India - Paintings

Rahim Mirza - Untitled Acrylic on Canvas, 12 x 12 inches (unframed size) Born in 1969, Rahim Mirza completed his art education at Bharat Bhavan in Bhopal, where he studied printmaking. Mirza’s current body of work however, is largely made up of acrylics on canvas. The leaf occupies a central motif in much of his work, representing, perhaps, a multiplicity of emotions; while the appearance of the first leaf signifies Spring and renewal, the shedding of the brown leaves in Autumn heralds the onset of winter. It is these subtleties and the complexity of the simple motif that intrigue the artist. While Mirza focuses on the leaf, he chooses to remove it from its natural environment. Thus while the leaf is a prominent symbol in his work, there generally is no sign of a tree or any context beyond its form. In its multiplicity, the artist creates rhythm and meaning that is far beyond its reach. Mirza had his first solo exhibition at Crimson Art Gallery, Mumbai, in 2000. This was followed by others at Archer Art Gallery, Ahmedabad, in 2001; and Diara art Gallery in 2002. His work has also been a part of group shows like 'Collective Spaces' at M.E.C. Art Gallery, New Delhi...

Prakash Karmakar - Beach series - 8 x 7.5 inches (unframed size) Mixed Media on paper , 2004 (Set of 5 works) Inclusive of shipment in a roll form. Style : Legendary master artist L...

Kapil Anant - Incredible India Acrylic & Ink on Canson Paper (Mixed Media) 8.3 x 11.8 inches ( Set of 28 works ) Inclusive of shipment in rolled form. Kapil Anant was born in 1998. ...

Rahim Mirza - Untitled Acrylic on Canvas, 12 x 12 inches (unframed size) Born in 1969, Rahim Mirza completed his art education at Bharat Bhavan in Bhopal, where he studied printmaking. Mirza’s current body of work however, is largely made up of acrylics on canvas. The leaf occupies a central motif in much of his work, representing, perhaps, a multiplicity of emotions; while the appearance of the first leaf signifies Spring and renewal, the shedding of the brown leaves in Autumn heralds the onset of winter. It is these subtleties and the complexity of the simple motif that intrigue the artist. While Mirza focuses on the leaf, he chooses to remove it from its natural environment. Thus while the leaf is a prominent symbol in his work, there generally is no sign of a tree or any context beyond its form. In its multiplicity, the artist creates rhythm and meaning that is far beyond its reach. Mirza had his first solo exhibition at Crimson Art Gallery, Mumbai, in 2000. This was followed by others at Archer Art Gallery, Ahmedabad, in 2001; and Diara art Gallery in 2002. His work has also been a part of group shows like 'Collective Spaces' at M.E.C. Art Gallery, New Delhi, in 2006; 'Anadi' at the Lalit Kala Akademi, New Delhi, in 2000; and 'Vibgyor' at the Lalit Kala Akademi, New Delhi, also in 2000. Mirza has also participated in 'Samvet', the Madhya Pradesh exhibition at the Lalit Kala Akademi, New Delhi, in 1999; the Tokyo International Print Triennial in 1998; the 8th All India Art...

Rahim Mirza - Untitled Acrylic on Canvas, 12 x 12 inches (unframed size) Born in 1969, Rahim Mirza completed his art education at Bharat Bhavan in Bhopal, where he studied printmaking. Mirza’s current body of work however, is largely made up of acrylics on canvas. The leaf occupies a central motif in much of his work, representing, perhaps, a multiplicity of emotions; while the appearance of the first leaf signifies Spring and renewal, the shedding of the brown leaves in Autumn heralds the onset of winter. It is these subtleties and the complexity of the simple motif that intrigue the artist. While Mirza focuses on the leaf, he chooses to remove it from its natural environment. Thus while the leaf is a prominent symbol in his work, there generally is no sign of a tree or any context beyond its form. In its multiplicity, the artist creates rhythm and meaning that is far beyond its reach. Mirza had his first solo exhibition at Crimson Art Gallery, Mumbai, in 2000. This was followed by others at Archer Art Gallery, Ahmedabad, in 2001; and Diara art Gallery in 2002. His work has also been a part of group shows like 'Collective Spaces' at M.E.C. Art Gallery, New Delhi...

