#IndianArt

Ivo Trace | Ten10 Visuals Network ™

1 day ago

In a soft, luminous woodland landscape, three young South Asian women occupy the foreground while a fourth, older figure in pale draped cloth walks away at far left with a staff. At right, Shakuntala stands barefoot on one leg, lifting her other foot behind her with one hand as if pausing to remove a thorn, though her turned face carries a soft, distant, almost secretive expression. She wears a rose-pink sari, floral garlands, earrings, bracelets, and flowers tucked into her dark hair. Beside her, one companion in a pale cream wrap faces us with a knowing smile, while another, seen mostly from the back, wears a pink drape and carries a basket filled with bright flowers. Behind them rise green trees, a narrow stream, and hazy blue hills under a pale sky touched with peach and blue. Indian artist Raja Ravi Varma builds the painting around a moment of emotional disguise. Shakuntala is not truly occupied by a thorn. She is stealing one more look at King Dushyanta, the beloved she is reluctant to leave. That blend of modesty, desire, and performance gives the work its enduring tension. The subject comes from the Shakuntala story known from the Mahabharata and especially from Kalidasa’s celebrated drama, where longing, memory, and recognition shape the lovers’ fate. By 1898, Varma was already famous for painting Indian epic and literary figures with European-inflected realism, helping make such popular. Here he gives the story a texture of lived feeling: friendship, flirtation, hesitation, and the charged instant before departure. The companions are not background figures but co-conspirators who understand what Shakuntala cannot openly say. The painting’s beauty lies in that social intimacy. Love is shown not as spectacle, but as a private emotion briefly made visible through a turned a lifted foot and turned glance backward. Today, it is one of Varma’s most memorable images of feminine intelligence and desire, where gesture itself becomes narrative.

"Shakuntala Removing a Thorn from Her Foot" by Raja Ravi Varma / രാജാ രവിവർമ്മ (Indian) - Oil on canvas / 1898 - Sree Chitra Art Gallery (Thiruvananthapuram, India) #WomenInArt #RajaRaviVarma #राजारविवर्मा #Varma #SreeChitraArtGallery #IndianArt #IndianArtist #artText #RaviVarma #GaneshShivaswamyFoundation

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Radek Kucharski

@born2trek.bsky.social

3 days ago

Photo of detailed carving on one of the marble pillars inside the elaborately carved, 15th-century Ranakpur Jain Temple, Chaturmukha Dharana Vihara. Carved floral, lotus design, birds, geometrical details, a bell hanging from a chain, a standing figure. Pali district, Rajasthan, India | © Radek Kucharski

Parts of Ranakpur Jain Temple interior were lit by the direct afternoon sunbeams, when I was there, hunting for the spots where fragments of carvings were in the light contrasting with much darker surrounding.

More: buff.ly/AMItTQ7

#architecture #indianart #Rajasthan #photography #chasinglight

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@ten10visuals.bsky.social

1 week ago

The Temple With Musical Pillars That STILL Work | Vijayanagara Part 3 #history #historyfacts YouTube video by Ten10 Visuals Network™

"#KrishnaDevaRaya's Temple"
The Temple With Musical Pillars That STILL Work | Vijayanagara Part 3

#VittalaTemple #Hampi #IndianArchitecture #IndianHistory #SouthIndianTemples #MusicalPillars #AncientIndia #TempleArchitecture #IndianArt #CulturalHeritage

youtube.com/shorts/xbQUy...

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adamjones

@teravarnaindia.bsky.social

1 week ago

Online Drawing & Painting Contest

Join one of the fastest-growing online art galleries in India! TERAVARNA brings together emerging artists, collectors & curators through global art shows in India. 🎨 Submit now- www.teravarna.in
#IndianArt #ContemporaryArt #TeravarnaIndia

