Ganesha is believed to be the remover of obstacles in our path. Here, he is seated on a lotus pedestal that protrudes slightly outside the frame. His body is painted in sindhur or vermilion (common names for orange-red). He bears the attributes rosary, modak, axe and lotus in his arms and is in a meditative posture. The image is set against a light green background under a decorative arch. 

The technique of painting is slightly different on cloth. The cloth is pasted on a flat wooden board and all the colours are applied upon. Once the painting work is done, the cloth is removed from the board and burnished from behind in the end. On a wasli paper, burnishing is done many times at every stage of colour application before beginning to finish the painting and once the painting is complete burnishing is never done.

Seated cross-legged upon a fully blossomed lotus against a deep yellow ground, the vermilion-hued Ganesha is represented as an auspicious deity and the remover of obstacles (Vighna-harta). He holds a goad (ankusha) and battle-axe (parashu) in his upper hands, while his lower hands hold a rosary (akshamala) and a lotus flower.

The sky is rendered as a narrow horizontal strip at the upper edge of the composition, a characteristic device of Pahari miniature painting. The image’s bold contours, saturated colours, simplified spatial treatment, and emphatic decorative quality are characteristic of the Basohli idiom of Pahari painting.

Shiva is one among the trinities in the pantheon of Hindu gods who is always engaged in the five divine acts of creation, preservation, destruction, concealment and revealing. The five faces related to these cosmic activities are Sadyojata, Vamadeva, Aghora, Tatpurusha and Ishana pointing to the directions of north, west, south, east and space respectively. 

The Basohli artist conceived this tantric form of Shiva with five faces and ten arms. There is a creation myth associated with Shiva. The sacred syllable ‘Om’ emerged from the playing of Shiva’s drum while he performed the ‘Anandatandava’ during the creation. The entire universe was created from that primordial sound. A classical musical instrument veena symbolically placed in this painting suggests this act of Shiva. 

He holds different attributes in his ten arms: garland of skulls, bowl of elixir, arrow, flag, sword, drum, bow, shield and axe. The tenth arm is left in his lap indicating a meditative gesture. His five faces are emphatically depicted by the artist, with the central one in three quarters and the remaining four in profile. His body is coiled by many snakes and smeared with the sacred ashes. He is seated on a sprawling  corpse of an elephant as he is also known by the name Pashupati. The figure occupies the entire part of the painting while the artist tries to accommodate narrow strips of sky and foreground following the traditional style.

The painting depicts Harihara, the composite form of Vishnu (Hari) and Shiva (Hara), symbolizing the essential unity of the two principal Hindu deities. The figure is divided vertically, with the blue-hued Vishnu occupying one half and Shiva the other, each distinguished by their characteristic attributes and ornaments. In his eight hands, he holds the attributes of both Vishnu and Shiva.  

Seated upon a fully blossomed lotus against a brilliant yellow ground, the deity is rendered with strong contours, vibrant colours, and a highly decorative treatment. The symmetrical composition and bold chromatic scheme are characteristic of the Basohli style of Pahari miniature painting.

Against a red background, Rama is seated upon a high, canopied throne. Crowned and blue-complexioned, he wears a yellow dhoti and holds a bow and arrow in his hands. His devoted wife, Sita, sits before him with folded hands, looking towards her lord. Behind her stand Lakshmana, Bharata, Jambavanta, and Shatrughna, depicted in readiness. Behind Rama stands his devoted follower, Hanuman, holding a quiver of arrows and a mace.

The tiger supports of the throne rest upon a black carpet adorned with floral and foliate designs. The warm, vibrant colour palette and bold decorative treatment are characteristic of the Basohli style.

This painting relates to a popular episode from the Bhagavata Purana where Krishna tries to save the people of Brindavana from the torrential rain that God Indra’s wrath creates. The Basohli artist captures the spirit of the moment by trying to fit the entire situation into a small frame. He lays emphasis on Krishna, cows and the cowherds. The enormous rain and the huge mount Govardhana are made less significant before his divine force. He effortlessly lifts the mount and the artist adds his bit of creativity in making the cowherds partake in the event equally effortlessly.

