Category: Art Achievers

Paramesh Paul’s works evoke a sense of faith and divinity within.

Paramesh Paul, born in 1970 in West Bengal, is a self-taught artist whose journey defies convention. With no formal training, his decade-long association with ISKCON at Mayapur immersed him in devotional aesthetics, shaping his lifelong fascination with sacred geographies. From early oil works to luminous acrylics, Paul evolved into a painter of India’s holy sites—Kailash, Kedarnath, Varanasi, Pandharpur—transforming landscapes into spiritual cartographies. His canvases glow with golds and blues, weaving myth, ritual, and silence into timeless visions. A maverick in consistency, he resists trends, instead building a recognizable language of boats, diyas, flags, and temples. As an artist and human being, Paul embodies devotion, humility, and transcendence, painting not places but prayers, not rivers but consciousness flowing eternal.

The overarching mise-en-scène

Paul’s oeuvre is deeply rooted in India’s sacred landscapes—Kailash, Kedarnath, Haridwar, Varanasi, Prayagraj, Pandharpur, Puri, Kanyakumari. Each canvas becomes less a topographical record and more a spiritual cartography, mapping devotion, myth, and collective memory. Paul has spiritual geography as his muse. His stylistic signature is consistent use of acrylic on canvas with glowing palettes of golds, ambers, and deep blues creates a recognizable aesthetic—luminosity against silence. The works oscillate between fiery ritual energy and meditative stillness. Recurring motifs of boats, diyas, flags, lotuses, and temple spires recur across canvases, functioning as visual mantras. They anchor the viewer in ritual familiarity while allowing spiritual transcendence. The narrative tone of each painting is described as a transformation—landscapes become “visions,” rivers become “fields of consciousness,” and cities become “living prayers.” This suggests Paul’s intent is not representation but transfiguration. If we were to summarize the characteristics of Paramesh Paul’s works, the following traits stand out: v Devotional Cartography His paintings map India’s sacred sites into timeless visions, transforming rivers, mountains, and ghats into spiritual thresholds.

 Balance of Stillness and Movement

Silent boats, calm rivers, and meditative figures contrast with flames, flags, and processions. This tension between quietude and ritual energy defines his compositions.

Timeless Atmosphere

Scenes are suspended between earthly time and eternity. Whether sunset, night, or ritual, the works evoke a sense of sacred pause.

Accessibility of Divinity

Deities like Baal Vitthal or Jagannath are rendered as approachable presences—patient, waiting, eternal—rather than distant gods. This human-scale intimacy is a hallmark.

 Consistency of Vision

Across decades, Paul has maintained a coherent style: acrylic luminosity, mythic layering, and sacred motifs. This consistency is both his strength and his brand identity. Here we critique Paramesh Paul’s Sacred India series, his 17th solo show.

The Himalayan Works

Kailash: Abode of Stillness — A cosmic stillness dominates; Nandi’s presence foregrounds devotion. The golden light against cool blues creates a duality of transcendence and earthly calm. Critically, Paul elevates Kailash from geography to mythic axis mundi. The Sacred

Kedarnath: Here, chaos (swirling mountains) contrasts with the temple’s immovable calm. The juxtaposition of fragile human dwellings against vast nature underscores humility. It’s a dialogue between permanence and impermanence.

The Riverine Thresholds

Eternal Haridwar: Where myth and geography converge—the Amrit Kalash glowing at the river’s heart is a bold symbolic insertion. Paul’s Haridwar is less a cityscape than a mythic threshold, where cosmic legend (Samudra Manthan) overlays ritual practice.

Silent Prayagraj: Striking for its absence of figures— faith is evoked through light and abstraction rather than crowds. This silence amid the Kumbh Mela is a radical inversion of expectation, emphasizing inner pilgrimage over spectacle. Undoubtedly, Paramesh’s most extensive exploration, spanning multiple canvases, is the Varanasi Series — the fixation lives on.

Varanasi-I (triptych scale): A panoramic hymn to continuity—ghats as “living prayers.” Boats, lamps, and spires weave everyday ritual into eternity. The monumental size (48” x 144”) amplifies the sense of endless devotion.

Silent Ghats I–III: Each variation explores the tension between glowing architecture and silent boats. Boats become metaphors for souls awaiting passage. The Varanasi as a timeless dialogue of light and water.

Varanasi-III (Ganga Aarti): Here, spectacle dominates—flames, saffron flags, collective prayer. Yet silence is paradoxically emphasized, as if the ritual’s sound is transmuted into visual rhythm.

Varanasi-VII: Nightscape with deep blues and golden illumination—Paul’s most contemplative Banaras, where silence and devotion merge seamlessly.

While the Varanasi series risks visual redundancy, Paul sustains interest by shifting temporal moods—sunset, night, ritual, silence; it becomes a polyphonic meditation on this city of ghats.

Holy & Symbolic

Krishna on the Ghats: This is a holy narrative (Vasudeva carrying Krishna) embedded into the everyday ghats. The serpent canopy transforms danger into shelter. This layering of legend within lived ritual exemplifies Paul’s fusion of past and present.