Rahim Mirza - Untitled Acrylic on Canvas, 12 x 12 inches (unframed size) Born in 1969, Rahim Mirza completed his art education at Bharat Bhavan in Bhopal, where he studied printmaking. Mirza’s current body of work however, is largely made up of acrylics on canvas. The leaf occupies a central motif in much of his work, representing, perhaps, a multiplicity of emotions; while the appearance of the first leaf signifies Spring and renewal, the shedding of the brown leaves in Autumn heralds the onset of winter. It is these subtleties and the complexity of the simple motif that intrigue the artist. While Mirza focuses on the leaf, he chooses to remove it from its natural environment. Thus while the leaf is a prominent symbol in his work, there generally is no sign of a tree or any context beyond its form. In its multiplicity, the artist creates rhythm and meaning that is far beyond its reach. Mirza had his first solo exhibition at Crimson Art Gallery, Mumbai, in 2000. This was followed by others at Archer Art Gallery, Ahmedabad, in 2001; and Diara art Gallery in 2002. His work has also been a part of group shows like 'Collective Spaces' at M.E.C. Art Gallery, New Delhi, in 2006; 'Anadi' at the Lalit Kala Akademi, New Delhi, in 2000; and 'Vibgyor' at the Lalit Kala Akademi, New Delhi, also in 2000. Mirza has also participated in 'Samvet', the Madhya Pradesh exhibition at the Lalit Kala Akademi, New Delhi, in 1999; the Tokyo International Print Triennial in 1998; the 8th All India Art...

Rahim Mirza - Untitled Acrylic on Canvas, 12 x 12 inches (unframed size) Born in 1969, Rahim Mirza completed his art education at Bharat Bhavan in Bhopal, where he studied printmaki...

Rahim Mirza - Untitled Acrylic on Canvas, 12 x 12 inches (unframed size) Born in 1969, Rahim Mirza completed his art education at Bharat Bhavan in Bhopal, where he studied printmaking. Mirza’s current body of work however, is largely made up of acrylics on canvas. The leaf occupies a central motif in much of his work, representing, perhaps, a multiplicity of emotions; while the appearance of the first leaf signifies Spring and renewal, the shedding of the brown leaves in Autumn heralds the onset of winter. It is these subtleties and the complexity of the simple motif that intrigue the artist. While Mirza focuses on the leaf, he chooses to remove it from its natural environment. Thus while the leaf is a prominent symbol in his work, there generally is no sign of a tree or any context beyond its form. In its multiplicity, the artist creates rhythm and meaning that is far beyond its reach. Mirza had his first solo exhibition at Crimson Art Gallery, Mumbai, in 2000. This was followed by others at Archer Art Gallery, Ahmedabad, in 2001; and Diara art Gallery in 2002. His work has also been a part of group shows like 'Collective Spaces' at M.E.C. Art Gallery, New Delhi, in 2006; 'Anadi' at the Lalit Kala Akademi, New Delhi, in 2000; and 'Vibgyor' at the Lalit Kala Akademi, New Delhi, also in 2000. Mirza has also participated in 'Samvet', the Madhya Pradesh exhibition at the Lalit Kala Akademi, New Delhi, in 1999; the Tokyo International Print Triennial in 1998; the 8th All India Art...

Rahim Mirza - Untitled Acrylic on Canvas, 18 x 18 inches (unframed size) Born in 1969, Rahim Mirza completed his art education at Bharat Bhavan in Bhopal, where he studied printmaki...

Rahim Mirza - Untitled Acrylic on Canvas, 18 x 18 inches (unframed size) Born in 1969, Rahim Mirza completed his art education at Bharat Bhavan in Bhopal, where he studied printmaki...

Rahim Mirza - Untitled Acrylic on Canvas, 21 x 21 inches (unframed size) Born in 1969, Rahim Mirza completed his art education at Bharat Bhavan in Bhopal, where he studied printmaking. Mirza’s current body of work however, is largely made up of acrylics on canvas. The leaf occupies a central motif in much of his work, representing, perhaps, a multiplicity of emotions; while the appearance of the first leaf signifies Spring and renewal, the shedding of the brown leaves in Autumn heralds the onset of winter. It is these subtleties and the complexity of the simple motif that intrigue the artist. While Mirza focuses on the leaf, he chooses to remove it from its natural environment. Thus while the leaf is a prominent symbol in his work, there generally is no sign of a tree or any context beyond its form. In its multiplicity, the artist creates rhythm and meaning that is far beyond its reach. Mirza had his first solo exhibition at Crimson Art Gallery, Mumbai, in 2000. This was followed by others at Archer Art Gallery, Ahmedabad, in 2001; and Diara art Gallery in 2002. His work has also been a part of group shows like 'Collective Spaces' at M.E.C. Art Gallery, New Delhi, in 2006; 'Anadi' at the Lalit Kala Akademi, New Delhi, in 2000; and 'Vibgyor' at the Lalit Kala Akademi, New Delhi, also in 2000. Mirza has also participated in 'Samvet', the Madhya Pradesh exhibition at the Lalit Kala Akademi, New Delhi, in 1999; the Tokyo International Print Triennial in 1998; the 8th All India Art...