This event was also linked to another theme by Basohli masters: according to Kshemakarna’s verse (108) of Ragamala (garland of melodies) classification, the music of Jalandhara (ragaputra of Megha) is compared to the sound of clouds and thunder. And verse no: 96 relating to the visual imagery of Jalandhara mentions Krishna lifting Mount Govardhana.

Goddess Sarasvati is an embodiment of knowledge and learning. She is said to ride on her vahana (vehicle), a white swan, holding distinct attributes: a rosary symbolic of meditative nature, a veena symbolic of music and Vedas or books of ancient and sacred knowledge. She is seated on a lotus and bears an appearance common to tantric devas (divine entities). The bright orange background is contrasted by a green fore ground which is covered by a rhythmic pattern representing tufts of grass.

Varahi, a powerful yet benign form of devi is the feminine force (Shakti) of Varaha, an incarnation of Vishnu. She is seen here riding on a tiger, her celestial vehicle, carrying different weapons (attributes) in her arms. These attributes are symbolic of her power as she strides across the plain with the intention of saving the world from evil threats. The hind feet of the tiger goes beyond the border indicating movement in the painting, a feature that is commonly found in many paintings of the Basohli tradition. The image of the great goddess occupies the entire landscape providing no room for any other elements signifying cosmic force and her omnipresence.

Bhadrakali, the fierce tantric devi here is flanked by two divine figures at her service. They gaze at her in reverence, while she is seated on a sprawling corpse in all her majesty, drinking wine from a bowl and holding a pair of lotuses in her other arm. The crown of these divine entities is made in gold and decorated with lotus buds. The profuse use of gold pigment adds richness to the  colour and form.

Bright hues against a plain and contrasting background brings out the form that is accentuated by emphatic outlines in Basohli tradition and the usage of natural pigments creates an atmosphere that is unique to this language of Pahari tradition.

In Basohli tradition we find one of the most powerful expressions of Devi in all her glory from benign to the fierce forms. This iconic image is a portion of a complete painting where the Devi sitting atop a sprawling corpse appears before the sage Chyavana in response to his meditational activity. The goddess is painted in gold and richly adorned with jewels and pearl strands. She holds the attributes conch, mace, discus and a lotus bud in her arms, the ones that are usually attributed to Vaishnavi (the shakti form of Vishnu) and wears a long garland of wild flowers. A row of highly stylised trees in multiple hues mark her presence in an ethereal world.  

The presence of thin strips of sky and foreground is a characteristic feature of a Basohli painting.

In traditional Indian classical music, there is a system of classifying musical modes (ragas) as husband, wife and sons. According to this system of personification of the melodies, Ragaputra Chandrabimba (meaning "the Moon's reflection") is traditionally recognized as the second son of Raga Hindola. 

The moon is visualised as riding on a buck holding lotuses in both his hands and clad in pitambara. The buck is also adored with a decorated saddle and golden bells probably to indicate its celestial origins. The night sky is represented here in a dark blue hue with shining stars all over. 

A narrow line of silver borders the painting followed by a broader red one characteristically in a Basohli painting.

The painting, as per classification by Kshemakarna in his Ragamala under the nomenclature of Rāgaputra Miṣṭāṅga, is executed in the Basohli style. Here, one can see a young couple sitting on a flower-bedecked carpet, partaking of sweet rice inside the palace. The chamber indicates a most intimate setting for exchange of emotions between two people in a relationship. Here, the focus of the artist lies in visualising the sentiment and so the other elements like sky and strip of a water body are willingly shunned. The plume adorning the young prince’s golden turban and his exaggerated size indicates his royal status. The shy princess is seen engrossed in eating the porridge. Gold vessels are placed nearby. Ragamala paintings are based on poetry and in many cases, it is hard to find connection between the poem and its depiction.