The Sacred Banyan: In Sanatana Dharma, threads tied to the tree embody collective memory. The banyan becomes a repository of faith, a silent witness to centuries. This is Paul’s most poignant metaphor for continuity.

The Southern Shores

Awakening of Kanyakumari I & II: Both works emphasize confluence—oceans, directions, consciousness. The lotus motif bridges material and spiritual realms. The Vivekananda Rock Memorial and statue in II anchor the scene in historical devotion. These canvases are visual mantras of awakening.

Nandi Diptych

Nandi I & II: Nandi as cosmic guardian, carrying imprints of Shiva’s family. Paul emphasizes loyalty, patience, and surrender. The bull becomes a living shrine, embodying devotion as strength in silence.

Other Sacred Sites

Sacred Current of Narmada (Omkareshwar): The Omshaped hill is rendered as divine geography. Lotus and flags punctuate stillness. A rare example of landscape as sacred symbol.

Baal Vitthal & Eternal Pandharpur: Child Vitthal and iconic Pandurang posture—Paul captures bhakti’s intimacy. The river becomes consciousness, the deity becomes presence. These works highlight approachability of divinity.

Sacred Puri

Jagannath, Balabhadra, Subhadra dominate—human figures recede. The canvas vibrates with festive energy yet emphasizes humility — a festival of faith rendered in luminous rhythm.

With Paramesh doing the story-telling, collectors and viewers are assured of what to expect: a devotional, luminous, myth-infused canvas that transforms geography into spiritual metaphor.

Paramesh Paul’s show was held from January 13 to January 19, 2026 and was on display at the Nehru Centre AC Art Gallery, Mumbai.

Paramesh Paul, D-504, JP North Barcelona, Near Podar International School, JP North Road, Vinay Nagar Rd, Mira Road East, Maharashtra-401107
Mobile No. 9833748993, Studio: 9833748993

In the late nineteenth century, the café was far more than a place to drink—it was a stage for ideas, friendships, arguments, and art. For Vincent van Gogh, cafés became both refuge and crucible. They offered warmth, light, human company, and a steady flow of absinthe and brandy—drinks that, as one observer noted, “would follow each other in quick succession.” Within these charged interiors, Van Gogh absorbed modern life and transformed it into some of his most emotionally resonant paintings.

Paris in the 1880s introduced Van Gogh to café culture at its most intense. The city’s cafés were democratic spaces where artists, writers, workers, and wanderers crossed paths. Van Gogh spent long hours in such places, sketching figures, watching faces, and studying the effects of artificial light. Cafés allowed him to observe people unguarded—alone together—revealing fatigue, desire, loneliness, and fleeting joy. These scenes would later resurface on canvas, charged with psychological tension.

Alcohol was inseparable from this world. Absinthe, with its cloudy green hue and ritualistic preparation, symbolized modern bohemian life. Brandy, cheaper and harsher, followed easily. For Van Gogh, drinking was both social and self-destructive. It eased his anxiety, helped him stay awake through long nights of conversation and drawing, and fed the myth of the tortured artist. Yet it also intensified his instability. Doctors later warned him that alcohol, especially absinthe, aggravated his condition—a tragic irony given how central cafés were to his creative life.

His move to Arles in 1888 deepened this relationship between place, drink, and vision. The southern light transformed his palette, but the café remained a central motif. The Night Café is perhaps the most famous result: a room glowing with oppressive reds and greens, where billiard tables and hunched figures seem to vibrate with unease. Van Gogh described it as a place “where one can ruin oneself, go mad, or commit a crime.” Here, the café is no longer merely social—it becomes psychological, a space that exposes the darker currents of modern existence.

Yet Van Gogh also painted cafés as sites of fragile beauty. Café Terrace at Night presents a gentler vision: warm yellow light spilling into a star-filled street, suggesting comfort, connection, and the possibility of peace. This duality mirrors Van Gogh’s own experience. Cafés offered both solace and danger, companionship and isolation, stimulation and collapse. Café culture shaped Van Gogh’s understanding of modern life. These were places where time blurred, where absinthes and brandies marked the rhythm of evenings, and where observation turned into art. In capturing cafés, Van Gogh did more than document a social space—he revealed the emotional temperature of an era. The clink of glasses, the haze of smoke, and the electric glow of lamplight became symbols of a restless world and an artist burning to understand it, even at great personal cost.

The Visionary Worlds of Atul Dodiya and Raqib Shaw

In the global arena of contemporary Indian art, two names stand tall—Atul Dodiya and Raqib Shaw. Both artists have carved distinctive spaces for themselves, not only in India but also on the international stage. Their unique visual languages, cultural commentaries, and fearless experimentation place them among the top 10 contemporary Indian artists making waves globally. This second instalment in our series shines a light on how Dodiya and Shaw continue to transform perceptions of Indian art with their individual yet equally compelling artistic voices.