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1 week ago

Painted around 1770 by a yet identified artist, this image is often linked to kathak, a North Indian dance tradition associated with courtly settings, where storytelling, music, and expressive gesture are woven into intricate turns and footwork. The painting compresses that complexity into one unforgettable instant: two bodies counterbalancing each other, trust made visible through clasped hands and mirrored posture. A near-empty background intensifies the choreography so nothing competes with their partnership while a circular cartouche seems like a stage spotlighting feminine virtuosity. Two young women dance as a matched pair inside an oval frame, suspended in mid-step above a small patch of green ground. Their hands meet twice: linked overhead and again at chest level to create a continuous loop of touch that anchors the motion. Both figures tilt forward at the waist, foreheads nearly aligned, eyes narrowed in concentration as if listening for the same rhythm. Their skin is a warm brown and features are finely drawn with dark, almond-shaped eyes and arched brows. Each dancer wears a translucent veil and flowing textiles that flare outward like wings including long scarves that stream behind them, edged with pale dots, while layered garments ripple at the hips and ankles. One wears mustard-yellow leggings while the other wears deep red. Bangles, earrings, and anklets adds bright points along wrists and feet. Below, a narrow band suggests a lotus pond, and small blossoms decorate the corners, keeping the focus on synchronized movement and shared presence. Whether read as performance or private joy, the work celebrates how dance can be both art and relationship involving timing, attention, and delight held together by touch, gaze, and breath.

“Two women dancing” by Unknown artist (Indian) - Opaque watercolors on paper / c. 1770 - Asian Art Museum (San Francisco, California) #WomenInArt #AsianArtMuseum #IndianArt #SouthAsianArt #artText #art #BlueskyArt #watercolor #1770s #AsianArt #dancing #RajasthaniArt #BundiPainting #Kathak #DanceArt

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2 weeks ago

Two women stand close together in a vertical composition, shown against a vivid background with flowering plants. One woman holds a bronze lamp while the other holds a pink lotus blossom. Their bodies are arranged in a paired, balanced way that emphasizes relationship and shared action rather than individual portrait identity. The women with the lotus appears to be slightly kneeling and has her left arm extended and reaching through the nook of the other woman's right arm. They wear traditional South Asian clothing and ornaments, with attention to contour, color, and decorative detail . The scene reads as both intimate and ceremonial. The women are not in motion across a landscape, but gathered within a shallow space that centers their gestures and the objects in their hands. The overall effect is calm, devotional, and domestic at once for an image of women’s presence, care, and preparation. The lamp and lotus together strongly suggest a ritual or worship context, and the pairing of the women invites a reading of intergenerational teaching, companionship, or shared devotion. Rather than presenting a dramatic public event, the painting possibly honors a quieter moment of preparation or one often associated with women’s labor, spirituality, and cultural continuity. The floral setting deepens that sense of auspiciousness and beauty, echoing the lotus as a symbol often linked with purity, offering, and sacred attention. Because the artist is not identified, the work also stands as a reminder of how many images of women’s lives in South Asia survive with limited attribution, even when their visual storytelling remains vivid. Here, the emotional center is not individual fame but a shared act of two women holding light and bloom, possibly poised at the threshold of worship.

"Two women" by Unknown artist (Indian) - Pigment on paper / 20th century - Salar Jung Museum (Hyderabad, Telangana) #WomenInArt #SalarJungMuseum #SalarJung #IndianArt #art #artwork #artText #BlueskyArt #20thCenturyArt #ArtOfTheDay #UnknownArtist #bskyart #PortraitOfWomen #SouthAsianArt

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2 weeks ago

Indian miniature painting of a white cockatoo in side profile with left leg raised and right leg balanced on its perch, on mint green background with floral vegetation along bottom

White #Cockatoo on a Perch
India, late 18th c.
gouache & gold on paper
painting: 16.6 x 10 cm (6 3/4 by 4 1/4 in.)
www.sothebys.com/en/auctions/... #IndianArt #BirdsInArt #Parrot

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@addictedartgallery.bsky.social

