarthaya sambhavami yuge yuge”
i.e. Whenever and wherever there is decline in religious practice o descendants of Bharata and a
predominant rise of irreligiousness - at that time I descend myself.”
This occasional manifestation of the God in different times, contexts and forms is known as avatars.
The Bhagavatam talks about millions of avatars of Lord Vishnu, only ten of which have been
represented in this book. It talks about King Prithu and the notion of the earth, Prithvi as his
daughter. The king veers his starving subjects towards agriculture in an attempt to maintain
equilibrium on earth. Sage Kapila is known as one of the preceding incarnations of the Buddha; in
this sense Buddha is a Vishnu-avatar as well. Rishabhadeva, the first Jain thirthankara is an avatar.
Indian mythology has the same narrative for a series of incidents, it is only the underlying philosophies
and their interpretation that divides these into different religions.
Jayadeva's poetry was influential in popularizing the Dasavatara, the ten incarnations of Krishna in
his composition Dasakritikrite. Additionally, the Gita Govinda begins with a Dasavatara stotra. In
Jayadeva's version of Dasavatara, Buddha is an incarnation of Vishnu, while Krishna is not
incorporated because Krishna is the source of all incarnations. As the lyrics says :
“keshava dhrta buddha sarira”
I.e. Krishna who appears in the form of Lord Buddha
In his book Myth=Mithya: A Handbook of Hindu Mythology, Dr. Devdutt Pattnaik the
contemporary Indian mythologist, writes about the Avatars of Vishnu:
“Every time dharma is threatened Vishnu mounts his eagle, the mighty Garuda, and comes to earth
ready to battle. The descents of Vishnu from Vaikuntha to earth are his avatars or incarnations. The
form in each descent is different because the demands of the world each time are different. The
different avatars thus reinforce the idea that rules and regulations that maintain order are not static
by nature. They are forged when the demands of desire clash with the quest for order. As man's
understanding of the world changes, desires change and so do concepts of order. Rules have to therefore
constantly adapt themselves. Social stability must not be compromised, yet new ideas must be
respected. Vishnu's descents are not just about reestablishing order. It is also about redefining them."
Dr Pattnaik adds: "Each avatar of Vishnu involves a crisis involving the Goddess. Vishnu takes the
form of a turtle to help the Devas churn Lakshmi out, the form of a boar to rescue the earth that have
been dragged under the sea, the form of Rama when Sita is abducted and the form of Krishna to help
Draupadi. Thus the Goddess is the embodiment of nature and culture. She is the kingdom and
Vishnu is the king. She is Bhoodevi and he is Shripati. Both validate each other, she by giving him
powers of kingship and he by defending her."
Sri Sri Ravishankar on his discourse on Dasavatara mentioned that within our consciousness, the
Dasavatara (the ten incarnations) is eternally present, each mellowing the dominance of another.
When contained all at once, it brings forth completeness. When the consciousness awakened,
knowledge arose. This was followed by the incarnation of the Matsya(fish) (see Plate-1), when this
knowledge stabilized and settled, Kurma(turtle) (see Plate-2) came into existence. This cleansed the mind
of the shackles of the old and past. Varah(boar) (see Plate-3) incarnation brought with it a radiance which
held in it with much gravity and power. Sensitivity then followed in the form of Narasimha (half
man-half lion) (see Plate-4).
Vamana (dwarf)(see Plate-5) the exquisitely beautiful destroys arrogance. Beauty and attraction wields the
power to obliterate arrogance. Parashuram (see Plate-6) is one who accepts everything. In the incarnation
of Ram(see Plate-7) there is morality. In the Krishnavatar (see Plate-8), celebration is present in its fullness, in
it sits the idea that every event can be celebrated, and no matter what its nature is. Then came
Buddha, he came in silence, in peace – Buddha's incarnation carries a lot of significance. He
appeared at a time when people of the family of the Yadus or Yadavs lost sight of peace, goodness,
love; in time of great trouble. Since they were the kinsmen of Krishna ( Sri Krishn a- See Plate-9), they suffered
from an unhealthy, misplaced pride, considering God to be one of their own. There was no sensitivity
in this celebration. With Buddha came awareness, the silence that is significant after a celebration,
silence of reflection.
Prolonged silence often slips into inertia. This explains the incarnation of Kalki(see Plate-10), who appears
riding a horse. A horse in Sanskrit is called 'ashva' which means both horse and the present. 'Shva'
means yesterday i.e. past or tomorrow i.e. yet to come – 'ashva' means that which is not yesterday or
tomorrow; which is now, in this moment. That is what Kalki brings with her – all that which relates
to the present, all that belongs in this world. Kalki's incarnation emerges victorious when this sense
permeate all consciousness.
Parameshwar's imagery of signs, symbols and narratives emerge from his knowledge and love for
iconography, rituals, customs, myths and beliefs that he has grown up with. He has made a concerted
effort to make these traditions a part of his art. He creates by bringing together different signs and
symbols in a complex layering of information and simplifying through the economy of calligraphic
strokes, giving expression to something entirely new and individual without losing the original essence.
This endows his images with a sense of familiarity in a culture specific context. Resulting is an image
that is minimal, poignant, significant and calls to mind artist and art theorist, K.G Subramanyan's
words, “The fulfillment of a modern Indian artist's wish to be part of a living tradition, i.e to be
individual and innovative, without being an outsider in his own culture, will not come of itself, it
calls for concerted effort ”
Koeli Mukherjee Ghose / Art Historian & Curator