Atul Dodiya: Master of Meaning and Medium

Born in Mumbai in 1959, Atul Dodiya is a pioneering figure whose four-decade-long career reflects the pluralism of Indian life. Dodiya’s art is deeply rooted in personal memory, religious iconography, and socio-political inquiry. With a practice spanning painting, sculpture, assemblage, and installation, Dodiya constantly interrogates India’s complex cultural and political identity.

His upbringing in a multicultural and religiously diverse Mumbai deeply shaped his artistic sensibilities. From the labyrinthine alleys of the city to Indian miniature painting and Western art history, Dodiya absorbs and reflects the world through a kaleidoscopic lens.

One of his most critically acclaimed works, “Stations of the Cross” (1999-2000), recasts Christian religious imagery in the context of modern India. Drawing upon his Catholic roots, Dodiya blends sacred symbolism with contemporary elements, touching on themes of pain, redemption, and resilience.

Dodiya’s work frequently interrogates the intersection of politics and cultural memory. In “This is Not a Fountain” (2010), he places a urinal beneath an image of Mahatma Gandhi, a bold commentary on the commercialization and loss of reverence for national icons. In “The Gandhi Years” (2018), archival images of Gandhi are revisited in light of modern socio-political unrest, forcing viewers to reconsider the present through the lens of the past.

His famed “Shutter Painting” series (1994–2002) takes the mundane — the rolling shutters of shops — and turns them into storytelling devices. These works celebrate India’s street life while commenting on urban transformations and disappearing traditions. Through vibrant imagery, Dodiya reclaims public spaces for art, placing the common man at the center of his visual narrative.

Dodiya’s later works incorporate discarded materials and found objects, exploring fragility and memory. In “Broken Branches” (2015), old window frames and shutters become metaphors for resilience amid decay. Similarly, “The Death of Gandhi” (2019) employs historical relics and photographs to delve into themes of martyrdom and legacy.

Atul Dodiya remains one of India’s most intellectually provocative artists, seamlessly blending traditional techniques with modern ideas. His art is not just seen but experienced—each work a portal into the soul of a nation constantly in flux.

Raqib Shaw: Fantastical Realms and Meticulous Beauty

In contrast to Dodiya’s socio-political grounding, Raqib Shaw invites viewers into a world of opulence, fantasy, and emotional depth. Born in Calcutta in 1974 and raised in the ethereal beauty of Kashmir, Shaw’s childhood surroundings—snow-capped mountains and Mughal gardens—influenced the dreamlike quality of his works.

Shaw relocated to London in 1993, where the Western canon further enriched his artistic palette. At the National Gallery, he encountered the masters of the Northern Renaissance, and from that moment, he decided to chart his path as an artist.

Shaw’s paintings are a spectacle of precision and imagination. Using porcupine quills to manipulate enamel, car paint, and household gloss, he creates dense, gem-like surfaces. His fantastical creatures—hybrid beings surrounded by flora and fauna—exist in a realm where dreams, nightmares, and desires merge.

Yet beneath this visual grandeur lies a profound depth. Shaw’s art often tackles existential themes—loss, longing, and transformation. His 2006 painting “Jane” is a hauntingly beautiful example of this duality—both alluring and unsettling, poetic yet mysterious.

What makes Shaw’s work remarkable is its seamless cultural fusion. Persian carpets, Indian miniatures, Japanese prints, and Renaissance compositions all coalesce in his art. This multicultural dialogue is not decorative but narrative, with layers of myth, satire, and symbolism woven into each piece.

By blurring the boundaries between Eastern aesthetics and Western traditions, Raqib Shaw’s art challenges the viewer to reconsider notions of beauty, identity, and belonging.

A Global Impact

Both Atul Dodiya and Raqib Shaw represent different yet complementary faces of contemporary Indian art. Dodiya’s introspective and politically charged work contrasts with Shaw’s opulent fantasies, yet both artists reflect a deep engagement with their heritage, identity, and the world around them.

Their global recognition is no accident—it is the result of years of commitment to truth, form, and experimentation. Whether through the realism of Dodiya’s shuttered urban landscapes or Shaw’s kaleidoscopic worlds, these artists challenge, enchant, and ultimately elevate the global perception of Indian contemporary art.

In celebrating Dodiya and Shaw, we celebrate the infinite possibilities of Indian creativity—rooted in tradition, unafraid of change, and always reaching toward the future.

The Timeless Art of Raja Ravi Varma by Aryaa Anand

Raja Ravi Varma, one of the most celebrated names in Indian art, occupies a unique space where tradition meets transformation. Hailed as a visionary who changed the face of Indian painting, Varma masterfully blended European techniques with Indian themes, crafting a legacy that continues to influence generations of artists and captivate art lovers around the world.

Born in 1848 in Kilimanoor, Kerala, Raja Ravi Varma was drawn to art from a young age. Encouraged by his family and later supported by royal patrons, Varma began to explore the nuances of painting with both oil and watercolours. What truly set him apart, however, was his exposure to Western academic art and his ability to incorporate European realism, perspective, and anatomy into traditional Indian subjects.