Bright colours, bold lines, beetle-wing cases and red borders are characteristically present in all Basohli paintings.

Kshemakaran’s Ragamala system of classification of the musical modes attributes five raginis (wives) and eight ragaputras (sons) to each of the six principal  ragas (husbands). While the visualisation of the musical modes by the poet itself is a creative endeavour, the artists took it further in adding their own sensibilities in the making of such paintings. Further to this there are multiple images by different artists in response to these poems. Hence it is difficult to interpret these paintings and their connectedness with the respective poems. 

In this Basohli painting, we find two people in conversation with each other that is indicated by their hand gestures. They stand out prominently against a greenish-black background. The man, probably a divine personage, suggested by the lotus-topped crown, is seen wearing a Mughal jama and gold-flecked paijama with sash tied round his waist. The lady wears a tight bodice and a lehenga with a transparent pearl-bedecked odni. The chamber provides an environment for the interaction of the characters and is more or less rendered in this fashion in many Basohli paintings. The interplay of subtle, bold and contrasting hues make this painting attractive.

Goddess Lakshmi is symbolic of wealth and prosperity. The entities of celestial origins are always found seated on a fully bloomed lotus in Pahari tradition. While two of  her arms are stretched out as she bestows wealth upon her devotees, the other two arms hold lotuses symbolising her divinity. Her forehead is smeared with sacred vermilion marks to denote her sacred identity. Her image stands out prominently on a bright yellow background against dark blue monsoon sky which is stylised in the form of curly waves. The two flora on either side of the deity symbolise growth suggested by their movement upwards.

Red border is characteristically found in Basohli paintings and provides a strong contrast to the plain and bright backgrounds.

The Tantric devi series in Basohli tradition possesses savage intensity. The Devi here is Shyama, the dark complexioned one, drinking wine from a cup in one hand and holding two lotuses and a garland of skulls in the other hand. Her teeth protrude, and she assumes a form difficult to comprehend unless accompanied by a verse which describes her. She is adorned with pearl strands, beetle-wing jewellery and lotus-studded golden crown, as seen in the images of other Devis of the series.

Goddess Gaja Lakshmi is seated in a poised posture on a lotus and is worshipped by two celestial elephants  with golden pots of milk. The lotus stems from sacred waters bearing huge lotus leaves flanked on either side of the devi and create a balance in the composition. The contrast between the dark background and other elements of the painting makes it a compelling piece.

This image also forms part of Tantric devi series in Basohli and depicts devi in her benign form granting boon to the seekers shown by her outstretched hand. The golden halo behind her radiates light indicating her divine personality. Devi in her pure white garments stands majestically against a green background with narrow strips of foreground and sky as seen in many paintings of the series. A set of three or four tiny white dots fill the waters and the grass in a fascinating manner adding a pleasant atmosphere to the otherwise simple composition. A distinctly decorated Mughal-style border adds to the beauty of the composition.

This is the opening folio of a series of seventy paintings that form part of Basohli Tantric devi series. This painting is covered by a distinctly decorated Mughal-style border as opposed to a plain red border found in most of the other paintings of the school. 

The artist, in his visualisation of the image clad her with garments and adorned her with jewellery in accordance with her description in the poem scribed on the verso of the painting. “Clad in blue garments, tinkling pearl anklets, rosy lips reddened with betel leaf, heavenly pearls, forehead bearing third eye and crescent moon with a girdle binding her beautiful hips, she is radiant as sun and giver of joy.”

Tantric Devi in all her magnificence occupies the core area of this painting. There are series of paintings in Basohli tradition that focus on the tantric aspects of Devi and Shiva. Here, she appears poised though adorned with multiple arms and attributes. She is the universal mother and symbolic of power and valour and engaged in the act of protecting her children. She is the cosmic form of shakti and carries the attributes of both Shiva and Vishnu. The diffused lotus petals form a firm base balancing her otherwise suspended state. The bright red border provides good contrast to the green background.

