Articles by Nitin Kumar

Nitin Kumar

Nitin Kumar is a leading light behind the Exotic India story, being a founding visionary. Having conceptualized Exotic India in 1999, Nitin Kumar is today its Executive Editor, and is responsible for all content on the website. He has authored several articles for the website, on diverse subjects as Hinduism, Buddhism, Art, Fashion, et al.

Sri Nitin Kumar is a firm believer in Vedanta Philosophy, and is today an acknowledged scholar on the Vedas, Puranas, and indeed the Brahma Sutras. With his deep understanding of the Sanskrit Language, he is presently directly involved in translations of ancient Hindu texts into English.

The author also holds a keen appreciation of visual art, and has been associated in the recent past with the National Gallery of Modern Art, Delhi.

Mostrando 121 a 144 de 147 resultados

The Dance of Shiva

"God of eroticism, Shiva is... the master of Yoga, which is described as the method used to sublimate virile power and transform it into mental and intellectual power. He is therefore the 'great Yogi.'... 'I have never renounced any vice: it is they who have left me' summarizes the message of Shiva."

Published in Apr 2002

Women and Jewelry - The Spiritual Dimensions of Ornamentation

Indeed, rarely is a traditional Indian ornament simply decorative and devoid of inherent meaning or symbolic value. Symbols found in Indian Jewelry act as a metaphorical language communicated from the wearer to the viewer. Such jewelry is created from an infinite reserve of symbolically significant forms and images, some obvious, some subtle, and some whose meaning is forgotten. Complementary to such thought is the conventional view where the graceful form of a woman is said to epitomize the ideal beauty and mystery inherent in nature. Thus, befittingly each and every part of the feminine physique including the head, torso, limbs, and between the appended parts - have consistently been used to support ornaments, often in ingenious ways.

Published in Mar 2002

Color Symbolism In Buddhist Art

"...there exists in Buddhism the concept of a rainbow body... the rainbow body signifies the awakening of the inner self to the complete reservoir of terrestrial knowledge that it is possible to access before stepping over the threshold to the state of Nirvana..." After knowing the qualities that you want to experience in your life such as peace, strength, wisdom, patience, and compassion, you can pick the color associated with that quality. With an element as simple as colors, you can transform your life into a rich, awakened, and transcendental experience, following the wisdom of Buddhist masters.

Published in Feb 2002

Every Woman a Goddess - The Ideals of Indian Art

"...the originator of families, the preserver of the established order and the perpetuator of traditions...As the Great Goddess rules the heavens, her earthly counterpart, the woman, rules the home..." The living traditions of India have always identified the female of the species with all that is sacred in nature. But it is not always the warrior woman who is identified with the goddess, but also woman as playful, lovable, and of course as the Mother. In a delightful vein it is conjectured that the kick of a woman is sufficient and necessary for blossoms to spring from the sacred Ashoka tree.

Published in Jan 2002

Om - An Inquiry into its Aesthetics, Mysticism, and Philosophy

"...God first created sound, and from these sound frequencies came the phenomenal world... Matter itself is said to have proceeded from sound and OM is said to be the most sacred of all sounds. It is the syllable which preceded the universe and from which the gods were created..."

Published in Dec 2001

Philosophy of Namaste and Comparison with the Handshake

"...the sacred sound 'namaste' is believed to have a quasi-magical value, corresponding to a creative energy change. This transformation is that of aligning oneself in harmony with the vibration of the cosmos itself...."

Published in Nov 2001

What is Tantra? - The Art of Philosophy

Tantra has developed a system of thought which makes us see the universe as if it were within ourselves, and ourselves as if we were within the universe. Further the forces governing the cosmos on the macro-level are believed to govern the individual in the micro-level. According to tantra, the individual being and universal being are one. Thus all that exists in the universe must also exist in the individual body. One of our major limitations in discovering this essential unity between the microcosm and the macrocosm is that we are accustomed to analyze the world into its separate parts, with the result that we lose sight of those parts' inter-relationship and their underlying unity. The way to fulfillment is through recognition of our wholeness linking man and the universe. This hence is the broad aim of Tantra art, achieved through visual symbols and metaphors.

