Newsletter Archive

A Kali in Every Woman : Motherhood and the Dark Goddess Archetype

"It is well established in the canons of Indian thought that every woman mirrors in herself the divine feminine... Envisioned as totally naked, the visual tales of her terrible form do not end with her dense black color or with the skirt made up of decapitated hands...(or) the necklace made up of heads she has severed from the torsos of beings...The truth behind the mystery of Kali, it seems, is to not be found by a conventional appraisal of her physical appearance....it is the female of the species who comes out with honors here, by resolutely establishing that when they are wives and when they progress to being mothers, Kali forms an integral part of their characteristic buildup."

Published in Oct 2002

Dance of the Yogini : Images of Aggression in Tantric Buddhism

"Iconographic representations tend to show the dakini as a young, naked figure in a dancing posture, often holding a skull cup filled with menstrual blood or the elixir of life in one hand, and a curved knife in the other. She may wear a garland of human skulls, with a trident staff leaning against her shoulder. Her hair is usually wild and hanging down her back, and her face often wrathful in expression, as she dances on top of a corpse, which represents her complete mastery over ego and ignorance. Practitioners often claim to hear the clacking of her bone adornments as the dakinis indulge in their vigorous movement. Indeed these unrestrained damsels appear to revel in freedom of every kind."

Published in Sep 2002

Rama The Ideal Man : The Epic Adventure of a Hero

"Nobility is always a defining quality of the mythic hero. His actions are severe and punishing, or gentle as per the demand of the situation...(The) supreme display of detached attachment was worthy of Rama... Rama was a man. He was also a god...he inspires all of us 'ordinary' mortals to follow the path of a just and upright existence, unswerving in our faith of the correctness of it. This is the true inner journey of the hero, leading to the divine spark that blazes inside each of us, waiting to be discovered."

Published in Aug 2002

Each of us a Healer : Medicine Buddha and the Karma of Healing

This article on the Medicine Buddha identifies him as the ideal healer and it also stresses that the utmost powers of healing lie within our own selves. Embrace the transformative power of Medicine Buddha. "Each of Us a Healer" explores the karma of healing, guiding you to inner balance, health, and spiritual growth. Learn how the karma of healing intersects with Medicine Buddha's wisdom. Delves into Buddhist philosophy for personal growth and karmic transformation. Explores the deep connection between karma and the transformative art of healing. This is a symbolic gesture aimed at the realization that as the sacred syllables making up the mantra grant the medicine its capacity to heal, likewise, by consciously following the path of righteous karma, we are able to soak our lives with the nectar which flows from the virtues gained through such action.

Published in Jul 2002

The Bodhisattva Ideal - Buddhism and the Aesthetics of Selflessness

"A bodhisattva wishes to help all beings attain nirvana. He must therefore refuse to enter nirvana himself, as he cannot apparently render any services...after his own nirvana... A bodhisattva can never love the body for its own sake... he cherishes it...because he will...save someone sometime somewhere... in the moment of tribulation."

Published in Jun 2002

Wisdom Goddesses - Mahavidyas and the Assertion of Femininity in Indian Thought

Each of the Devi's manifested forms made Shiva realize essential truths, made him aware of the eternal nature of their mutual love and most significantly established for always in the cannons of Indian thought the Goddess's superiority over her male counterpart. Not that Shiva in any way felt belittled by this awareness, only spiritually awakened. This is true as much for this Great Lord as for us ordinary mortals. Befittingly thus they are referred to as the Great Goddess's of Wisdom, known in Sanskrit as the Mahavidyas (Maha - great; vidya - knowledge). Indeed in the process of spiritual learning the Goddess is the muse who guides and inspires us. She is the high priestess who unfolds the inner truths.

Published in May 2002

The Dance of Shiva

"God of eroticism, Shiva is... the master of Yoga, which is described as the method used to sublimate virile power and transform it into mental and intellectual power. He is therefore the 'great Yogi.'... 'I have never renounced any vice: it is they who have left me' summarizes the message of Shiva."

Published in Apr 2002

Women and Jewelry - The Spiritual Dimensions of Ornamentation

Indeed, rarely is a traditional Indian ornament simply decorative and devoid of inherent meaning or symbolic value. Symbols found in Indian Jewelry act as a metaphorical language communicated from the wearer to the viewer. Such jewelry is created from an infinite reserve of symbolically significant forms and images, some obvious, some subtle, and some whose meaning is forgotten. Complementary to such thought is the conventional view where the graceful form of a woman is said to epitomize the ideal beauty and mystery inherent in nature. Thus, befittingly each and every part of the feminine physique including the head, torso, limbs, and between the appended parts - have consistently been used to support ornaments, often in ingenious ways.

