Newsletter Archive

"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."

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.

"As a tribute to a beautiful woman and as a monument for enduring love, the Taj reveals its subtleties when one explores it at leisure and not hurriedly. The rectangular base of Taj is in itself symbolic of the different sides from which to view a beautiful woman. The main gate is like a veil to a woman's face, which should be lifted delicately, gently and without haste on the wedding night. As per the charming Indian tradition the veil is lifted gently to reveal the beauty of the bride, in the couple's first night together."

"...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..."

"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".

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.

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.

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.

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.

"...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.

"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."

The young prince Gautama Siddhartha was born into the ancient Sakya clan...he learned in a few days the sciences suitable to his race...Intrigued by his first encounter with old age...Four weeks after he began meditating under the Bodhi tree...on the night of a full moon, Sakyamuni attained enlightenment…" Gautam Buddha's life and teachings offer valuable insights into the human condition and the pursuit of inner peace and enlightenment. His legacy continues to inspire and influence people around the world, and his teachings remain relevant and meaningful today.

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.

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.

"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."

"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."

"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.

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.

"In Indian art generally, possibly because of its predominantly religious character, the symbolic level is always the more important. The depicted surface-reality always very strongly implies some general statement. For instance, the animals and plants of the Buddhist frescoes are not just animals and plants but symbols of the whole of creation, a statement that it is animated, that it feels and suffers."

Tanjore derives its name from the capital of Chola empire, Thanjavoor. This place has one of the beautiful temple of Lord Shiva-Brigadeeswara temple. This art form was developed with the patronage of the Maratha rulers in the 18th century.This type of art which is famous for its ornamental relief work flourished with the patronage of the kings. The process of making a Tanjore painting requires dedicated skilled labour. There are many stages during the making of this painting. The article celebrates Tanjore paintings as a vital part of India's artistic heritage, showcasing their beauty and the craftsmanship involved in their creation.

Indian miniature paintings, a symbol of India’s rich artistic heritage, are exquisite works of art characterized by their diminutive size and unparalleled detail. These paintings, often no larger than a few inches, encapsulate within their tiny frames a world of intricate patterns, vibrant colors, and profound narratives. Spanning centuries and diverse cultures, Indian miniature paintings offer a fascinating glimpse into the country’s history, religion, and aesthetics. The Mughal miniatures, Rajput painting, and sub-schools within it create a large collection of historical miniatures, however, small images drawn on surfaces is a technique that existed in the country since ancient times.

"At first the available colors are ground on a stone slab (by rubbing or grounding) to bring them in a powder form. Some artists use mortar and pestle of a very hard quality stone. Then that color is dissolved in water along with some gum and then filtered. The filtration process is continued till the color becomes totally earth or sand free. Thereafter water is removed and the color is dried and kept in form of balls. When required, the desired color along with some dry gum is dissolved slowly in water with the help of finger or thumb.'

The Mughal miniature is known for setting a vast and intricate story within a very small frame. This means that the subjects- human, natural, and architectural elements with all their details were drawn with precision. Everything, from a line to shading of the subjects was to be done with a steady hand because the miniature would be effective only if all the visual components were sharp and clear. To draw a perfect miniature, the artist had to pick the perfect brush. "In Sanskrit the word Tulika is used for brushes. The artists in their ordinary language call it Kalam. It is worthwhile noting here that the different styles of paintings are also called as Kalam, viz. - Bundi Kalam, Kangra Kalam, Shah Kalam, etc. Kalams of different thicknesses are chiefly prepared for different types of works and from different types of bristles. The thick or medium size Kalam is required to fill colors in the painting."