Rahim Mirza - Untitled Acrylic on Canvas, 21 x 21 inches (unframed size) Born in 1969, Rahim Mirza completed his art education at Bharat Bhavan in Bhopal, where he studied printmaki...

Asif Hussain - Banaras Ghats - 36 x 60 inches (unframed size) Acrylic on Canvas.

Rahim Mirza - Untitled Acrylic on Canvas, 21 x 21 inches (unframed size) Born in 1969, Rahim Mirza completed his art education at Bharat Bhavan in Bhopal, where he studied printmaking. Mirza’s current body of work however, is largely made up of acrylics on canvas. The leaf occupies a central motif in much of his work, representing, perhaps, a multiplicity of emotions; while the appearance of the first leaf signifies Spring and renewal, the shedding of the brown leaves in Autumn heralds the onset of winter. It is these subtleties and the complexity of the simple motif that intrigue the artist. While Mirza focuses on the leaf, he chooses to remove it from its natural environment. Thus while the leaf is a prominent symbol in his work, there generally is no sign of a tree or any context beyond its form. In its multiplicity, the artist creates rhythm and meaning that is far beyond its reach. Mirza had his first solo exhibition at Crimson Art Gallery, Mumbai, in 2000. This was followed by others at Archer Art Gallery, Ahmedabad, in 2001; and Diara art Gallery in 2002. His work has also been a part of group shows like 'Collective Spaces' at M.E.C. Art Gallery, New Delhi, in 2006; 'Anadi' at the Lalit Kala Akademi, New Delhi, in 2000; and 'Vibgyor' at the Lalit Kala Akademi, New Delhi, also in 2000. Mirza has also participated in 'Samvet', the Madhya Pradesh exhibition at the Lalit Kala Akademi, New Delhi, in 1999; the Tokyo International Print Triennial in 1998; the 8th All India Art...

Manu Parekh Acrylic on Canvas Board, 36 x 30 inches, 2020 ( ALL IN DOOR DELIVERED ) A lovely Mixed Media work in black, white and red color by Modern Indian Artist Manu Parekh who was very strongly influenced by old masters of Indian art, Ram Kinkar Baij and Rabindranath Tagore...

Life is a daughter-mother co-project by Deeksha and Roma in an effort to re-create the light and energy that sustain are precious planet Earth! It is inspired by poet Rabindranath Tagore...