Published in Mar 2002

Color Symbolism In Buddhist Art

"...there exists in Buddhism the concept of a rainbow body... the rainbow body signifies the awakening of the inner self to the complete reservoir of terrestrial knowledge that it is possible to access before stepping over the threshold to the state of Nirvana..." After knowing the qualities that you want to experience in your life such as peace, strength, wisdom, patience, and compassion, you can pick the color associated with that quality. With an element as simple as colors, you can transform your life into a rich, awakened, and transcendental experience, following the wisdom of Buddhist masters.

Published in Feb 2002

Every Woman a Goddess - The Ideals of Indian Art

"...the originator of families, the preserver of the established order and the perpetuator of traditions...As the Great Goddess rules the heavens, her earthly counterpart, the woman, rules the home..." The living traditions of India have always identified the female of the species with all that is sacred in nature. But it is not always the warrior woman who is identified with the goddess, but also woman as playful, lovable, and of course as the Mother. In a delightful vein it is conjectured that the kick of a woman is sufficient and necessary for blossoms to spring from the sacred Ashoka tree.

Published in Jan 2002

Om - An Inquiry into its Aesthetics, Mysticism, and Philosophy

"...God first created sound, and from these sound frequencies came the phenomenal world... Matter itself is said to have proceeded from sound and OM is said to be the most sacred of all sounds. It is the syllable which preceded the universe and from which the gods were created..."

Published in Dec 2001

Philosophy of Namaste and Comparison with the Handshake

"...the sacred sound 'namaste' is believed to have a quasi-magical value, corresponding to a creative energy change. This transformation is that of aligning oneself in harmony with the vibration of the cosmos itself...."

Published in Nov 2001

Islam - Aesthetics of a Mystic Religion

With its strong emphasis on the brotherhood of men cooperating to fulfill the will of Allah, Islam has become one of the most influential religions in the world today. Traditional Islamic art conveys the spirituality and quintessential message of Islam through a timeless language which precisely because of its timelessness as well as its direct symbolism, is more effective and less problematic than most of the theological explanations of Islam. A piece of traditional calligraphy or an arabesque can speak much more eloquently of the intelligence and nobility which characterize Islam than many an apologetic work of Islamic modernists or so-called activists. It is the serene, intelligible, structured and highly spiritual character of Islamic art which more than any other element leads to a correct understanding of the culture that Islam.

Published in Oct 2001

What is Tantra? - The Art of Philosophy

Tantra has developed a system of thought which makes us see the universe as if it were within ourselves, and ourselves as if we were within the universe. Further the forces governing the cosmos on the macro-level are believed to govern the individual in the micro-level. According to tantra, the individual being and universal being are one. Thus all that exists in the universe must also exist in the individual body. One of our major limitations in discovering this essential unity between the microcosm and the macrocosm is that we are accustomed to analyze the world into its separate parts, with the result that we lose sight of those parts' inter-relationship and their underlying unity. The way to fulfillment is through recognition of our wholeness linking man and the universe. This hence is the broad aim of Tantra art, achieved through visual symbols and metaphors.

Published in Sep 2001

5 Sacred Buddha Mudras Explained – Meaning, Symbols & Transformations

Mudras are a non-verbal mode of communication and self-expression, consisting of hand gestures and finger-postures. They are symbolic sign based finger patterns taking the place, but retaining the efficacy of the spoken word, and are used to evoke in the mind ideas symbolizing divine powers or the deities themselves. The composition of a mudra is based on certain movements of the fingers; in other words, they constitute a highly stylized form of gestureal communication. It is an external expression of 'inner resolve', suggesting that such non-verbal communications are more powerful than the spoken word. Overall, mudras are an important aspect of Indian culture and spirituality, used in dance, yoga, and meditation practices to convey meanings and facilitate the flow of prana in the body. Their symbolism and therapeutic benefits make them a valuable tool in the practice of Indian art forms and spiritual practices.

Published in Aug 2001

Parvati - Goddess of Love & Devotion - Hindu Goddess

"In classical mythology the raison d'кtre of Parvati's birth is to lure Shiva into marriage and thus into the wider circle of married life from which he is aloof as a lone ascetic, living in the wilds of the mountains. The goddess represents the complementary pole to the ascetic, world-denying tradition in the Hindu ethos. In her role as maiden, wife, and later as a mother, she extends Shiva's circle of activity into the realm of the householder, where his stored-up energy is released in positive ways."

Published in Jul 2001

Tibetan Buddhist Ritual Implements: Vajra, Bell, Phurpa & Their Meaning

What are Tibetan ritual implements? In Vajrayana Buddhism, objects like the vajra, bell, phurpa, skull cup, and chopper are used in rituals to balance wisdom and compassion. Each carries symbolic meaning, from indestructibility to impermanence, and helps practitioners conquer inner obstacles. These implements are not weapons but spiritual tools, guiding transformation and enlightenment through meditation, offerings, and protective practices. Explore Tibetan ritual implements like the vajra, bell, phurpa, skull cup & chopper. Discover their symbolism, origins, and role in Vajrayana practice.