Varma’s work is often described as a cultural bridge—he brought mythology, epics, and religious narratives from India to life through a Western artistic lens. His depictions of deities like Lakshmi and Saraswati, as well as scenes from the Ramayana and Mahabharata, were painted with a naturalism that Indian audiences had never seen before. His figures had weight, movement, and expression, all rendered in the lifelike detail he mastered through European techniques.

At a time when Indian art was mostly limited to miniature paintings and temple frescoes, Raja Ravi Varma introduced the concept of canvas painting using oil paints. This not only changed how Indian stories were portrayed visually but also how they were consumed. His works were not confined to palaces or temples; they reached the homes of common people through lithographs—mass-produced prints of his paintings. This democratization of art was revolutionary. For the first time, ordinary Indians could own a picture of a goddess or a beloved epic character, making him one of the first Indian artists to gain pan-Indian recognition.

Some of his most iconic works include Shakuntala Looking Back to Glance at Dushyanta, Damayanti Talking to a Swan, and Lady in the Moonlight. These paintings are rich in narrative detail, emotional depth, and visual grandeur. They also reflect the Victorian-era sensibilities that Varma absorbed, with their elaborate backdrops, textured draperies, and ornate jewellery.

But what made Varma’s work even more significant was the subtle cultural reassertion beneath the surface. While his technique was Western, his soul remained rooted in India. His women were Indian in appearance, grace, and attire. He painted them with dignity and sensuality, often celebrating their strength and inner beauty. In an era dominated by colonial values, his art became a quiet but powerful assertion of Indian identity and aesthetics.

Despite facing criticism during his time from certain quarters of the Indian intelligentsia—who believed he diluted tradition—Raja Ravi Varma’s popularity never waned. In fact, his art has only grown more influential over the decades. Today, his paintings are housed in major collections and museums across India, including the Sri Chitra Art Gallery in Thiruvananthapuram.

His legacy also extends to Indian cinema, with his visual storytelling style influencing film posters and scene compositions. In many ways, Varma was not just a painter but a visual narrator whose work laid the foundation for a modern Indian art movement rooted in both heritage and innovation.

Raja Ravi Varma’s genius lies in his ability to balance contrasts—East and West, mythology and realism, royalty and the everyday. His brush did not just paint scenes; it built cultural conversations that continue even today. Through his timeless canvases, he taught India how to see itself with pride, beauty, and artistic dignity.

Sagarika Sundaram’s Vibrant Felt Worlds

From a distance, Sagarika Sundaram’s expansive works resemble dynamic abstract paintings—pulsing with orange, yellow, red, and teal, their movement and chaos echoing the spirit of Jackson Pollock. But walk a little closer, and you will find there is no paint in sight. These vibrant swirls and textures are not brushstrokes but meticulously felted wool, shaped and layered by hand over weeks and sometimes months. For Sundaram, a 38-year-old artist based in New York, wool is not just a material—it is the heart and soul of her practice.

Her art pieces—often large, undulating, and airborne—exude a primal energy. Their fantastical forms suggest otherworldly creatures or surreal landscapes, yet they radiate a strange friendliness, like alien beings you would not mind sharing a conversation with. The power of her work stems from its origin: the ancient, hands-on process of felt-making. In her light-filled studio at Silver Art Projects, overlooking the Hudson River, Sundaram dyes raw sheep’s wool, tears it into delicate tufts, and layers them in complex compositions. The fibre is then soaked in soapy water, rubbed, and compressed to bond the layers into a single, unified textile.

She approaches each artwork with a ritualistic dedication. Often barefoot, Sundaram steps onto the felt laid across wide tables, crouching down to adjust, layer, and coax the material into its final form. Her process is physical, repetitive, and meditative—an act of building, rather than merely assembling. “It’s like discovering a secret,” she says, a sentiment that began when she first sliced open a felt orb she made in 2017 and found rings of colour nestled within.

Born in Kolkata, Sundaram’s earliest memories of textiles are deeply personal—watching her grandmother fold saris or her father tie his veshti. Her first experiments with fabric began at age 11 at Rishi Valley School in Andhra Pradesh, where she was introduced to batik. But it was not until much later, while studying in London, that she fell in love with felt. That palm-sized felt orb was the beginning of a new artistic language.

Now, she continues to explore this medium through ever more complex creations. Her works can take three to seven weeks to complete, depending on their intricacy. Sometimes the concept emerges organically; other times it’s dictated by the colours she has on hand. “I might have only three colours I have dyed that I can use, and that determines a very tight palette,” she explains.

Her studio’s 12-foot ceilings allow her to dream big. One such dream, Source, is a massive, earthy brown composition streaked with ivory veins and cayenne blotches. Inspired by a wind-borne drumstick seed she saw as a student at Rishi Valley, it was the centrepiece of her recent solo show, Polyphony, at Nature Morte in Delhi. Towering and immersive, Source feels less like a textile and more like an environment.

