Newsletter Archive

"...Islamic art conveys the spirituality and quintessential message of Islam through a timeless language which precisely because of its timelessness as well as its direct symbolism..."

Published in Oct 2001

Tantra - The Art of Philosophy

"...art which has evolved out of tantra... is especially intended to convey a knowledge evoking a higher level of perception, and tapping dormant sources of our awareness..."

Published in Sep 2001

Mudras of the Great Buddha: Symbolic Gestures and Postures

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 & Devotion - Hindu Goddess - Exotic India Art

"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

Ritual Implements in Tibetan Buddhism: A Symbolic Appraisal

"Rites and rituals are an essential part of Tibetan religion and reflect its practical side. Not restricted to temples alone, they are performed in a variety of places and circumstances, for a myriad of purposes. Daily ceremonies are conducted in temples, although they are perhaps not so elaborate as those that take place in Hindu temples in India and Nepal."

Published in Jun 2001

The Taj Mahal - Architecture of a Love Story

"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."

Published in May 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

Mandala – Sacred Geometry in Buddhist Art | Exotic India

The word mandala itself is derived from the root manda, which means essence, to which the suffix la, meaning container, has been added. Thus, one obvious connotation of mandala is that it is a container of essence

Published in Sep 2000

Mother Goddess as Kali - The Feminine Force in Indian Art

Kali's fierce appearances have been the subject of extensive descriptions in several earlier and modern works. Though her fierce form is filled with awe- inspiring symbols, their real meaning is not what it first appears

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..."

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

The Life of Buddha in Legend and Art

"...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.

Published in May 2000

Krishna the Divine Lover in Indian Art

"...Krishna was physically irresistibly appealing... In the embrace of Krishna, the gopis, maddened with desire, found refuge...Often the colorful legends surrounding his amorous adventures with female friends prove to be of supreme inspiration to artists"

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

An Introduction to Madhubani Paintings

"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."

Published in Dec 1999

The Use of Colors in the Rajput School of Miniature Paintings

"The Rajput painter had inherited a legacy of mural painting as well as the art of the book. He devised a pictorial scheme with colour as a principal means of visual articulation. Conspicuously he retained the colour of complexions, costumes and architecture as local, while playing up the tenor of the natural environment in low or high key, or changing them altogether from their normal hues. "

Published in Nov 1999

Mughal School of Art

"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."

Published in Oct 1999

Tanjore Paintings

"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."

Published in Sep 1999

Technique of Indian Miniature Paintings

"The themes of the miniature are generally inspired by paintings commissioned centuries ago by Indian Emperors. Initially, the sketch is prepared by the artist on a smooth surface of a paper in light blue or reddish-brown ink. This primary sketch is drawn in soft lines suggesting only the outlines of the figures. These are later corrected and bold, accurate, hard lines are drawn. A thin coat of white pigment is applied to obliterate the incorrect lines."

Published in Aug 1999

Method of Preparing Colors by Miniature Painting Artists

"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.'

Published in Jul 1999

Preparation of Brushes by Miniature Painting Artists

"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."

Published in Jun 1999