9 verse of Dasavatara Stotra, Gita Govinda, by Sri Jayadeva, court poet of king Lakshmansena, ruler of Bengal 12 Century. Translation my own
Myth=Mithya: A Handbook of Indian Mythology, Penguin India, 2006
Plate-1 / Matsya Avataram
“Pralaya Payadhijale dhrtavanasi vedam/Vihitavahitra-caritramakhedam/Kesavadhrta minasarira/Jaya
Jagadisa Hare O God in the form of a Fish! In the flood of dissolution you have held up the revealed
knowledge of the Vedas,like a boat without effort. Hail Hari God of the world,Victory to Thee.”
Plate-2 / Kurma Avataram
“Ksitirati-vipulatare tava tishthati prsthe/Dharani-dharanakina-cakragarishthe/Kesava dhrta
kacchaparupa/Jaya Jagadisha Hare O God, in the form of the Tortoise! On the ample expanse of your
back,calloused by the burden of the earth that it bears, securely stands the world. Hail! Hari, God of the
world, Victory to Thee!”
Plate-3 / Varaha Avataram
“Vasati dasanasikhare dharani tava lagna/Sasini Kalankakalevanimagna/Kesavadhrtasukararupa/Jaya
Jagadisa Hare O God, in the form of the boar! The world rests in peace on the tip of your tusk, like the
dark marking on the disk of the moon. Hail! Hari, God of the World, Victory to Thee!”
Plate-4 / Narasimha Avataram
“Tava Kara Kamalavare nakhamadbhutasrngam/Dalita Hiranyakasipu varabhrngm/Kesava dhrta
Naraharirupa/Jaya Jagadisa Hare O God, in the form of man lion! In your beautiful lotus like hands, are
the fingernail with their wonderful tips which have torn asunder the most powerful demon Hiranyakasipu, as
if he was a huge insect. Hail! Hari, God of the world, Victory to Thee!”
Plate-5 / Vamana Avataram
“Chalayasi vkramane balin adbhuta Vamana/Padanakhanirajanitajanapavana/Kesava dhrta
Vamanarupa/Jaya Jagadisa Hare O God, in the form of the dwarf! By planting your feet you have cheated
Bali the mighty. Ganga, the river which sanctifies the world, has come out of your toe-nails. Hail! Hari, God
of the world, Victory to Thee!”
Plate-6 / Parasurama Avataram
“Kshatriyarudhiramaye Jagadapagata papam/Snapayasi payasi sametabhavatapam/Kesava dhrta
bhrgupatirupa Jaya Jagadisa Hare! O God, in the form of the Lord of the Bhrigus, You have bathed the
world in the blood of the tyrannous rulers,thus cleansing it of sin and destroying the misery of its relative
existence. Hail Hari God of the Universe Victory to Thee!”
Plate-7 / Rama Avataram
“Vitarasi diksurane dikapatikamaniyam/dasamukha-mauli-balim ramaniyam/Kesava dhrta Ramasarira
Jaya Jagadisa Hare! O God, in the body of Sri Rama! You have made a beautiful offering of the ten heads
of the demon Ravana in battle to guardians of the cardinal directions. Hail Hari! God of the world, victory
to Thee.”
Plate - 8 / Krishna Avataram
“Sri jayadevakaverida-muditamudaram/srnu subhadam sukhadam bhavasaram/ Kesava dhrta
dasavidharupa/ Jaya Jagadisa Hare! O God, Who took ten forms! Please listen to this song of
Jayadeva. It bestows goodness, and joy; it is the essence of life. Hail! Hari, God of the world,
Victory to Thee!”
Plate-9 / Balarama Avataram
“Vahasi Vapusi visade vasanam jaladabham/Hala-hati-bhiti-milita-yamunabham/Kesava dhrta-
Haladhararupa Jaya Jagadisa Hare! O God, in the form of Balarama, the bearer of the plough!you wear
on your immaculate body a garment of the colour of the cloud, Blue like the Yamuna, darkened by the fear
of being dragged by your plough. Hail Hari God of the world, Victory to Thee!”
Plate- 10 / Kalki Avataram
“Mleccha-nivaha-nidhane kalayasi karavalam/Dhumaketumiva kimapi karalam/Kesava dhrta
Kalkisarira/Jaya Jagadisa Hare! O God, in the form of Kalki! For the destruction of the wicked, you carry
a meteor-like sword in your hand, trailing a train of disaster to them. Hail! Hari, God of the world,
Victory to Thee!”
Plate- 11a / Buddha Avataram
“Mleccha-nivaha-nidhane kalayasi karavalam/Dhumaketumiva kimapi karalam/Kesava dhrta
Kalkisarira/Jaya Jagadisa Hare! O God, in the form of Kalki! For the destruction of the wicked, you carry
a meteor-like sword in your hand, trailing a train of disaster to them. Hail! Hari, God of the world,
Victory to Thee!”
Poosapati Parameshwar Raju.
Son of Smt. Satyavati & Dr. Lt. Col. Poosapati Appala Raju
(rtd.)
Born on 5th September, 1961.
Received Secondary Education in Sainik School, Amaravathi
Nagar, Tamil Nadu and Kendriya Vidyalaya, Southern
Command, Pune, Maharashtra.
He stood 'Third in order of merit' in BFA (Applied Art) from
Govt. School of Art, Aurangabad (Dn), 1980 – 1985.
He received State Award in the year 2005 from Potti Sriramulu
Telugu University.
He received Masters in Applied Art from BAM University, Aurangabad (Dn)-2011 with an
'Outstanding' grade.
Awarded at the Phoenix Art Festival 2013.

