On a warm and clear blue-skied day, Lord Shiva sits on the mount Mandara. He has assumed the poorna-padmasana on a tiger-skin, and is steeped in dhyana. The conscious depths He is in could be gauged from the depiction of His form - five heads, ten arms, complexion like the polar dusk, and all the chakras of the body prominently shining through. The little Ganesha, His son, is sitting on His lap. He is enjoying a laddoo - no picture of the Lord Ganesha is complete without a laddoo in the periphery - and is lovingly held in place by His father. The trusty Nandi and a tiger have been painted in the foreground, quietly sitting on the flowers and verdure of the region. There is nothing to disturb the calm of the situation, till Mother Parvati arrives on the scene. Gorgeous as She is, She is a most playful mood the morning of the painting.

She creeps up behind Her husband, who is too consumed by dhyana to notice the rustling of Her silks and the tinkling of Her shringar. She is carrying a musical instrument, which She holds with one hand and the rest of Her hands She places on each of the three eyes on each of Shiva's heads. In the midst of His dhyana, with His eyes shut out, a darkness descends upon existence. As the palms of the perplexed Parvati perspires, a blind child is born of the fluid. Whilst the universe regains its light as Parvati stops Her trick, the baby Andhaka is given away to the childless Hiranyaksha. It is Him who grows up to earn His boons from Brahma Himself and rule the lokas as Andhakasura. Against the backdrop of undulating hills, pristine temples, and roseate skies, no one seemed to have seen what was coming.