Published in Sep 2001

5 Sacred Buddha Mudras Explained – Meaning, Symbols and Transformations

Mudras are a non-verbal mode of communication and self-expression, consisting of hand gestures and finger-postures. They are symbolic sign based finger patterns taking the place, but retaining the efficacy of the spoken word, and are used to evoke in the mind ideas symbolizing divine powers or the deities themselves. The composition of a mudra is based on certain movements of the fingers; in other words, they constitute a highly stylized form of gestureal communication. It is an external expression of 'inner resolve', suggesting that such non-verbal communications are more powerful than the spoken word. Overall, mudras are an important aspect of Indian culture and spirituality, used in dance, yoga, and meditation practices to convey meanings and facilitate the flow of prana in the body. Their symbolism and therapeutic benefits make them a valuable tool in the practice of Indian art forms and spiritual practices.

Published in Aug 2001

Parvati - Goddess of Love and Devotion

"In classical mythology the raison d'кtre of Parvati's birth is to lure Shiva into marriage and thus into the wider circle of married life from which he is aloof as a lone ascetic, living in the wilds of the mountains. The goddess represents the complementary pole to the ascetic, world-denying tradition in the Hindu ethos. In her role as maiden, wife, and later as a mother, she extends Shiva's circle of activity into the realm of the householder, where his stored-up energy is released in positive ways."

Published in Jul 2001

Tibetan Buddhist Ritual Implements: Vajra, Bell, Phurpa and Their Meaning

What are Tibetan ritual implements? In Vajrayana Buddhism, objects like the vajra, bell, phurpa, skull cup, and chopper are used in rituals to balance wisdom and compassion. Each carries symbolic meaning, from indestructibility to impermanence, and helps practitioners conquer inner obstacles. These implements are not weapons but spiritual tools, guiding transformation and enlightenment through meditation, offerings, and protective practices. Explore Tibetan ritual implements like the vajra, bell, phurpa, skull cup & chopper. Discover their symbolism, origins, and role in Vajrayana practice.

Published in Jun 2001

Durga - Narrative Art of a Warrior Goddess

"...The Great Goddess Durga was born from the energies of the male divinities...The awesome three-eyed Goddess was adorned with the crescent moon...seas trembled as the Goddess engaged the Great Demon Mahisasura...Thus the reveries of Mahisa are exterminated..."

Published in Apr 2001

The Indian Sari - Fashioning the Female Form

"The Sari, it is said, was born on the loom of a fanciful weaver. He dreamt of a Woman. The shimmer of her tears. The drape of her tumbling hair. The colors of her many moods. The softness of her touch. All these he wove together. He couldn't stop. He wove for many yards. And when he was done, the story goes, he sat back and smiled and smiled and smiled".

Published in Mar 2001

Wrathful Guardians of Buddhism - Aesthetics and Mythology

An enigmatic aspect of Buddhist iconography is the presence of wrathful, terrifying forms. Though these awesome, hair-raising images seem contradictory to Buddhist ideals, they are not personifications of evil or demonic forces. Rather they symbolize the violence that is a fundamental reality of the cosmos in general, and of the human mind in particular. In addition to destroying the passions of the mind, the purpose of gods is to protect the faithful. The wrathful deities, who symbolize the tremendous effort it takes to vanquish evil, especially perform this function.

Published in Feb 2001

Ganesha - The Elephant Headed God

The chronicle of Ganesha’s might and glory in Indian religion and Hindu art is unending. Moved by the immensity of Sri Ganesha, Indian artists have handcrafted a range of magnificent Sri Ganesha murtis, which are the best way to feel the presence of Ganesha in your life. Exotic India Art brings to you an assemblage of handmade and divine icons of Parvati-Putra (son of goddess Parvati), sculpted by skilled artists following the established instructions of ancient iconographical traditions. Bring a statue home from our collection and experience living under the protective gaze of Sri Ganesha.

Published in Oct 2000

What is a Mandala? Sacred Geometry, Colors & Symbolism Explained

This blog explores the mandala as Buddhism’s most iconic symbol, tracing its Vedic origins, meanings as “container of essence,” and symbolic geometry. It explains mandala creation, training of monks, rituals, and worship practices. Readers learn its architectural design, deities, wrathful and sexual imagery, color symbolism, sacred offerings, and psychological-spiritual purpose enlightenment, transformation, and realization of divinity within.

Published in Sep 2000

Maa Kali: The Fierce Feminine Force in Indian Art & Devotion

Explore the fierce yet loving Goddess Kali her symbolic forms, rituals, and sacred temples across India. A divine force of liberation, truth, and inner awakening. Goddess Kali, the fierce form of the Divine Mother in Hinduism, embodies liberation, truth, and transformation. Though fearsome in appearance, she is deeply revered as a protective and compassionate force who destroys ego and illusion. Across India, Kali is worshipped in various forms from Mahakali to Dakshina Kali and honored in powerful temples like Kalighat and Kamakhya. Her symbolism, rooted in Tantra and bhakti, inspires both awe and unconditional love among spiritual seekers.

