All great cultures have their epics and sacred texts — rife with heroes and villains, gods and demons and magical beings that manifest in the twinkling of an eye. India is no exception. The South Asian subcontinent possesses one of the most fantastical and intricate canons in the world, and right now Austin is allowed a rare glimpse into it via the multidisciplinary installation “Epic Tales From Ancient India: Paintings From the San Diego Museum of Art,” which runs at the Blanton Museum of Art on the University of Texas campus through Oct. 1.

“Epic Tales” takes visitors on a journey through some of India’s greatest works — the “Ramayana,” “Bhagavata Purana,” “Ragamala” and “Shahnama,” or Persian “Book of Kings.” It features 90 miniature watercolors from San Diego’s renowned collection (most from manuscripts dating from the 16th to 19th centuries), as well as ancient bronzes, video installations, a delightful reading section and a series of dance and storytelling performances. For many, this rich installation is an introduction to the story of India and the Hindu religion.

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“I wanted this exhibition to be a multisensory experience,” curator Ray Williams says. “The paintings are all about story, and I wanted story to be a big part of the show. And while the stories can be entertaining and fun, they also have strong religious meaning, and I wanted to underscore that — that it’s all intertwined.”

Williams, who has studied in India and is director of education and academic affairs at the Blanton, designed the exhibit to be fun while also shining a spotlight on “an amazing culture and an amazing set of stories. We’re saying, ‘You’ve heard of Krishna, you’ve heard of Rama? Well, here’s the bigger story!’”

And, truly, who can resist the images of heroic flying monkey gods and handsome blue deities that see and know all? Jealous gods and goddesses who plot murder, spousal abductions … and worse? It’s a cosmology that resonates millennia-deep in the Indian psyche and is strikingly illustrated through these treasures from the San Diego Museum of Art, the Cleveland Museum of Art (an 11th-century Hanuman bronze) and the Kimbell Art Museum in Fort Worth (a standing Vishnu bronze, circa 14th century).

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Austin is one of only three places in the country to feature “Epic Tales.” It’s a sumptuous experience, not your average static museum exhibit, and it can be relished and revisited over and over again.

“The churning of the ocean of milk,” from “Gita Govinda (The Song of the Herdsman).”



Contributed photos by the Blanton Museum of Art, the University of Texas at Austin

“The churning of the ocean of milk,” from “Gita Govinda (The Song of the Herdsman).” This folio shows the god Vishnu seated upon the holy mountain Mandara, used by gods and demons to churn the ocean of milk, creating a nectar that will make the gods immortal. The mountain rests on the back of the giant tortoise Kurma (an incarnation of Vishnu), and the serpent king Vasuki is being used as a rope to churn the ocean.

“Radha goes to Krishna’s house at night,” from the “Bhagavata Purana.”



Contributed photos by the Blanton Museum of Art, the University of Texas at Austin

“Radha goes to Krishna’s house at night,” from the “Bhagavata Purana.” Krishna, an avatar of the great, all-encompassing god Vishnu, is the lover of Radha, an enchanting “gopi,” or cowherding maiden. Traditionally their romance represents the love between human and the divine, in which the human sacrifices all to be one with god.

“Brahma submits to Krishna, having returned Krishna’s companions,” from the “Bhagavata Purana.”



Contributed photos by the Blanton Museum of Art, the University of Texas at Austin

“Brahma submits to Krishna, having returned Krishna’s companions,” from the “Bhagavata Purana.” Suspecting that Krishna is an avatar of Vishnu, the god Brahma attempts to trick Krishna by kidnapping his cowherd companions and their cattle, hiding them in a cave. When Krishna is able to multiply himself and manifest as the lost cattle and herders, Brahma realizes Krishna is indeed an avatar of Vishnu and frees the boys and calves from the cave.

“Defeat of Kaliya,” from the “Bhagavata Purana.”



Contributed photos by the Blanton Museum of Art, the University of Texas at Austin

“Defeat of Kaliya,” from the “Bhagavata Purana.” Krishna protects his friends and fellow cowherds from the powerful and poisonous serpent, or naga, when they are playing ball by the Yamuna River. When the multihooded snake rises up from the waters, Krishna wrestles with Kaliya and defeats him, winning the serpent’s promise to not cause any more trouble.

