For someone who breathes aesthetics, thrives on what he feels at that moment of time, spiritualises creativity beyond the frontiers of imagination into his ‘own religion’, and flows along to “create a divine proportion, a continuity, a balance with no disconnect,” and is satisfied only when he binds all elements of his creation into a “harmony”, it’s not surprising that for Shan Bhatnagar, a self-taught artist from Jaipur, art will remain the most astonishing activity of mankind borne out of struggle between wisdom and madness, between dream and reality. Shan began to create Srinathji on canvas only to replicate for himself what had impacted him so intensely- his visit to the famous Nathdwara temple in Udaipur.
  Talking to Shan about his Srinathji paintings is like opening up a torrent of devotional currents, wedded to his art form. An innovative approach which unites the texture of oil to embellishing each canvas with kasab, dabka, zardozi, upping it with semi-precious kundan jewellery, silver plates and real gold, each of his Srinathjis speak of the artist’s in-depth knowledge of the pushti marg cult, his passion and his creativity. The pichwais provide the backdrop of the drama that is to unfold, setting the mood of the painting and the emotion to be conveyed. Shan explained, “Srinath ji is treated like a young prince, symbolic of all the luxuries of life, he is not an idol but is looked upon as a living entity.” There is a unique fusion of a deep sense of spirituality, which makes Shan combine artistry with his seva —“this is my seva to Srinath ji, the way I worship him.”
 Each pichwai denotes the seva of Srinath ji in a different season. The summer pichwai has pink lotuses as the backdrop while the winter pichwai has an intricate jamawar pattern, providing the warmth needed for the season. The main pichwai that denotes the Anukooth, the day after Diwali when Srinathji lifted the Govardhan parvat, has the deity in a silver poshak, exquisitely decorated with pearls, dabka, zardozi work. It is a technique that employs high relief on a stellar, going back to the Mughal times.
The yearly calendar of worship is divided fairly among Srinathji’s friends. The Yamuna seva is during the summer months to keep him cool, Radha seva during the saavan-bhaado, Lalita seva during winters to keep him warm and Chandrika seva during the exuberant months of spring. The theme of the pichwais varies according to the season and it’s moods.
 With a slight bent towards encouraging a certain degree of ritualism in this day and age of globalisation and the tech revolution, Shan is clear in his mind, saying, “Technology and beliefs are two separate issues, one can move forward but still go back to one’s roots and the aesthetics from a major part of the art form. I believe in what I’m doing, for me each painting is an experiment, a continous journey of exploration for the ultimate Srinath ji. When I create that complete painting is when I will feel saturated with satisfaction, that will be a state of enlightenment – I’m still searching for it.” “Family, friends and your own city will always be encouraging and biased towards your work, it is only when you are successful outside, where professional art collectors and senior artists appreciate your work, do you know your true worth.
 To be humble and accepting of their evaluation and criticism is wise,” says Shan, rueing the fact that “there are no serious buyers of art in Rajasthan, Gujarat, Madhya Pradesh, still strait-jacketed in their choice for landscapes and miniatures. Contemporary art has to understood in all it’s seriousness, like any good literature and poetry. One has to go inside the artist’s skin to grasp what he wishes to convey through his creation.”
The prestigious Allaince Francaise Gallery in New Delhi  selected six of Shan’s canvasses (4 ft by 5 ft), to be exhibited, which, as Shan admitted was a difficult process since the French Embassy undertakes intense scrutiny of the work to be put on show.
 The artist had his first show when he was only 18, titled  A Homage to Rajasthan, in Stuttgart, which was a sell out, quickly followed by another successful show. Those paintings are hanging in the Town Hall, Rat Laus. Shan has exhibited with Concern India at the Oberoi Intercontinental in New Delhi and in Bangalore. Currently working with Alka Pande for her forthcoming exhibition on Shringhar’ Shan is looking forward to this show which will travel through major cities in India and to London as well. With a show in August this year in Purnima Dhawan’s Gallery 301 and another in Dubai in December, his spiritual journey continues.
Much in keeping with today’s trend of artists foraying into the vast arena of creativity, Shan too has ventured into decorating spaces. His inspiration is still his devotion to Nathdwara, treating interiors like a three dimensional canvas, “its more like an art installation for me.” Whether it’s an up-market boutique selling haute couture, or a speciality cuisine restaurant, Shan continues to paint. With a well-researched treasure trove of devotional facts, Shan’s work reflects an unconditional surrender to every mood, form and colour, revealing hidden depths of meaning behind each work of art. “Work is worship” - finds literal translation here.