This colourful composition belonging to Pahari tradition is unique in the way in which it brings together the elements of other Pahari schools into a Basohli painting. The dramatic, vivid and swirling clouds cover the skies as Shiva leads his family homeward. The landscape is filled with trees of different forms and hues in multiple layers through which a stream of river flows. Among the dwellings, one can spot a Shiva shrine in the distant background, symbolically suggesting their home.                           

The divine couple share their chores as they travel. Shiva, the wanderer carries Shanmukha (the six-headed God) on his shoulder while mother Parvati cuddles the elephant God, Ganesha as she is seated on the patchwork- caparisoned bull. Shiva while leading the way lovingly looks behind in a caring manner to check if all is well.

Gita Govinda is a poetic composition based on Shringara rasa (erotic sentiment) by the poet Jayadeva of 11th century that inspired many artists of the times. This work borrowed some features from its precursor, the Basohli school, like lotus-shaped wide-opened eyes, garments, beetle wings, the lotus-studded crown of Krishna and his Vanamala. The composition is rendered akin to Basohli in terms of thin strips of sky above and a body of water below, a flat background of colour against rows of a huge variety of highly stylised trees to visualise simultaneous events happening according to the poetic description.

Based on Jayadeva's Gita Govinda, this painting depicts the love play between Krishna and his counterpart Radha. Here, Radha’s friend is shown encouraging her for union with Krishna in the grove. Thus, she addresses Radha: 

“O friend, Krishna, who speaks flattering words and who falls at your feet, has arrived at the bed made in the grove and is waiting for you. Therefore, do not delay and engage in amorous play with Krishna.” This Basohli painting is done in the school of artist Manaku, who had flourished in Basohli in circa 1730.

This form of Ganesha is visualised by a Guler artist in a serene atmosphere of mango groves in a pavilion under clear summer sky. Ganesha clad in a white dhoti is seated on a fully blossomed lotus with folded feet. Divine imagery is always rendered with multiple arms symbolising more power than the ephemeral beings. He is seen bearing in his four arms the attributes namely noose, goad, modak and a Varada mudra granting boons to his devotees. The elephant God in vermilion hue provides strong contrast to the greens in the background. 

A fine stippling work is made in the background by drawing many small strokes of a very diluted paint. A group of brush strokes marked together to represent the mango leaves are made using the squirrel brush and add richness to the otherwise flat background. Sometimes the artists leave a flat background to drive attention to the main figure.

This is a popular image of the blue god, Vishnu at his abode-Vaikuntha. He  is seen being worshipped by his consort, Goddess Lakshmi as he rests on Adisesha (the thousand headed serpent) leaving aside his attributes. The background is filled with patterns in silver suggesting the primordial waters. The deep red border offers a striking contrast to the brown in the background and the muted colour palette.

Delicate contour lines, fine stippling work and subtle colours are the defining features of a Guler painting.

Poet Jayadeva’s Gīta Govinda describes various romantic episodes between Krishna and Radha. This painting depicts Radha’s state of separation from Krishna and longing for a union with him.

To soothe the pangs of her heart, Radha, tormented by love, is shown seated in a vine-covered grove on the banks of a lake, holding a lotus leaf against her bosom. The serene surroundings, with their trees and vegetation, are rendered in the characteristic Guler idiom. Radha’s face poignantly conveys her deep longing and emotional anguish. The golden floral border rendered against an indigo background is a Mughal sensibility.

This painting is a study of facial features of a nayika in Guler style of Pahari tradition. The delicate facial features are brought out by dry brush technique carefully built over layers of minimal usage of the pigments with a squirrel hair brush. The flakes of gold leaf in the background add to the grandeur of the face and this feature is borrowed from the Mughal painting tradition.