2 weeks ago

Two women occupy a tall, narrow composition with a striking contrast of poses and garments. At left, a seated woman with deep brown skin, strong red lips, and large almond eyes faces forward with a steady gaze. She is wrapped in layered blue-green drapery and head covering. One hand extends across her lap, fingers holding her knee. At right, a second woman stands in profile, head bowed, wearing a luminous white veil and robe that nearly merges with the pale wall behind her. Her hand rises to her chin in a thoughtful gesture. A broad, simplified green plant enters from the upper left. Hungarian-Indian artist Amrita Sher-Gil uses muted creams, gray-greens, blue, and warm ochre, with soft brushwork and flattened space, to create stillness and emotional gravity. These women are not presented as decorative types. They are rendered as distinct presences with one meeting the viewer’s gaze, one turning inward. The composition stages a quiet emotional dialogue through contrasts like seated/standing, frontal/profile, blue/white, and engagement/reflection. The broad empty wall becomes active space, heightening silence and psychological weight. Sher-Gil’s handling of form reflects her synthesis of European modernist structure and an Indian-centered figural vision. The result is intimate yet unsentimental, with dignity carried through posture, stillness, and the careful modeling of hands and faces. Painted in the mid-1930s, this work belongs to the crucial period after Sher-Gil’s return from Paris, when she shifted toward subjects in India and developed the earthier palette and monumental figuration that define her mature style. Born in Budapest to a Hungarian mother and Sikh father, she was in her twenties yet already a formidable painter, using portrait and genre imagery to challenge idealized or colonial ways of seeing. In works like this, women are neither background figures nor symbols alone. They are complex subjects shaped by mood, social reality, and self-possession.

“Two Women” by अमृता शेर-गिल Amrita Sher-Gil (Hungarian-Indian) - Oil on canvas on board / c. 1935-1936 - National Gallery of Modern Art (New Delhi, India) #WomenInArt #WomensArt #WomanArtist #WomenArtists #AmritaSherGil #Sher-Gil #अमृताशेरगिल #SherGil #AmritaSher-Gil #NGMA #artText #IndianArtist #IndianArt

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Addicted Art Gallery

3 weeks ago

Title: Bride To Be Artist: G.A. Dandekar Medium: Acrylic on beaten tree bark, signed by the artist Edition: Original Year: 2006 Size: 55.0cm x 98.0cm Good To Know: Custom framed, stored in humidity controlled art storage facility, condition report available upon request Price: SGD $7,000; excludes international shipping and applicable import duties / charges. Please contact our gallery to obtain a shipping quote. Delivery within Singapore is free.

See It On Your Wall "Bride To Be" by G.A. Dandekar, 2006 The Art Scoop: A textured figurative painting depicting a group of women gathered inside a village home in India during a pre-wedding ceremony. They wear traditional garments in vivid yellow, white, blue, and orange, with headscarves framing elongated, expressive faces. The central bride, dressed in blue with a red veil, sits with henna applied to her hands. Bowls of red flowers and ceremonial items rest at their feet. Warm brown tones and expressive brushwork create an intimate scene rooted in ritual, community, and celebration.

"Henna on her hands, love in her heart."

🎨 Get Your Art Fix!

“Bride To Be” by G.A. Dandekar 🔗 bit.ly/2f8ncZt

A pre-wedding ceremony in India - ritual, colour, and cultural memory.

#GADandekar #BrideToBe #IndianArt #FigurativeArt #CulturalNarratives #ArtCollectors #AddictedArtGallery

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1 month ago

four rows of displaying full-color peacocks interspersed with white peahens in a yellow-green landscape

#WatercolorWednesday :
#Peacocks and Peahens
Nathadwara, Rajasthan, India, mid 19th c.
Opaque watercolor on cotton (pichhwai)
230 x 180 cm (90 9/16 x 70 7/8 in.)
Harvard Art Museums 1995.85
hvrd.art/o/215084
#BirdsInArt #IndianArt

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@carltonhobbsllc.bsky.social

1 month ago

Caleb MC in the POV of Indian Aesthetics 🪷
I have done Indian version of ZayneMC previously, and I'll do every LI’s POV!

#Caleb #CalebMC #LoveandDeepspace #Indianart #Aesthetics #Desi #Fanart #AncientIndia #Culture
#ladssky

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Carlton Hobbs LLC

1 month ago

RARE GILTWOOD OVERMANTEL MIRROR SET WITH PANELS OF MUGHAL INSPIRED CARVED GEOMETRIC TRACERY

Carlton Hobbs LLC, Inv. No. 11445

carltonhobbs.com/piece/a-rare...