Despite the raw, untamed appearance of her works, her process is highly disciplined. At home, she dyes four kilos of wool a day, carefully noting colour swatches and recipes in a dedicated journal. “Dyeing is precise and methodical,” she says, likening it to cooking: “It’s about building flavour through colour.” She pulls out a shade card—an array of wool ringlets in burnt ochre, aubergine, and rust. “A true test of a dyer,” she adds, “is not whether you can make colour, but if you can make the same colour twice.”

Never one to be boxed into a single medium, Sundaram has recently begun working with glass mosaic tiles. These tiny chips translate the textures and patterns of her felted worlds into a harder, glinting form. “The mosaics mark a shift in the work—from soft to hard,” she says.

And she is far from finished. “Maybe once I burn through all the colour I have, I’ll do a show that’s all white,” she muses.

In Sagarika Sundaram’s universe, wool becomes more than fibre—it is a living, breathing element of transformation. Through colour, texture, and sheer persistence, she sculpts worlds that are both alien and deeply human—playful, powerful, and profoundly felt.

Children’s Art Exhibition Lights Up Hyderabad Gallery

The M Eshwariah Art Gallery in Hyderabad was transformed into a vibrant showcase of youthful imagination and colour this past weekend, as it played host to the Bala Kala Vikas Children’s Art Exhibition 2025. This five-day event, held from May 10 to 14, is a celebration of budding artistic talent, featuring a compelling blend of an art exhibition and interactive workshops. What makes this exhibition remarkable is not the presence of established artists, but the sheer brilliance of 45 young creators, aged 6 to 18, whose 80 artworks now adorn the gallery’s walls.

Originally established during the pandemic as a learning space for art teachers and students, the M Eshwariah Art Gallery has since evolved into a nurturing platform for young artists. Now in its third consecutive year of hosting children’s exhibitions, it continues to provide a much-needed space for emerging talent to explore and express their creativity.

This year’s open-themed showcase allowed children to venture into diverse subject matter and styles. From vibrant still life paintings of fruits and flowers to thought-provoking depictions of environmental issues and reflections on recent events like the Pahalgam attack, the range was both inspiring and moving. Techniques on display included watercolours, acrylics, pastels, collages, and abstract art, giving the entire exhibition a kaleidoscopic feel of imagination and curiosity.

Sponsored by St. Peter’s High School, Bowenpally, the event is more than just a gallery show — it’s a learning experience. It provides children a meaningful way to spend their summer holidays, enabling them to build skills and confidence. “Art is a career like any other — it’s about learning and applying,” noted Sanjay Kumar, the gallery’s director. “The idea that art isn’t a viable profession is a myth. Everyone is creative by nature — we just need to encourage it.”

A passionate artist himself, Sanjay guided visitors through the exhibition with pride, pointing out the intricacies of each piece. Adding a heartwarming twist, the young artists acted as gallery guides, offering spirited explanations of their work. Their stories often expanded far beyond what was visible on the canvas, enchanting visitors with their imagination and clarity of thought.

This year also saw the introduction of several new hands-on workshops designed to help children delve deeper into creative techniques. From doughnut photo frame painting, glass painting, and sketching to origami and calligraphy, each three-hour session was led by well-known artists and art educators. Esteemed names like KB Indira and Ram Prathap Kalipatnapu, both long-time contributors to the gallery’s programs, returned to mentor participants. Calligraphy expert Shamshuddin led an engaging session aimed not only at creative lettering but also at improving handwriting. Meanwhile, Lalitha, whose previous paper-quilling session was a big hit, came back with a delightful Japanese Origami workshop that attracted enthusiastic participation from all age groups.

Despite the bright visuals and playful spirit, the exhibition carried a profound purpose. Rani Reddy, an art teacher with nearly two decades of experience, emphasised the importance of such opportunities. “Children usually spend their time learning techniques, but rarely get to display what they create. Exhibitions like this help them feel seen, and more importantly, motivated. They also enjoy the recognition — they love explaining their art, and even giving interviews,” she said with a smile.

As the event’s opening day drew to a close, the gallery echoed with applause and laughter. The joy was evident on every face — from proud parents and delighted teachers to the young artists basking in well-earned praise. This wasn’t just an art show; it was a celebration of raw, unfiltered creativity, where each brushstroke told a story, and every colour held a dream.

Delhi art society and culcutta sculptors put up 100 artworks by 14 sculptors.

Sculptural art is going places in the capital as Chawla Art Gallery, in collaboration with the Delhi Art Society and Calcutta Sculptors put up, The Forces of Imagination, an extensive and first-ever exclusive sculpture exhibition. With over 100 captivating artworks by 14 renowned sculptors at the India Habitat Centre, New Delhi, the event celebrates the profound and tactile art form of sculpture.