This is the image of Vishnu and his consort Lakshmi  seated on a golden throne and rendered in Kangra style of Pahari painting tradition. The hues are subtle and so is the line conveying the essence of their sacred presence. The painting is encircled by an eight-petalled lotus symbolic of their divine entity. Vishnu while holding his attribute, the conch in one of his hands stretches it to hold Lakshmi in a loving gesture while she folds her arms in loving devotion towards her husband. Vishnu, the God of three worlds is symbolically shown by three whirls of gold, silver and vermilion surrounding his image. The gold floral design on the couch shows Mughal influences in its design.

In this painting, Vishnu-incarnate Rama and his consort are seen served by Rama’s younger brother Lakshmana and his devoted attendant Hanuman as the divine couple are seated relaxed leaning against a huge bolster. Lakshmana serves them with a flying whisk as Hanuman stands in front of them in reverence with folded hands. They are seated on a couch covered in a silk cloth with golden Mughal-style floral patterns. 

Delicate lines and muted colour palette are Mughal influences that could be seen in the Kangra school of Pahari painting.

Seated gracefully upon a fully blossomed lotus, the four-armed goddess Lakshmi is depicted as the embodiment of prosperity, abundance, and auspiciousness. She holds lotus flowers in her upper hands, while her lower hands are extended in gestures of blessing and generosity. She wears a richly patterned red garment, elaborate jewellery, and an ornate crown, enhancing her regal presence. Flanking her on either side are four white elephants, caparisoned in brightly coloured saddlecloths and ornamental trappings. Their raised trunks, holding lotus buds, create a symmetrical and ceremonial setting around the goddess.

The lower part of the composition is conceived as a dark body of water with lotus leaves and flowers, while the pale blue ground above provides a striking contrast to the vibrant red, green, and pink hues. The strong linear contours, flat areas of intense colour, symmetrical composition, and decorative richness are characteristic of the Kangra school of Pahari miniature painting.

This painting epitomises the early Rajput style of painting that flourished from the 16th to 19th century in the Rajasthan region of the Indian sub-continent. It represents an amalgamation of its indigenous precursor painting traditions including folk art, great Indian mural tradition, Apabhramsha style or Jain illustrated manuscripts and Sultanate paintings. 

The painting displayed here is said to be the only surviving painting of the earliest Rajput Ragamala series. Here, a fair-complexioned lady, personifying Bhairavi ragini is shown worshipping Shiva in a shrine, accompanied by songs punctuated by rhythmic beats. A limited colour palette, highly stylised forms, and expressive, sometimes fierce imagery are characteristic features of this tradition.

This painting forms part of Palam Bhagavata Purana series and depicts one of the childhood leelas, the divine sport of Krishna. By uprooting the twin Arjuna trees, he liberates the two celestial beings (Yakshas) namely Nalakuvara and Manigriva, from a curse in their previous birth. This event is celebrated in Gokul as Damodara leela. The painting is divided into two halves: the child Krishna sports his leela in the right half while one of the attendants informs this event to mother Yashoda in the left half. The artist cleverly managed to depict two simultaneous scenes in a very precise manner. Within the right half of the painting, the artist again shows two simultaneous events of the Krishna crawling between the trees and the uprooted trees falling apart.

Limited colour palette, bold lines and highly stylised forms are characteristics of this early and indigenous style of Rajput paintings.

The Kadamba tree has much significance in Pichwai tradition associated with the rituals at Nathdwara, the abode of Shrinath ji. It is believed that Krishna resides under the tree and plays Raas leela with gopis, the cowherd girls of Vrindavan. The tree is mentioned in many sacred texts like Harivamsha Purana, Vishnu Purana, Ramayana and Devi Bhagavata Purana and symbolises life, beauty, joy and devotion. 

This painting illustrates life in all its glory under the sacred Kadamba tree symbolically suggesting the divine presence of Krishna. The painting is enhanced by a floral border that is depicted in Pichwai traditional manner.

