Timeless Traditions: Enthralling Indian Art Forms

A popular depiction of Lord Shiva performing the Tandava. There are several versions of this. Performed with joy it is called Ananda Tandava, when done in anger or violent mood it is referred to as Rudra Tandava. This work done on reverse glass is more than 75 years old.  

Painted using natural dyes, this work has been marginally embellished to resemble its more opulent cousin, the Tanjore painting. 

One of the most popular themes of ancient Indian art, this painting of Lord Vishnu shows him flanked by his consorts Sridevi and Bhudevi.

Such renditions of this extremely popular Vaishnava deity were most often found in the puja rooms of Hindu homes across South India. 

A 100-odd year old reverse glass painting of Goddess Saraswati. Though it doesn't have any intricate detailing, it is however a typical image that was part of a compulsory set of Hindu iconography in most South Indian homes.

Works done in similar styles have inspired and influenced later day artists to merge different styles of art and create new mediums of expression.

This image of Goddess Saraswati uses the terraverte colour (mixing blues and browns) with smoked and real mirrors at the back, to convey radiating gestures while enhancing the visualisation. 

The Patina or aged look and subtlety comes from the hues of natural colours and the use of precious stones as embellishments. 

Tanjore paintings are characterised by rich and vivid colours and simple iconic composition. Glittering gold foils overlaid on delicate, but extensive gesso work and inlay of glass beads and pieces coupled with semi-precious gems highlight the work.

Here the artist has mixed techniques like Tempera wash on board; the embellishments have been done in Tanjore style.

Freshwater pearls have been used to enhance the jewellery adorning the figures in the artwork. Arches and umbrellas, typical to Tanjore paintings, have been recreated in this work.

The artist has tried to recreate a wedding scene, with all the major Hindu Gods and Goddesses alongside, to witness and bless the solemn occasion.

In typical Tanjore style, the characters are elaborately embellished with rich garments and ornaments. In keeping with another trait specific to  this style, the prominent figures are bigger, while the ones that are smaller are either of lesser importance or status.

The artist renders the wedding scene complete with her portrayal of other subjects, ostensibly the companions or servitors of the bride..

The story of Rathi and Manmatha as told by artist Lakshmi Krishnamurthy. She paints these celestial characters in Reverse Glass technique, inspired by the Mughal Miniature style of painting.

Notice the manner in which the artist has cleverly mixed these different artistic styles to create a unique rendition of Rathi.

The artist has cleverly captured the details of Manmatha's mount in traditional Tanjore style of depiction. 

The intricate detailing on the parrots body, its plumage and vibrant colour are inspired by the opulence and grander of Tanjore-style works.

Guided by works of the old masters, artist Lakshmi Krishnamurthy has endeavoured to work within the dictums of iconographic codes, historical and mythological implications, endowing it with new expressions using Pan-Indian Traditional Art forms.

The artist has used an ancient window frame that was salvaged from a heritage house. She has painted Hindu deities on their vahanas or vehicles in the six window panels.

One panel depicts Lord Shiva with an unusual vahan - Kama the parrot. Then there is Lord Vishnu on the giant bird Garuda. Similarly Lord Karthikeyan can be seen with the peacock and Lord Ganesha has been painted astride an elephant.

Madhubani paintings were initially created by women from the Mithila region of Bihar, hence this form of art is also called Mithila painting.  The paintings were traditionally done on freshly plastered mud walls, but now they are done on a variety of mediums.

Madhubani paintings depict people and their association with nature and scenes from the ancient epics. In this painting Ram, Sita and Lakshman are being ferried across the river by Guhan, as they start their period of exile in the forest.

Generally, no space is left empty; the gaps are filled by paintings of flowers, animals, birds, and even geometric designs.Natural objects like the sun, the moon, and religious plants like tulsi are also widely painted, along with scenes from the royal court and social events. 

Pattachitra is a term for cloth-based scroll painting. Known for its intricate details, as well as mythological and folk narratives, this art form was originally used as a visual device during performances of songs.

Some of the popular themes are Thia Badhia - depiction of the temple of Jagannath; Krishna Lila - enactment of Jagannath as Lord Krishna; Dasabatara Patti - the ten incarnations of Lord Vishnu; Panchamukhi - depiction of Lord Ganesh as a five-headed deity.   

These paintings have significance in their lives and it is believed executing the Pithora paintings in their homes brings peace, prosperity and happiness. The painting usually floods the entire wall with figures.

An array of horses and riders glide across the walls in this ritualistic art form. The paintings describe a scene of one asking for a boon, or offering thanks to God one that was granted. The works are always high with religious fervour.

Here the artist has reinterpreted the Mughal Miniature style of painting be using an alternate medium like Tempera to create this work. Goddess Saraswati can be seen on her swan with her veena in hand.

The tradition of miniature paintings was taken forward by the artists of various Rajasthani schools of painting, including the Kishangarh, Bundi Jaipur, Mewar and Marwar. Here the artist retains the  original technique and style of painting seen in old masters. 

A sense of movement permeates Warli paintings. These rudimentary wall paintings use a set of basic geometric shapes: a circle, a triangle, and a square. These shapes are symbolic of different elements of nature.

The circle and the triangle come from their observation of nature. Their belief, that death is merely the beginning of a new cycle of life, gives rise to spiral movements with an interplay of geometric lines, giving a strong dynamic character to their style.