The exhibition was inaugurated by Dr Karan Singh who presided over a felicitation ceremony for the legendary sculptor Padma Bhushan Ram V Sutar. Known for creating the world’s tallest Statue of Unity, Sutar’s monumental contributions to Indian art were celebrated during the event.

Hosted by Shibani Chawla, director of Chawla ArtGallery and curated by the distinguished art critic Nanak Ganguly, the opening night was attended by luminaries. Bharat Lal, secretary general of the National Human Rights Commission; Ajit Pai, chairman of the Delhi Urban Arts Commission; Dr Mahesh Verma, vice chancellor of IP University; Sunit Tandon, director of India Habitat Centre and Dhanender Kumar of the Competition Commission were present. Renowned sculptors Neeraj Gupta, Vibhor Sogani, and Tapas Sarkar were among the distinguished artists, alongside other prominent names from the art and cultural community, making it a grand celebration of sculptural brilliance.

Reflecting on the show, Shibani Chawla remarked, “This exhibition is a tribute to the transformative power of sculpture. For the first time, we’ve brought together a diverse group of exceptional sculptors to showcase how tradition meets innovation in the contemporary art world.” She added, “With a focus on blending classical techniques with modern creativity the show celebrates sculpture as an enduring and evolving art form.”

The exhibition features an eclectic mix of works created from materials such as bronze, marble, stainless steel, wood and aluminium, offering visitors an unparalleled visual and sensory experience. The lineup of artists includes Tapas Sarkar, Ratan Krishna Saha,

Somnath Chakraborty, Debabrata De, Subrata Paul, Barun Pramanick, Saumen Kar, Chandan Roy, and Pabitra Ganguly from Calcutta Sculptors. From the Delhi Art Society, Neeraj Gupta and Vibhor Sogani showcase their innovative creations. Independent artists like Narayan Lakshman, Bolla Srinivas Reddy, and KR Nariman also contribute to this extraordinary collection. Highlights include Vibhor Sogani’s futuristic stainless steel sculptures and Neeraj Gupta’s intricate marble works, each piece a testament to the transformative power of imagination. The exhibition will move to Chawla Art Gallery from January 1 to 31, 2025.

From wedding ritual wall art, kohbar finds places in contemporary art, says Kavita Kanana Chandra

The Lalit Kala Academy in Patna was vibrant with the colours of Kohbar paintings, the ceremonial wedding paintings, celebrating the Maithili roots. The show held from November 15 to November 17, 2025 offers a glimpse into Mithila’s traditions. Mithila is the northeast region of Bihar and its inhabitants, Maithils, have retained the ties of traditional rituals and culture that make it distinct in its language, art, culture and cuisines.

Aptly titled; Kohbar – Route to Roots, the organising team of Mithila artists duo Alka Das and Nibha Labh, along with INTACH Patna chapter’s Bhairab Lal Das put up a spectacular first-ever Kohbar exhibition of 52 artists, most of them displaying Kohbar as an art in an exhibition for the first time. For them Kohbar is a traditional art, they have seen from childhood, passed from one generation of women to another.

“Kohbar painting is a ritual painting done during the wedding in Mithila, on the eastern wall of the nuptial room, locally called Kohbar Ghar. All the puja (worship) happens before the Kohbar. It is one of the most symbolic paintings, where man, nature and culture are represented symbolically,” says Manisha Jha, a Delhi-based National awardee Mithila artist and architect, founder of Madhubani Art Centre.

In the contemporary world, people talk about saving the environment. But, the women of Mithila have been worshipping nature from ancient times and depicting the co-existence of humans and nature in Mithila paintings, which include the Kohbar.

“Kohbar is very important in the Mithila region and without Kohbar a wedding cannot be solemnized,” informs Alka Das. The concept of holding an exhibition, exclusively on Kohbar came to her when she participated with a group of Madhubani artists in a popular television show. During conversations on folk art from Mithila, she was taken aback by a remark by a man, with roots from Mithila, that Kohbar was merely a folk art and had not much significance.

It was important for her that the younger generation and those outside Bihar are aware of Kohbar’s relevance in Mithila weddings and how it is elevated as an art by womenfolk; hence Kohbar-Route to Roots was conceptualized. The exhibition took place due to the encouragement and help from Ashok Kumar Sinha (Additional Director of Bihar Museum). Scholars, artists and art lovers graced the occasion.

Hailed as the living legend of Mithila art, Bimla Dutta from the Ranka village in Madhubani, enlivened the occasion. She started painting in her village courtyard and today her paintings are displayed in museums around the world. For the visitors it was a delight to walk through the gallery, admiring the myriad forms of Kohbar, each artist interpreting it in their way. Some were painted in single colours like red, yellow or blue; some in a combination of colours, except black. The number of items depicted in a Kohbar is fixed.

Artists Saroj Mallick, Saroj Thakkur, Alka Das, Nibha Labh, Nutan, Kavita Das, Kavita Dutta, Kalpana Madhukar, Radha Das, Radha Kumari, Rashmi Prabha, Bijay Dutta Mani, Saumya Aanchal, Amrita Das and several other artists showcased their beautiful Kohbar art. The young artist Saumya’s Kohbar in blue won the hearts of several viewers.