Nathdwara is a seat of Krishna worship, extraordinarily enriched by a coherence of temple rituals and devotion blended with the tradition of Pichwai painting. In Pushti marg (Path of grace) tradition, Shrinath ji represents a seven-year-old child manifestation of Krishna. At Nathdwara in Udaipur, Rajasthan, he is seen in his anthropomorphic form dressed luminously in different attires many times in a day, each adornment associated with a particular ritual. Lovingly tending to him throughout the day is an act of devotion.

His raised left hand symbolizes the lifting of Mount Govardhan to protect the people of Braj from Indra’s torrential rains. His right hand rests on his waist denoting reassurance and grace. His large lotus-shaped eyes are open to behold everything. He is adorned with several rows of pearl strands, a garland of lotud buds, a peacock crown and is seen holding a flute. The two fore shortened bolsters on either side of the deity along with the pan box (Pan peti), bowls for Bhog or offering and water jar (Jhari) at the bottom are the daily ritual offerings provided to him as part of active temple worship. A moon-like orb decorated in patterns of gold surrounds Krishna and illumines his sacred form. The painting is surrounded by a traditional pichwai border.

Though Pichwai literally translates to ‘that which is hung behind’, it is also the name of the painting tradition associated with Shrinath ji at Nathdwara.

Kadamba tree is a sacred motif used in the Pichwai painting tradition of Nathdwara (Udaipur, Rajasthan). It is symbolically associated with the divine presence of Krishna. Here, the tree is stylised and laden with layers of rounded leaves made in gold that radiates the divine light. The dark background provides a striking contrast to the golden tree. The body of water signifies Yamuna river and all these elements come together to create an atmosphere where Krishna played his flute, danced Raas leela with gopis (cowherd girls of Brindavan) and hid their clothes on the Yamuna banks. The sacred lotus is inextricably linked to Shrinath ji, the child form of Krishna and presiding deity of Nathdwara. Several lotuses, pink and blue, adorn the Kamal talai (lotus pond) amidst many lotus buds, budding stalks and leaves.

The sky is replete with clouds showering his grace all over.

This is a study of a  pink-headed whistling duck within the duck, goose and swan family. It is a special bird found across tropical and sub-tropical regions in America, Africa, Asia and Australia. The painting shows the bird from the side against a plain background. With its unusually long neck and feet, a graceful upright stance, and distinct plumage, the bird features browns, grays and bright pinks accented by bold patterns that are brought about using fine brushstrokes. They display the natural beauty of this rare bird.

The painting depicts a bird of prey rendered with meticulous attention to its anatomy and plumage. The blue-grey head, orange-brown wings, dark tail feathers, and sharply curved talons are delineated with fine, controlled brushwork. Set against a pale ground with touches of green, the bird exemplifies the refined naturalistic tradition of Pahari painting.

In this painting from the Sundarakanda episode of the epic Ramayana, we see Rama embracing Hanuman in appreciation of his great devotion and selfless service to his master. Hanuman displays staunch devotion in searching for mother Sita who was kept captive by Ravana. 

Rama, the Vishnu incarnate is shown in blue hue and in his yellow pitambara according to the convention of Pahari painting. The fair complexion of Hanuman could symbolically suggest purity and devotion. This is contrasted by his red dhoti and minimal adorations to suit his modest personality. The fluttering shawls suggest the immediacy of the event. This is a simple composition in Rajasthani style but has a profound effect when one looks into the expression in their eyes. The moment creates an aesthetic emotion of shanta rasa (sentiment of tranquility) in the onlookers.

Sarasvati is the Goddess of learning and knowledge. She is the embodiment of purity, composure and eternal bliss. She is thereby adorned in white garments symbolic of these virtues. There is a unique language of line and colour in bringing out the divine imagery in Mysore tradition. Highly stylised anthropomorphic imagery standing against dark background, subtle shading in the face and the traditional jewellery are some of the characteristic features of this tradition belonging to the 16th C Karnataka. 