Published in Aug 2000

Love and Passion in Tantric Buddhist Art

"...The word Tantra itself is derived from the verbal root tan, meaning to 'weave'...Often the mother is shown in a posture with both legs around the father's waist...refer to the union of a lotus and vajra..." Notwithstanding the fact that the Buddha's essence is non-polar, Buddhist iconographers use sexual polarity to symbolize the twin concepts of insight and compassion. All goddesses are symbols of insight and the gods represent compassion. The union of compassion and insight symbolizes the non-polarized state of bodhicitta, or the mind of enlightenment, which is represented visually by showing two deities engaged in sexual union.

Published in Jul 2000

Birds and Animals in Indian Art - The Mughal Artist as a Naturalist

"Jahangir the fourth Mughal emperor (r. 1605-27), was a lover of beauty, be it that of an artifact created by human hands or that observed in nature, the work of god. His memoirs, commonly known as Tuzuk-I-Jahangiri or, Jahangirnama, are as much an album of his aesthetic experiences as a chronicle of his reign. With his keen sensibility, these experiences were a permanent source of joy for him. Nature and beauty were preserved through the brush of his artists."

Published in Jun 2000

Krishna the Divine Lover in Indian Art

The major gods in Indian art traditions have all been given consorts. They are rarely described as celibate recluses. In their incarnate form, they are explicit in their demonstrative attraction for the opposite sex. The goddesses do not lag behind. Their love for their husbands or lovers is often portrayed in an assertively earthy and sensual manner. Gods and goddesses represent a conscious duality, complementing each other. In the embrace of Krishna, the gopis, maddened with desire, found refuge; in their love dalliance with him who was the master in all the sixty-four arts of love, the gopis felt a thrill indescribable; and in making love with him in that climatic moment of release, in that one binding moment, they felt that joy and fulfillment which could not but be an aspect of the divine.

Published in Apr 2000

Sacred Buddhist Painting - The Tibetan Thangka

A Thangka is a painted or embroidered banner which was hung in a monastery or a family altar and carried by lamas in ceremonial processions. In Tibetan the word 'than' means flat and the suffix 'ka' stands for painting. The Thangka is thus a kind of painting done on flat surface but which can be rolled up when not required for display.

Published in Mar 2000

Technique of Batik Art

"The technique of batik is a demanding one. In general, the final design must be conceived before the picture is begun. The batik artist works intimately with color; if he wishes parts of his design to be light yellow, for example, all these parts must be waxed at the same time before any subsequent dyeing. He cannot isolate one part of his design and complete it before moving on to the others as an artist in oils or watercolor may; he must create his design in stages, each of which encompasses the whole picture."

Published in Feb 2000

Technique of Pata Chitra

"Pata is a Sanskrit derivation which literally means canvas so pata-painting means a scroll painting on canvas. The art of Pata Painting (or pata chitra) is practiced by the artists of Orissa, a state on the Eastern Coast of India. The painter first chooses two pieces (generally tussar silk) of cloth and he sticks the pieces together by means of a paste prepared from tamarind seeds. They are then dried in the sun."

Published in Jan 2000

Madhubani Art: From Bihar to the World

"Hindu women who live in villages near the market town of Madhubani in northern India maintain old traditions and teach them to their daughters. Painting is one of the traditional skills that is passed down from generation to generation in the families of some of the women. They paint figures from nature and myth on household and village walls to mark the seasonal festivals of the religious year, for special events of the life-cycle, and when marriages are being arranged they prepare intricately designed wedding proposals." A symbol of Bihar’s cultural richness in the modern world, Madhubani or Mithila Paintings are a prominent folk art form, known for its vivid colors, regional themes, and cultural history. Traditionally, the motifs used in these paintings were made by women on the walls and floors of their houses during festivals, community celebrations, and important religious ceremonies.

Published in Dec 1999

Rajput Miniature Paintings: A Classic Art of India

In this article, we will take a look at the various sub-schools within the Rajput painting category, the features that distinguish them from one another, themes popular among the artists, and the use of colors in the paintings- a marvelous element of these artworks that makes the subjects come to live with vivid energy and drama. The politics of medieval India was marked by a division of regions among many states, a number of which were known as Rajput kingdoms, populated by royal families and their subjects. Though distinctive in the themes and techniques they favored, these schools also share a cultural background, symbols, and stories that run like a thread connecting the many canvases of Rajput paintings.

Published in Nov 1999