Amid women painters, Shardendu Anand’s intricate Kohbar in multicolour stood out for its fine work and artistry. Saroj Mallick explained that red or multihued Kohbar are made in the bride’s house to decorate Kohbar ghar, a separate room where the newlyweds spend four days. On the fourth day called “Chaturthikam”, Chauthhari puja is done after which the groom leaves for his home.

In early times, the girl would remain in her parent’s house for six months to a few years before gauna (when the girl would leave for her husband’s home) took place. At her in-laws’ home, a Kohbar in yellow was made for rituals and puja for the day the bride arrived.

“It is compulsory in Mithila wedding for the bride and groom to worship the Kohbar with sindoor (vermillion) after the wedding”, said Saroj Thakkur, another artist. The bamboo depicts male and purain ka paat (lotus leaf) indicates female energy. The Gods and nature are witnesses to their worship.

Mythologically, it is believed that the Kohbar of Lord Ram and Sita was done by Goddess Parvati herself. Traditionally when the wedding is fixed, the oldest ahibati (married woman) puts a red dot on the wall. Afterwards women of the household sketch and paint the Kohbar.

Though Kohbar is made for weddings in Bihar and other places, those from Mithila are a class apart. Artistically done with intricate details with symbols of love, fertility and prosperity depicted by celestial objects, plants and animals. “There is instruction through pictures for the newlyweds how to navigate their married life and also how to handle the ups and downs and the good and bad in their lives together,” explained Mallick.

Common motifs include lotuses, fish, turtles, trees, celestial and religious figures. The lotus grows in abundance, a symbol of fertility. Each Kohbar has a central mandala surrounded by six mandalas of stylized purain paat (lotus leaves), surrounded by figurines and abstract drawings. The vertical stem cut across the mandalas and has a female face on the pinnacle.

There are motifs of bushes, bamboo, bel (wood apple), banana, lotus, paan patta and laung (cloves). It is an ecosystem, where everything exists in harmony. The pictures of deities and celestial objects are invoked to bless the couple. The Sun, moon and navgraha (9 planets) symbolize life-giving energy while Panch Devta (Vishnu, Shiva, Ganesha, Shakti and Surya) bless the couple. The painting shows pictures of things that grow rapidly, symbolising fertility, like fish, bamboo, lotus, purain ka paat (lotus leaf), among others. But all the efforts in painfully decorating the Kohbar would be transient for these would fade with time, the walls whitewashed and ready for another wedding and a new Kohbar. However, with time, as with Madhubani paintings that transformed from paintings on mud walls to canvas and paper; Kohbar also emerged as a form of art. At the exhibition, Manisha Jha’s PowerPoint presentation; “Kohbar the Mystical Painting of Bihar: Journey from Ritual Wall art to Contemporary Art, from Mud Walls to Paper”, traces the mythical and historical origin of Kohbar in Mithila painting from 1934 to 2024.

It was very informative as she explained the main elements of Kohbar’s painting and its symbolic meaning. Why is there a border in Kohbar and why a pair of parrots are entangled? The border in Kohbar is drawn to make a boundary. The space is created for the God and Goddesses to sit and bless the couple. The latpatia suga shows the entangled parrots in love. The Goddess Naina Jogin-the veiled one-eyed Goddess- is there to protect the couple. Slides showed the great artists of Mithila painting like Shashikala Devi, Ganga Devi, Mahasundari Devi, Bimala Dutta and other pioneers and contemporary artists working on different mediums. Ganga Devi, known to draw different representations of bamboo was shown painting Kohbar at Crafts Museum Delhi in 1989. There was Kohbar by early painters in ink on Nepal paper from 1968, natural pigments on paper pasted on cloth by Mahasundari Devi, acrylic on canvas by Bimala Dutta and poster colour on handmade paper by Manisha Jha. She also showed the metamorphosis of Kohbar through contemporary adaptation, where a part of Kohbar is artistically visualized as art. Traditionally a domain of women, contemporary artist Santosh Kumar Das has artistically represented Kohbar, acrylic on paper. The three-day exhibition was a forum for discussions on Kohbar as an art and craft and the commercialisation of folk art.

Sandeep chhatraband captures the soul and spirit.

India, with its treasure trove of culture and spirituality, has always been a haven for artists. Among its contemporary talents, Sandeep Chhatraband stands out as an artist whose work resonates deeply with the spirit of erstwhile Benaras and today’s Varanasi. Born in 1979 in Ambajogai, Maharashtra, Sandeep has carved out a niche in the art world with his ability to transform Varanasi’s sacred Ghats into living,

breathing pieces of art. Renowned for his adept use of both acrylics and watercolours, Chhatraband’s artistic journey is deeply intertwined with the spiritual and cultural essence of Varanasi, India’s eternal city. His work stands as a testament to his ability to not only capture the visual splendour of the sacred Ghats but also convey the profound spiritual energy that flows through them.

