Re-designing and imagining the cover for the The Palace of Illusions by Chitra Banerjee Divakaruni was a self-led exercise after having read the book, absorbed the character’s descriptions and nuances, and portraying the same through an illustration.

 

The book has a strong female character, Panchaali aka Draupadi, who is the driving force in the story.

 

The Palace of Illusions is the mythological tale of the Mahabharata, written from the female perspective.

 

The illustration was created in 2025 to portray women as subtle symbols of power and energy. Through intentional use of color, strength is embedded beneath a delicate and feminine exterior.

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Why this book:

In Kushagree Katre’s review of the book, The Palace of Illusions takes us back to a half-history, half-myth, and wholly magical time. Narrated by Panchaali, the wife of the five Pandava brothers, we are finally given a much-needed woman’s take on the timeless tale that is the Mahabharata.

 

Palace of Illusions gives a humane outlook to the legendary story of Mahabharata. Yet it takes us on an engaging journey in a world of warriors, gods, and the ever-manipulating hands of fate.

 

I found the story as a new take on the way I perceived the Mahabharata. The writing style and the character’s personality and aura was what I wanted to capture in the cover of the book. The book is from the perspective of a female, and thus the cover had to include some elements of divine, feminine and mythical aspects.

 

How this illustration works best with it:

Panchaali’s appearance in the book is characterized by long, dark, curly hair, and she is described as having an unconventional beauty that is fiery and striking. Panchaali is said to be dark skinned, like Krishna, who has skin so dark that it was termed ‘blue’. The colors echo Indian aesthetics, the blue skin hints at divinity or inner power, and the softness suggests reflection rather than spectacle. This characteristic is what I observed through the book and found to stand out in the narration of the story.

 

The author also breaks down the “male gaze” by digging into Panchaali’s inner world, showing her desires, fears, and  strategic intellect. Using these as cues, I have tried to show the quiet inward gaze, the flowers held close it feels mythic and intimate at the same time.