Fawad Tamakanat - Cityscape - 40 x 40 inches (unframed size) Acrylic on Canvas. Fawad Tamkanat, from Hyderabad participated with his slightly older works. One in which he is exploring the raging intrusion of technology in today's times. How digital images are influencing images, imagery and the traditional medium of painting. Portraying everyday activities like the work titled ‘Cafe House’ or exploring more serious concerns in his painting ‘Soldier’. Style : To say that Fawad Tamkanat`s work is narrative is a gross understatement. Throughout his career as an artist, he has strived to develop and then perfect a visual vocabulary that he can use to communicate with his viewers. And this language, that he uses to take on peoples` minds, has nothing to do with society, religion or politics, but, quite blatantly, is all about his own personal fixations. Fixations that include those with time, and one`s place in the general scheme of things. Fawad was born in Hyderabad in 1962, to a family that already had artistic inclinations running through its veins. His father was the famous Urdu poet, Shaz Tamkanat. Early in his career, Fawad was invited to participate in an installation workshop in Denmark where he also worked for a few months in the printmaking studios with renowned printmakers. He became very taken up with printmaking, and launched his professional exhibitions showing only monochromatic prints. Now Tamkanat experiments with several different media and surfaces, diversifying to include those like watercolours, acrylic, etching drypoint and tarpaulin in his oeuvre. Fawad has held twelve solo shows in India and abroad to his credit, and has participated in state, national and international exhibitions and group shows at major art centres. About the Artist & his work : Born : 1962 Education : Master of Fine Arts(Painting), S.N.S. Central University of Hyderabad Bachelor of Fine Arts (Painting), Jawaharlal Nehru Technological University(JNTU) College of Fine Arts, Hyderabad B.Com, Osmania University. Selected Solo Exhibitions : 2012-13 : Jamaat, Mumbai 2003 : Gallery Dengule Guard, Denmark 2001 : Kirsten Kjaer Museum, Denmark ; Lalit Kala Academy, New Delhi & Jehangir Art Gallery, Mumbai. 2000 : Gallery Pialeh Copenhagen, Denmark ; Tao Art Gallery, Mumbai & Shridharani Art Gallery, New Delhi 1999 : Bredsten, Denmark ; Copenhagen, Denmark ; Vingsted Centre Gallery, Denmark ; Cobra Gallery, Copenhagen, Denmark ; Graphic prints, New Delhi & Minaz Art gallery, Hyderabad 1996 : Vingsted Centre Gallery, Denmark ; Minaz Art gallery, Hyderabad & Hyderabad ICRISET Club 1995 : ABC Art Gallery, Varanasi 1993 : Gallery Escape, New Delhi Selected Group Exhibitions : 2009 : 'Entity', in association with Asian Academy of Film & Television at M.E.C. Art Gallery, New Delhi & Gallery Space, Hyderabad, Andhra Pradesh 2008 : 'Stellar Configuration', presented by Vinnyasa Premier Art Gallery, Chennai at Jehangir Art Gallery, Mumbai & 'Urban Landscapes', Galleria, New Delhi 2007 : 'First Person Narrative', Hasta Gallery, Hyderabad & 'Rising Of The Phoneix: A Tribute To Livelihood', Hasta Gallery, Hyderabad 2005 : ‘Collective Spaces 05 ‘,M.E.C. Art Gallery New Delhi. 2004 : Hvidovre Radhus, Hvidovre, Copenhagen, Denmark & Aaskov Kommune's Kunstforening, Aaskov, Jutland. 2003 : ‘Homage To Bhupen Khakhar’, M.E.C. Art Gallery New Delhi ; DHL World Wide Express Gallery, Denmark ; Kunstforening Detny Kastet Thisted, Denmark ; Teko Centre Gallery, Denmark ; Pakhuset Gallery, Denmark ; Esbjerg Museum (Musikhuset), Denmark ; Kunstbrenderiet, Vejle, Denmark & 'Crosscurrent' (Indian Danish Painters Meet), New Delhi, Hyderabad and Chennai 2002 : 'Moods' (Indian Danish painters), Denmark & 'Tradition to Modernity Fulda', Germany 2000 : 'Rooprekha’, Drawing Show, Hyderabad & 'Edge of the Century', New Delhi 1999, 2000 & 01 : Harmony Show, Mumbai 1999 : 'Four Indian Artists...

My depictions of water are about intellectual thought and spirituality. Rejuvenate III displays the beauty of the natural world around us, makes scientific observations in our enviro...

Camouflage IV voices her identity as empowered and independent. I want the spectator of my work to meander and marvel through the values and intensities, the fissures and overindulg...

Melting II is the gorgeousness of snow flaking into the twilight of Sunrise and Sunset; it is the final splash of color before winter dresses nature in wh...

"The story of a Forest" presents a biographical account of a forest in a series of six charcoal drawings. The story moves from the lush green forest in the first drawing to the dark...

Camouflage III dressed in kaleidoscopic colors shows multi dimensional all-inclusive diversity. Camouflage III argues for an interdependent self-identity that makes connections acros...

Camouflage II veiled in a masculine keffiyeh embodies empowerment, strength and confidence, and gazes directly at her gazer, disrupting the masculine gaze that is based on dualities.

Camouflage VI has been inspired by Klimt's living, breathing woman with a brooding air—rather than a serene, mythical being. As a female subject, she is a strong, expressive woman ca...

Camouflage VII employs her self-identity, suturing her gaze, so she challenges her viewer with her analysing look. Her gaze does not meet that of her viewer, she looks away, staring ...

Camouflage I's formless red layers may seem to divest her of any physical movement, the emotional expression adds to her potent strength of being rather than becoming, giving her add...

