The three photographs of Sri Ramakrishna and then two artistic representations of him show different levels of his consciousness from the great beyond, through his ecstasy and then to his encounter with us humans.
The sitting pose that is usually worshipped shows him in deep samadhi. About this photograph, Swami Vijnanananda said, “One day the Master showed me his photograph and said, ‘Meditate on this image. I am living here.’ His photograph symbolizes the awakening of the Kundalini. It shows him immersed in an ocean of bliss. When I look at this photograph many spiritual visions come to me. (SWAMI VIJNANANANDA AND HIS PARAMAHAMSA CARITA, p. 25.) This photo shows Sri Ramakrishna in the deepest state of samadhi. There is no connection to his body. About this state Akshay Kumar Sen writes: When his body experienced (this first form of) samadhi, the mind, with all its senses and even the heart, all stopped. (A PORTRAIT OF SRI RAMAKRISHNA (THE PUNTHI), p. 603,4.)
The photograph of Sri Ramakrishna taken in a studio and then the one taken at a celebration of the Brahmo Samaj both show a broad smile on his face. Also, he is indicating something with his hands. In both photos his right hand has the pointer and the pinky raised. This is similar to the kurma mudra which signifies meditation. Is this a gesture ordained by the Divine Mother to advise us to meditate on God? Who knows? I like to think of it in that fashion. About this second form of samadhi Akshay says, “This second form is quite different. Then his body had all the signs of life. His face was filled with bliss, like the full moon. Joy was ever-present, as if he was embracing an eternal lover and tears of joy were flowing all the time. Both the container and its contents are joy and joy alone. Such an embodiment of joy is beyond all description. Seeing the image of the Lord surcharged with bliss, all spectators are also filled with joy. (A PORTRAIT OF SRI RAMAKRISHNA (THE PUNTHI), p. 603,4.) About his smile Swami Vijnanananda writes, “When he (Sri Ramakrishna) smiled or laughed, it appeared as if the wave of ANANDA was flowing through his eyes, face and even the entire body. And that divine blissful smile removed from one’s heart all miseries forever.” SWAMI VIJNANANANDA AND HIS PARAMAHAMSA CARITA, p. 22. Elsewhere (I forget where) he says that when he smiled it was as if he were a ripe melon about to split open. The photo taken at the Brahmo Samaj shows a broader smile than the one in the studio. Perhaps his ecstasy was deeper.
This drawing by the artist Nandalal Bose, years after Thakur’s demise, depicts him dancing in ecstasy with devotees around him caught up in his spiritual mood. The Bengali caption at the bottom of the drawing states, “When a spiritual flood comes, everything is swallowed.” (Translated for me by Swami Tathagatananda). About this state, Swami Bhuteshananda writes, “In the state of external consciousness (bahyadasa) he sang and enjoyed bliss in the company of devotees. Sometimes he would dance and sometimes he would remain silent in ecstasy. (Sri Ramakrishna and His Gospel, vol 1, p. 512.)
This next image is a detail from the painting by Frank Dvorak commissioned by Swami Abhedananda. It is given in black and white. This image is on the altar in the main chapel of the St Louis Vedanta Society and was on the altar of the Vedanta Society of New York when I first started attending back in 1972 and remained there until recently when the sitting photo took its place, flanked by Holy Mother and Swamiji. I believe Dvorak had seen photos of Sri Ramakrishna and I read in a bulletin from the Vedanta Society of Providence that Dvorak was debating within himself whether to paint him with eyes open, eyes shut or half open. Then he had the vision of Sri Ramakrishna. His eyes were open. That answered the question. To me this painting wonderfully captures Sri Ramakrishna’s love. About Sri Ramakrishna’s face, Swami Vivekananda said, “His face was distinguished by childlike tenderness, profound humility, and remarkable sweetness of expression. No one could look upon it unmoved.” CW, vol 5, p. 356. To me this painting depicts the face of Sri Ramakrishna when he had normal consciousness and could talk with devotees. This painting shows God face to face with us mortals, inspiring us, dragging us to The Light. But not just this state. All his states are pulling us mightily.