The kireeta (crown), Kanthabharana (necklace), Kasumala (coin-necklace), Haram (long chain), Vanki (v-shaped armlet), Kundala (ear hangings), Kankana (chiseled wristlets), Oddiyanam (waist belt), Vaijayanti maala ( a long garland of gold worn across her body) are some of the jewellery that are seen in almost all the female deities in this tradition. Vyali (composite animal) face is one of the most common motifs seen in many ornaments.

Here, goddess Sarasvati is seen playing veena (Kachchapi) symbolic of divine knowledge of music and seated on a bedecked swing that is hanging from above supported by four golden chains. She is seen in a poised state in an arched pavilion highly decorated with fine gesso work and covered with gold. The design on the carpet, arches and all over the frame is unique to this tradition. The swan, her divine vehicle, is seen at the bottom corner, adorned in gold.

Ganesha, the elephant god is worshipped in Hindu pantheon as a remover of obstacles in one’s path to success. The texts like Mudgala purana and Ganesha purana give the Dvatrimshati namavali or the names of 32 Ganeshas in the form of shlokas (verses). They are as follows: 1. Bala Ganapati 2. Taruna Ganapati 3. Bhakti Ganapati 4. Veera Ganapati 5. Shakti Ganapati 6. Dvija Ganapati 7. Siddhi Ganapati 8. Uchchishta Ganapati 9. Vighna Ganapati 10. Kshipra Ganapati 11. Heramba Ganapati 12. Lakshmi Ganapati 13. Maha Ganapati 14. Vijaya Ganapati 15. Nritya Ganapati 16. Urdhva Ganapati 17. Ekakshara Ganapati 18. Varada Ganapati 19.Tryakshara Ganapati 20. Kshipraprasada Ganapati 21. Haridra Ganapati 22. Ekadanta Ganapati 23. Srishti Ganapati 24. Uddanda Ganapati 25. Rinamochana Ganapati 26. Dhundi Ganapati 27. Dvimukha Ganapati 28. Trimukha Ganapati 29. Simha Ganapati 30. Yoga Ganapati 31. Durga Ganapati and 32. Sankatahara Ganapati.

In this painting, the images of these thirty two Ganeshas with specific attributes for each are represented in the same order as stated above, following the conventions of the Mysore tradition.

The images are arranged around a centrally placed Sri Ganesha yantra that has a central eight-petalled lotus embedded in an octagonal arrangement symbolically conveying the eight-syllabled Ganesha mantra (sacred utterance). The entire Yantra is enclosed in an ornamental square enclosure that is adorned with motifs native to the tradition.

Nataraja is a cosmic form of Shiva who performs the divine dance of Anandatandava as he engages in Panchakrityas, the five cosmic acts of Srishti (creation), Sthiti (sustenance), Laya (destruction), Tirobhava (concealment) and Anugraha (grace). This image of a moment in his celestial dance signifies all the five above mentioned acts that he is engaged in doing: the upper left hand with Agni (fire) symbolises destruction, the lower left hand points to his raised foot symbolising grace, lower right hand in abhaya mudra grants refuge to his devotees, his upper right hand plays drum that created ‘Omkara’, the primordial sound and his raised left foot symbolises liberation. The ring of fire around him stands for the manifested universe and continuous cycles of time. The image of Apasmara (a dwarf) crushed under his feet represents ignorance, ego and Maya (illusion). 

The dance takes place in Kanaka Sabha in Mount Kailasha which is marked by a highly decorated canopy of gold flanked on either side by two architectural pillars adorned by mythical creatures. The celestial beings hanging in the sky above pay their homage to him as he is engrossed in these sacred and heavenly activities.

Peacock has always inspired many artists to experiment with its form and colour across traditions. This imagery is a visualisation of a contemporary traditional artist, made using traditional methods and materials yet adding a distinct essence while reinterpreting the form. The interplay of colour and gold filling the space in traditional motifs makes the viewer dance along the form and creates a powerful visual cadence.