In Trinetra XII, inspired Frida Kahlo's painting, Roots (1943), I immerse my corpus within Mother Earth, my cradle through life and death and regeneration of the Universe. I feel nos...

Melting I asks, "I wonder if the snow loves the trees and fields, that it kisses them so gently? And then it covers them up snug, you know, with a white quilt; and perhaps it says, G...

Rekindle III symbolises regeneration in all its forms and colors. It is inspired by Van Gogh's quote: "Sometimes I long so much to do landscape, just as one would for a long walk to ...

Inspired by Frida Kahlo's painting, The Love Embrace of the Universe, the Earth (1949), Trinetra XIII (2021) embodies the rooted human who can grow tall...

Trinetra V is my exploratory visual storyline that demonstrates that in any milieu, small or large, it is respectful listening skills between community members that facilitate a just...

Kapil Anant - Incredible India Acrylic & Ink on Paper (Mixed Media) 21.5 x 29.5 inches (Set of 6 works) Inclusive of shipment in rolled form. Kapil Anant was born in 1998. Complet...

Trinetra VI in her blood-coral form, dives down to the bottom of the ocean to push back the putrid oil spills, the reeking sludge and the rotten waste generated by petrification and ...

“With the excessive use of technology at their disposal, humans today have lost some vital connection with the other sentient beings and the environment at large.” - Ravi Chaurasiya. Ravi Chaurasiya was born in 1994 in New Delhi...

Inspired by Frida Kahlo's painting, My Nurse and I (1937) and the Goddess Ganga, Syrian Mermaid-Goddess Atargatis and the Aztec-deity Chalchiuhtlicue in...

Trinetra XI demonstrates that if we protect the Earth's and women's wombs, if we do not extract fossil fuels and rare earths that cause planetary destruction, we might be able to pr...

Amit Kalla - Transending Forms - 36 x 60 inches (unframed size) Acrylic on Canvas, 2020 ** Free Shipment ...... will be delivered in rolled form. Style : Kalla’s work can be represe...

As she elevates Buddha’s peace-emanating lotus through the blue-green oceanic-waters and allies her blood-coral corpus within the multifarious species of her setting, now in a state ...

Our Sundarbans on our Mother Earth are protected by the gatekeeper mangroves and their deep-reaching roots and oxygen diffusing branches, which were hacked ...

Trinetra VIII in her fluid blood-coral hybrid form embodies the first-born creature who “was of the same size and kind as a man and woman closely embracing. He caused himself to fall...

Trinetra IV shows the relationship between women and oceans; their network, permanency, and global presence, reinforce the reality of the biosphere, as one of ecological solidarity t...

Trinetra III in her blood-coral form centers her hybrid corpus in the midst of blue ecologies embracing and crading connected earth bodies as an approach towards planetary justice an...

Influenced by the anatomical connections in Frida Kahlo's painting, Henry Ford Hospital (1932), in Trinetra II the organic commonalities in the Corals and Blues confront anthropocentrism. They challenge the power of visualization in art. The cradle of life...

Trinetra I influenced by The Two Fridas (1939) shows how Coral Wombs blossom within Blue Ecologies visualizes the oceans and their global web of seas, river...

"This is a series of three paintings. In these, the artist has illustrated different compositions of Lord Ganesha. In one painting Ganesha is standing with his brother Kartikeya; in...

Ranjeet Singh (b. 1984 in Bihar, India ) holds a Bachelor of Fine Art (Painting), 2006 and a Master of Fine Arts (Painting), 2008, from the Faculty of Visual Arts, Banaras Hindu Un...

Debabrata Basu - Untitled - 48 x 60 inches (unframed size) Acrylic on Canvas Style : Debabrata derives his style and theme by introspecting within himself. The fears of uncertainty,...

John Berger states a line is not important because it records what we see, but because of what it will lead us on to see. He also adds that each mark we make on the surface is a stepping stone through...

Nandi means bull and bull denotes religion. This religion is the vahana of Lord Mahadev, so, in conventional language it is said to be the bull of religion. In these paintings the a...