What makes Sandeep’s artistry extraordinary is the immersive quality of his work. Through his paintings, he transports viewers into the heart of Varanasi, allowing them to feel the sun’s warmth, hear the rhythmic ripples of the Ganges and witness the hypnotic glow of evening lamps. His art is an invitation to pause, reflect and connect with the timeless essence of this sacred city. His art evokes the sacred heartbeat of Varanasi, where the ancient and the eternal coexist harmoniously.

An Artistic Pilgrimage: From Ambajogai to Varanasi

Sandeep’s journey into the world of art began in the quiet town of Ambajogai, Maharashtra. But it was his first encounter with Varanasi that truly redefined his artistic path. For Sandeep, this city was not merely a destination; it was a revelation. The sacredness of the Ganges and the spiritual aura of the Ghats captivated him in ways he had not anticipated.

Over the years, Sandeep’s bond with Varanasi deepened. Frequent visits to the city allowed him to immerse himself in its rhythm—whether it was the serene calm of early mornings, the hypnotic rituals of the aarti, or the bustling life that unfolds along the riverbanks. This immersion fuels his art, enabling him to continuously explore the city’s essence through his paintbrush. Varanasi became more than a muse for Sandeep—it became a spiritual guide, shaping his artistic expression and infusing his work with layers of meaning.

The Ghats of Varanasi: A Timeless Muse

The Ghats of Varanasi, with their ancient steps and sacred rituals, are at the heart of Sandeep’s artistic endeavours. These riverfront terraces leading to the Ganges are not just places of worship and activity—they are living symbols of India’s cultural and spiritual heritage. For Sandeep, the Ghats represent the duality of life: the chaos of human existence and the peace of spiritual surrender. Sandeep’s paintings are a vivid celebration of the Ghats. He captures their architectural intricacies with remarkable precision—the worn out stone steps, the ornate carvings, and the reflections of temples shimmering in the Ganges. His attention to detail is such that each painting feels alive, almost as though the viewer can hear the echo of temple bells and the murmur of flowing water.

What makes his work truly special is its emotional depth. Sandeep doesn’t just depict the Ghats, he invites viewers to feel their essence.

Light and Colour: The Heartbeat of Sandeep’s Art

One of the defining aspects of Sandeep’s work is his extraordinary use of light and colour. The Ghats, with their ever-changing atmospheres, offer a challenging canvas for any artist. Yet, Sandeep navigates this challenge with grace. Whether it’s the golden hues of sunrise, the soft lavender of dusk, or the deep indigo of night, he captures the city’s many moods with breath-taking accuracy.

One of the defining features of Sandeep’s work is his masterful handling of light. The Ghats are constantly bathed in changing hues—whether it’s the soft pink of dawn, the golden glow of the evening sun, or the flickering flames of the nightly aarti. Sandeep captures these transitions with remarkable skill, making each piece a living representation of Varanasi’s dynamic atmosphere.

His skill in portraying light reflects not just his technical expertise but also his deep sensitivity to the subtleties of Varanasi’s environment. His paintings are alive with the glow of sunlight bouncing off temple domes, the shimmering reflections on the river, and the interplay of shadow and light that adds depth and dimension to his scenes.

A Master of Mediums: Watercolours and Acrylics

Sandeep Chhatraband’s versatility as an artist is evident in his mastery of both watercolours and acrylics, each of which he uses to bring out different facets of his vision.

His watercolour pieces are delicate and fluid, capturing the fleeting beauty of moments like the morning mist over the Ganges or the soft glow of twilight. The fluidity of watercolours allows him to create dreamlike compositions that reflect the transient nature of time. In contrast, his acrylic works are bold and striking, bringing out the vibrancy of the Ghats. Acrylics allow him to emphasize the intricate architectural details of temples and steps, portray the vibrancy of rituals, and capture the riot of colours that define life in Varanasi. The medium’s versatility allows Sandeep to explore both the permanence and the dynamism of the city. By skilfully alternating between watercolours and acrylics, Sandeep creates the perfect balance in presenting a multi-dimensional view of Varanasi that is as complex as the city itself.

A Legacy of Art and Spirituality

Sandeep’s work is deeply rooted in the idea that Varanasi represents the journey of the soul. The Ghats serve as a powerful metaphor reflecting life’s contradictions: the bustling energy of rituals and ceremonies contrasted with moments of meditative stillness. This delicate balance between activity and serenity is a recurring theme in Sandeep’s work and one of its most compelling elements. Through his mastery of light, colour and form, he brings the Ghats to life, allowing viewers to experience their magic first-hand.

Sandeep Chhatraband’s art is more than a visual experience; it is a journey into the heart of Varanasi. His paintings capture the city’s timeless allure, offering viewers a chance to connect with its spiritual energy. Through his work, he brings the sacred and the everyday together, creating narratives that speak to both the soul and the senses.

Presented by Easel Stories Art Gallery