Presently
Museum of Sacred Art, Brussels, Belgium is hosting 'Timeless Art' showcasing works by the artist.
Work in progress for Senior Fellowship, Ministry of Culture, Govt. of India.
ImageKraft Studio, Hyderabad, is showcasing recent works by the artist in open studio program.

In recent times
Hyderabad Literary Fest, Saptaparni Hyderabad and Goethe Zentrum released Ramayanam in
Calligraphy by Parameshwar Raju and showcased the series of 34 frames at the Saptaparni from
February to March 2014.
Gallery Ashok, Amsterdam exhibited Lore of belief from July 14 to November, 2013.
Exhibited at the Phoenix Art Festival 2013, at the Nehru Centre, Mumbai.
Gallery Art Spice, New Delhi, showcased his retrospective; Sacred is the passion for scared integrity,
till June, 7, 2013.
The Museum of Sacred Art in Belgium is preparing to house a selection spanning all his series; from
Buddhist Symbols, Ek Omkar, Jewish Symbols, Hundred names of Allah, the Ahura Mazda,
Christian Symbols, Epic Narratives, Numerical Yantras and Ayatanas, the Ramayanam and the
Bhagavatam.
Lore of Belief, a traveling exhibition of his works; curated by Art Historian, Koeli Mukherjee Ghose,
was showcased at the Poecile Gallery Hyderabad in March 2013 and earlier in January 2013 it was
showcased at the Orthic Creative Centre, Nanappa Gallery, Cochi, as a collateral event during Cochi
Muziris Biennale in early January,2013.
He was invited to take part in Ek Sutra an International Exhibition of Calligraphy at IIC Gallery,
New Delhi; by Qalamkari, as part of the project One Asia, 2012.
His works were presented at the pavilion of Indian art at the 5th Inernational Biennale in Beijing in
September 2012. Creating a cultural connect between both the countries at the very onset of the
exhibition prepared and presented by Lalit Kala Akademi.
Work experience
Marketing Consultants and Agencies Limited,Bangalore as an Officer G1,27th May 1985 to 5th July
1990 (Work included Training Visualizers & Students from Art Schools)
Mudra Communications Limited, Ahmedabad as an Art Director, 9th July, 1990 to 25th October,
1992 (Work included Training Visualizers)
Everest Advertising Pvt. Limited, Hyderabad, as Sr. Art Director and Associate Creative Director
1st November, 1992 to 25th October, 1997
SSC&B - Lintas Limited Hyderabad, as an Associate Creative Director
30th October, 1997 to 30th Oct 2003
Sree Designs, Hyderabad, Head Graphic Design
1st November, 2003 to 30th January, 2004
Nagarjuna Fertilizers and Chemicals Limited, Design Director and Head NFCL Design Studio
February, 2004 to July 2008
Director, Kalahita Art Foundation, NFCL September 2006 to July 2008
Visiting Faculty at Government School of Art, Aurangabad (1985 to 1998)
External Examiner for MFA (Applied Arts)
Dr. B A M University, Aurangabad
Member of Design & Marketing Team for revival of APCO,
2002 to 2003, Dept. of Industries, Govt. of Andhra Pradesh.
Nominated Member of Core Group-Product Design,
Development & Diversification and Marketing Support Cell
for the period 2005 to 2007 for Central Silk Board, Ministry of Textiles (Govt. of India)