“Krishna swallows the forest fire,” from the “Bhagavata Purana.”

Contributed photos by the Blanton Museum of Art, the University of Texas at Austin

“Krishna swallows the forest fire,” from the “Bhagavata Purana.” Following his encounter with the serpent Kaliya, Krishna saves the villagers from a massive forest fire. In this act, he exhibits his compassion yet again. “Krishna is an avatar of Vishnu — the god who’s about maintaining social order and continuity,” Blanton curator Ray Williams says. “He can do whatever is needed to protect his followers and maintain balance in the cosmos.”

“Six demons and nine gods approach a house where a man sleeps,” from the “Bhagavata Purana.”



Contributed photos by the Blanton Museum of Art, the University of Texas at Austin

“Six demons and nine gods approach a house where a man sleeps,” from the “Bhagavata Purana.” This rare image from a Persian translation of the ancient text is charming in its delicacy.

“The gods hatch a plan,” from the “Ramayana.”

Contributed photos by the Blanton Museum of Art, the University of Texas at Austin

“The gods hatch a plan,” from the “Ramayana.” “This demonstrates a painting strategy that uses the architecture to divide the story into different scenes,” Blanton curator Ray Williams says. “This four-headed god, Brahma, is appearing at three different moments. … The painter also conveys a sense of hierarchy, placing Vishnu at the center of the composition and under the umbrella. So you know right away that Vishnu is central to the story. Brahma is asking him for help. … In another scene they go over and talk to Shiva, and they come up with a plan to deal with the demon king Ravana, who has accrued too much power over time. … Vishnu agrees to take on human form as Rama in order to destroy Ravana and restore the cosmic balance.”

“Rama, Lakshmana, and Vishvamitra converse at night,” from the “Ramayana.”



Contributed photos by the Blanton Museum of Art, the University of Texas at Austin

“Rama, Lakshmana, and Vishvamitra converse at night,” from the “Ramayana.” After Sita, the wife of Rama, is abducted by the demon king Ravana, Rama and his brother Lakshmana meet with the sage Vishvamitra to plot her rescue. The brothers have learned from forest-dwelling sages that Sita has been taken to Ravana’s island home, Lanka.

“Hanuman meets Sugriva and Tara in the cave palace of Kishkindha,” from the “Ramayana.”



Contributed photos by the Blanton Museum of Art, the University of Texas at Austin

“Hanuman meets Sugriva and Tara in the cave palace of Kishkindha,” from the “Ramayana.” Here the monkey god Hanuman, a devotee of Rama who has superhuman abilities, confronts the leader of the monkey kingdom, Sugriva of Kishkindha, and his wife, Tara. He reminds the couple that they have promised to help Rama and Lakshmana retrieve Sita, who has been stolen by the evil Ravana.

“Nata Ragini of Bhairava,” from the “Ragamala” paintings.



Contributed photos by the Blanton Museum of Art, the University of Texas at Austin

“Nata Ragini of Bhairava,” from the “Ragamala” paintings. “Ragamala” correlate with ragas, or classical songs composed for certain occasions, specific seasons or particular times of day. The “Nata Ragini of Bhairava” is intended to be played in the summer, in late afternoon or early evening. The painting depicts three warriors in battle.

“Isfandiyar attacks the dragon,” folio from a “Shahnama” (Persian “Book of Kings”).



Contributed photos by the Blanton Museum of Art, the University of Texas at Austin

“Isfandiyar attacks the dragon,” folio from a “Shahnama” (Persian “Book of Kings”). “Shahnama” predated Islamic Iran and were popular in Persian-speaking India during the Mughal Empire. Here, the gallant hero Isfandiyar slays a dragon. Isfandiyar was a champion of Zoroastrianism and the conqueror of many wild beasts and enemies.

“Bharata pleads with Rama to return to Ayodhya,” from the “Ramayana.”

Contributed photos by the Blanton Museum of Art, the University of Texas at Austin

“Bharata pleads with Rama to return to Ayodhya,” from the “Ramayana.” After Rama has been banished for 14 years by his father, Dasaratha, brother Bharata comes to him to plead for Rama’s return to their home Ayodhya and to take the throne. Duty-bound by his promise, Rama is unable to return to Ayodhya until he has completed the exile.