#mirror #carving #india #indianart #antiques #Mughal #tracery #asianantiques #architecture #19thcentury

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@vikasagawane.bsky.social

1 month ago

“Binodini” is widely recognized as a portrait of Indian artist Ramkinkar Baij’s student and muse from Manipur, Maharaj Kumari M. K. Binodini Devi who was an artist and later a major literary figure. Her presence appears across his works during his Santiniketan years. The painting is less a society likeness than a study of interior life showing how a young woman occupies space, carries expectation, and claims a self, even while the world around her feels unsettled and newly forming in the late 1940s. She is depicted as a young Indian woman with medium-light brown skin sitting close to the picture plane, her slim body folded into a compact pose. One knee rises high, creating a strong diagonal across her torso, while her shoulders tilt slightly as if she has just shifted her weight. Long, dark hair falls over one shoulder. Her softly oval face with wide, focused eyes and a small, closed mouth meets our gaze directly, giving the moment a quiet intensity. A loose pale sari crosses her chest and bunches over the lifted knee as the yellow-green garment pools around her legs. Both hands reach down toward a table at the bottom edge, fingers spread and lightly tense, as if preparing to pick up a small, light rectangle paper or magazine near her hands. The background is mottled with warm oranges and muted greens, and the coarse weave of the gunny cloth shows through the paint, making the whole surface feel gritty, tactile, and alive. Painted in 1948 and 1949, the work’s rough support is not incidental as gunny cloth brings everyday materiality into a portrait that is psychologically charged rather than decorative, letting texture and abrasion stand in for uncertainty, restlessness, and emotional friction. In Baij’s image, her forward gaze and lowered, splayed hands read like a body caught mid-decision, perhaps poised between holding herself together and moving forward.

“বিনোদিনী (Binodini)” by রামকিঙ্কর বেইজ / Ramkinkar Baij (Indian) - Oil on gunny cloth / 1948–1949 - National Gallery of Modern Art (New Delhi, India) #WomenInArt #NGMA #RamkinkarBaij #রামকিঙ্করবেইজ #Baij #BlueskyArt #ModernIndianArt #Santiniketan #artText #IndianArt #arte #PortraitofaWoman #art #IndianArtist

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Vikas Agawane

1 month ago

नवा भारत, नवी स्वप्ने आणि सृजनाची नवी उमेद!
प्रजासत्ताक दिन चिरायू होवो.

नवनवीन अपडेटसाठी Artist Vikas Agawane : shorturl.at/PF55k या व्हाट्सअँप चॅनलला आजच जॉईन व्हा.
#RepublicDay #ArtistLife #VikasAgawane #IndianArt #CreativeIndia #Patriotism #ArtisticTribute #IndianArtist #RepublicDayArt #Indepen

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The Zen of True Art

@thezenoftrueart.bsky.social

1 month ago

"Pair of Girls Playing Phugari." [Anon., India], 18th century; Ashmolean Museum. #india #indianart #art #painting #museum #artgallery

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@thezenoftrueart.bsky.social

1 month ago

Painted in 1916, this tall vertical painting identifies an adult woman by her “Prabhu” community rather than by personal name, a choice that hints at how women were often recorded through social categories even when portrayed as individuals. Indian artist Mahadev Vishwanath Dhurandhar (also spelled Mahadeo Vishwanath Dhurandhar), celebrated for watercolor and for depicting everyday life in Mumbai (then Bombay), balances specificity (fabric borders, jewelry, and posture) with a quiet, human immediacy. She is standing outdoors, centered and facing forward with a steady, composed expression. She has medium-brown skin, dark eyes, and black hair parted in the middle and pulled back smoothly. A small red bindi marks her forehead. She wears a deep red sari with a narrow gold border, draped over a pale green short-sleeved blouse. Her jewelry includes earrings, layered necklaces, stacked bangles, and a prominent traditional nose ornament that brightens the center of her face. Her hands are gently clasped at her waist, fingers interlaced, shoulders relaxed. She stands barefoot on green grass dotted with small white blossoms. Behind her, tall stems and clusters of yellow-orange flowers rise through dense foliage, set against a light blue, clouded sky. The woman’s red sari is bold against the greens, making her presence feel calm, dignified, and firmly rooted in place. The garden-like setting, bursting with warm blooms, frames her as part of a living environment rather than an indoor display for an image of belonging as much as likeness. Created before his tenure as the first Indian director of the Sir J. J. School of Art, the portrait also points to Dhurandhar’s broader impact by shaping visual memory of a changing city through sympathetic, attentive observation.