Solo exhibitions
ICCR, Ravindra Bhavan, Hyderabad / Le Café D'Art, Hyderabad / G C Laha Centenary gallery,
Kolkata / Kalahita Art Foundation, Hyderabad / Lalit Kala Akademi, New Delhi / WSCA,
Kolkata / Standard Chartered Bank, Bangalore / Apparao Galleries, Chennai / Marriott Hyderabad
/ Taj Krishna, Hyderabad / Our Place Hyderabad / Truffles Café Hyderabad / Smart Art Company
in Germany / Akruti, Baroda / Ethos Art Gallery, Bangalore / Weavers Center for the Arts,
Kolkata / Suruchi Art Gallery, Noida / Shrishti, Hyderabad / Taj Hotel, Mount Road, Chennai /
Emami Chisel, Kolkata / Art Serenity, New Delhi / ICCR, Azad Bhavan, New Delhi / ICICI
Bank, Hyderabad / Orthic creative Centre, Kochi / Poecile Gallery of Art & Fashion, Hyderabad /
Gallery Art spice, New Delhi / Annexe gallery, India International Centre / New Delhi. Taj Palace,
New Delhi.

Group exhibitions
ICCR, Ravindra Bhavan, Hyderabad / Standard Chartered Bank, Bangalore / Dubai Art Festival
/ Al Murooj Rotana, Dubai / ICICI Bank, Hyderabad.

Workshop
Government School of Art , Aurangabad / CAVA, Mysore / Chitrakala Parishath, Bangalore /
Government School of Fine Arts & Crafts, Kolkata / Broadridge Financial Solutions, Hyderabad /
NIFT, Hyderabad / Orthic creative Centre, Kochi / Guruvayur Devaswom Institute of mural
painting, Guruvayur
In his work we are witnessing the phenomenon of a new genre that could be termed as iconic –
calligraphy. The artist, in his calligraphy engages with a distinguished form of expression that traverses
both traditional and contemporary terrains. His images are offspring's of an epistemological
discernment and the minimalist's aesthetic, ensuing from his personalized research of iconography,
signs, and symbols. inherent in the Indian ceremonial culture. He has been practicing for the last
thirty years. His works reveal an intrinsic simplicity and rhythmic flow, the use of the nib and to
make the ink flow from it, in accordance with his necessity, is rigorously rehearsed by Parameshwar.
He is one of the Trustees of Jagdish & Kamla Mittal Museum of Indian Art, Hyderabad.
He has conducted lectures at Govt. School of Art, Aurangabad (Dn) / CAVA, Mysore / Chitrakala
Parishath, Bangalore / S.V College of Fine Arts, Hyderabad / JNTU, Hyderabad / Govt. College of
Art & Crafts, Kolkata / Broadridge Financial Solutions, Hyderabad.
At the present moment he is in the process of setting up a Foundation for Fine Arts and Crafts,
Creating prototypes of designed articles, Facilitating research and documentation.

Publications
Guileful Strokes, ISBN 81 7525 410 6.
The benign perch - the imagined tree, ISBN 81 901 784 0 7.
'bliss of being' works of Poosapati Parameshwar Raju, ISBN 978 81 901784 2 6.
Ramayanam - lore of belief, Iconic Calligraphy by Poosapati Parameshwar Raju
Dasavataram - lore of belief, Iconic Calligraphy by Poosapati Parameshwar Raju