Shuvaprasanna Bhattacharya - Golden Flute - 25 x 25 inches (unframed size) Acrylic & Charcoal on Canvas Should you wish to receive it framed and ready to hang it would measure approximately 31 x 31 inches and cost 500 usd to ship . One of the most popular series of the Master Artist, The Golden Flute is the artists more romantic rendition of Art. The iconic figures of Krishna, Radha, and Ganesha that found lyrical expression in the Icons series are modern representations and sophisticated idealizations of the same images in the popular media. Krishna is a cosmic musician, and the tune he creates by playing his transcendental flute is embodied with cosmic energy. When Krishna is depicted as being between the age of 5 and 8, it is always with his flute. Therefore, during this period, he is aptly called Murlidhara (murali means “flute,” and dhara means “hold”), signifying the one who holds the flute. He is never without it, whether he is with his mother, on the grazing grounds with his herd of cows, among his cowherd companions or roaming around on the Jamuna banks. Gopis lose their selves in this tune. For them, music becomes the voice of love, which is too passionate and secretive. Style : The city of Kolkata has always figured prominently in his work. His themes come from his personal interactions with its urban milieu - its sickness and sordidness, its violence and vulnerability and all that compounds its existential agony. Shuvaprasanna has depicted varying moods of the city and its people, its places, and all its facets that make the city distinctive. He doesn't merely portray reality as 'matter of fact' and his presentation of reality often has dream-like elements in it. In terms of technique, Shuvaprasanna boasts a precise, finely executed style that yields an unmistakable visual intensity. He works comfortably in an assortment of media, including oil on canvas, charcoal, and mixed media. About the Artist and his work : Born : In Calcutta, 1947. Education : Graduated from Indian College of Art (R.B. University, Calcutta) in 1969. Exhibitions : Shuvaprasanna has had several gallery and museum exhibitions, including at the Tao Art Gallery and at the Chawla Art Gallery, Square One Mall. Several works by the artist have been sold at auction, including 'ABODE' sold at Waddington's 'Fine Prints & Photography Auction...

Nandi means bull and bull denotes religion. This religion is the vahana of Lord Mahadev, so, in conventional language it is said to be the bull of religion. In these paintings the a...

"Untitled 1.22" Abstract Oil Painting 78" x 54" inch by Gayatri Gamuz This artwork ships rolled in a tube due to its size In search of silence, in search of the self. Her work eme...

Presently I am working on a series of charcoal drawings titled “A Promised Land” which is the result as well as a logical progression of my current engagement with art and ecology. The series drew inspiration from my reading of Pranay Lal’s Indica: A Deep Natural History of the Indian Subcontinent (2016). The book’s focus on sheer life force and exuberance stemming out of India’s natural history and the science behind life not only inspired me but also forced me to think deeply about the state of life on the planet. The title, therefore, is ironically suggestive of the way humankind is (mis)treating natural resources to fulfil its unbridled greed. The series across thirty or more drawings attempts to build an apocalyptic vision of life where the natural world and the animals who inhabit it bear the brunt of over-exploitation. The first out of the six drawings which are complete by now shows the dead root-like structure of a tree which looks fossilised and bears the expression of a dissatisfied creature which seems to be stranded on a lonely landscape. The second drawing is that of a neatly fleeced skeleton of a blue whale on a patch of land. The image brings to the forefront issues of poaching and illegal hunting of whales for commercial gains. The third drawing again deals with the same issue but this time the goriness of the misdeeds of humankind is in the shape of a decaying carcass of an elephant. It is half covered in decayed skin and half visible revealing the rib cage. The fourth drawing is a highly metaphorical one where a large pile of elephant tusks is seen neatly arranged and bears an uncanny resemblance with a human pyre. The fifth drawing is that of a synthetic net left on the landscape. The image is a telling account of the ill effects of fishing which results in bycatch thereby impacting the water beds...

Nandi means bull and bull denotes religion. This religion is the vahana of Lord Mahadev, so, in conventional language it is said to be the bull of religion. In these paintings the a...

Sekhar Kar - Untitled, Mixed Media on Paper 22 x 30 inches (Unframed) ( UNFRAMED ALL IN DELIVERED PRICE ) Style : Sekhar Kar's paintings depict men and women in swirling masses ...

"This is a series of three paintings. In these, the artist has illustrated different compositions of Lord Ganesha. In one painting Ganesha is standing with his brother Kartikeya; in...

John Berger states a line is not important because it records what we see, but because of what it will lead us on to see. He also adds that each mark we make on the surface is a stepping stone through...

In Indian mythology, Lord Shiva and Ganesha are wonderful symbolical characters of father and child relationship. Through this painting the artist tr...