“Prabhu Lady” by महादेव विश्वनाथ धुरंधर / M. V. Dhurandhar (Indian) - Watercolor on paper / 1916 - Dr. Bhau Daji Lad Mumbai City Museum (India) #WomenInArt #BhauDajiLadMuseum #MVDhurandhar #महादेवविश्वनाथधुरंधर #Dhurandhar #PortraitofaWoman #Watercolour #IndianArt #art #artText #artwork #IndianArtist #watercolor

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The Zen of True Art

1 month ago

"Ladies Visiting a Yogini at Night," [Anon., India], late 18th century; Royal Collection Trust, U.K. #india #indianart #yogini #yogi #painting #art #museum #artgallery

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2 months ago

“This beautifully cast hamsa or sacred swan is from 17th-18th century South India when the various Nayak dynasties ruled South India following the downfall of Vijayanagara Empire. The image would have served as an oil reservoir for a lamp. It has been cast with a splendid sweep of tail feathers which match the crest on the swan’s head. Together with the swan’s beautifully modelled, plumped-out breast, the overall form suggests a sweeping arc. The wings on both sides have been engraved to suggest ample feathers, and the breast, legs and head have been engraved to suggest more of a down covering. The beak has a delightful and sensitively modelled upwards curve. The high quality of the casting is testified by the fluidity of the flow of feathers and other details. The swan perches on a round, tiered stand. There is a hole drilled to its breast to emit oil which would have dripped into a tray or oil pan on which the swan stood and where a wick would have been placed. The swan has been fixed to a wooden base and this itself has extraordinary wear and patina, suggesting the age of the overall piece. Vessels in the form of birds and animals from India can best be understood in the context of comparable objects made centuries earlier in the Middle East (Zebrowski, 1997, p. 95). Generally, zoomorphic figures made in India and the Middle East served as ewers, incense burners, decorative finials and oil lamp reservoirs. In India, such vessels represent a rare tradition of non-religious figurative art from a period when realistically rendered animal forms generally were avoided on account of Islamic prohibitions on idolatrous imagery, certainly in north India at least. Cast brass and bronze zoomorphic ewers and lamp finials from South India can be seen to share the Middle Eastern Islamic antecedents of similar pieces from Mughal and Sultanate India. The example here is highly decorative and sculptural. It is among the most realistically rendered examples we have seen.”

#MetalMonday :
Indian Sacred Bird (Hamsa) Lamp Finial
South India, 17th-18th c.
H 30cm, L 16.8cm, D 7.5cm, Wt 1,154g
www.michaelbackmanltd.com/object/india...
#BirdsInArt #IndianArt

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@thezenoftrueart.bsky.social

2 months ago

mounted Indian illuminated manuscript folio: female musician dressed in pink and red playing a yellow long-necked stringed instrument (sitar?), with a peacock to the left with foot raised as if dancing; the pair on lush green grass wifb a waterway behind them blooming with pink lotuses, with hills on the other side of the shore in background with several human figures on the landscape, and dark blue sky behind

#MusicMonday :
Girl Musician with a Dancing #Peacock
India, Himachal Pradesh, Kangra, 19th c.
Manuscript folio: Opaque watercolor & gold on paper
23.34 x 16.99 cm (9 3/16 x 6 11/16 in.)
Harvard Art Museums 1972.81 hvrd.art/o/216029
#BirdsInArt #IndianArt

21 4 0 1

The Zen of True Art

2 months ago

"A Woman Plucks the Petals of a Lotus Flower," watercolor and gold on paper, [Anon., India], late 18th century; Cornell University Art Museum. #india #indianart #lotus #spiritual #painting #art #museum #artgallery

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2 months ago

devoted to Shiva for his boundless wisdom, on the other part of mountain in the golden palace Sati waiting for someone who answer all her queries of life, death, creation, and the truth of the universe 🌌
#shivshakti #shaktism #spirituality #art #indianart

1 0 0 0

2 months ago

From childhood Sati acquired knowledge of every scriptures, hear every stories, creation, life, death but she no one ever answers her who is she?What is the real identification beyond body?And in the range of the Himalayas Adiyogi Shiva Mahadeva teaches his disciples📜 #shivshakti #Indianart

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2 months ago

Who is Sati?
She is the first mother of this universe, Shakti in her first human form, born as the daughter of Prajapati Daksha. She masters Ashtanga yoga, 64kalas, Shastras, Languages, Arts, music, dance, crafts but…something is missing? 🪷
#shivshakti #indianart #spiritual

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