Published in Jun 2001

The Taj Mahal - Architecture of a Love Story

"As a tribute to a beautiful woman and as a monument for enduring love, the Taj reveals its subtleties when one explores it at leisure and not hurriedly. The rectangular base of Taj is in itself symbolic of the different sides from which to view a beautiful woman. The main gate is like a veil to a woman's face, which should be lifted delicately, gently and without haste on the wedding night. As per the charming Indian tradition the veil is lifted gently to reveal the beauty of the bride, in the couple's first night together."

Published in May 2001

Durga - Narrative Art of a Warrior Goddess

"...The Great Goddess Durga was born from the energies of the male divinities...The awesome three-eyed Goddess was adorned with the crescent moon...seas trembled as the Goddess engaged the Great Demon Mahisasura...Thus the reveries of Mahisa are exterminated..."

Published in Apr 2001

The Indian Sari - Fashioning the Female Form

"The Sari, it is said, was born on the loom of a fanciful weaver. He dreamt of a Woman. The shimmer of her tears. The drape of her tumbling hair. The colors of her many moods. The softness of her touch. All these he wove together. He couldn't stop. He wove for many yards. And when he was done, the story goes, he sat back and smiled and smiled and smiled".

Published in Mar 2001

Wrathful Guardians of Buddhism - Aesthetics and Mythology

An enigmatic aspect of Buddhist iconography is the presence of wrathful, terrifying forms. Though these awesome, hair-raising images seem contradictory to Buddhist ideals, they are not personifications of evil or demonic forces. Rather they symbolize the violence that is a fundamental reality of the cosmos in general, and of the human mind in particular. In addition to destroying the passions of the mind, the purpose of gods is to protect the faithful. The wrathful deities, who symbolize the tremendous effort it takes to vanquish evil, especially perform this function.

Published in Feb 2001

Ganesha - The Elephant Headed God

The chronicle of Ganesha’s might and glory in Indian religion and Hindu art is unending. Moved by the immensity of Sri Ganesha, Indian artists have handcrafted a range of magnificent Sri Ganesha murtis, which are the best way to feel the presence of Ganesha in your life. Exotic India Art brings to you an assemblage of handmade and divine icons of Parvati-Putra (son of goddess Parvati), sculpted by skilled artists following the established instructions of ancient iconographical traditions. Bring a statue home from our collection and experience living under the protective gaze of Sri Ganesha.

Published in Oct 2000

What is a Mandala? Sacred Geometry, Colors & Symbolism Explained

This blog explores the mandala as Buddhism’s most iconic symbol, tracing its Vedic origins, meanings as “container of essence,” and symbolic geometry. It explains mandala creation, training of monks, rituals, and worship practices. Readers learn its architectural design, deities, wrathful and sexual imagery, color symbolism, sacred offerings, and psychological-spiritual purpose enlightenment, transformation, and realization of divinity within.

Published in Sep 2000

Maa Kali: The Fierce Feminine Force in Indian Art & Devotion

Explore the fierce yet loving Goddess Kali her symbolic forms, rituals, and sacred temples across India. A divine force of liberation, truth, and inner awakening. Goddess Kali, the fierce form of the Divine Mother in Hinduism, embodies liberation, truth, and transformation. Though fearsome in appearance, she is deeply revered as a protective and compassionate force who destroys ego and illusion. Across India, Kali is worshipped in various forms from Mahakali to Dakshina Kali and honored in powerful temples like Kalighat and Kamakhya. Her symbolism, rooted in Tantra and bhakti, inspires both awe and unconditional love among spiritual seekers.

Published in Aug 2000

Love and Passion in Tantric Buddhist Art

"...The word Tantra itself is derived from the verbal root tan, meaning to 'weave'...Often the mother is shown in a posture with both legs around the father's waist...refer to the union of a lotus and vajra..." Notwithstanding the fact that the Buddha's essence is non-polar, Buddhist iconographers use sexual polarity to symbolize the twin concepts of insight and compassion. All goddesses are symbols of insight and the gods represent compassion. The union of compassion and insight symbolizes the non-polarized state of bodhicitta, or the mind of enlightenment, which is represented visually by showing two deities engaged in sexual union.

Published in Jul 2000

Birds and Animals in Indian Art - The Mughal Artist as a Naturalist

"Jahangir the fourth Mughal emperor (r. 1605-27), was a lover of beauty, be it that of an artifact created by human hands or that observed in nature, the work of god. His memoirs, commonly known as Tuzuk-I-Jahangiri or, Jahangirnama, are as much an album of his aesthetic experiences as a chronicle of his reign. With his keen sensibility, these experiences were a permanent source of joy for him. Nature and beauty were preserved through the brush of his artists."

Published in Jun 2000

The Life of Buddha in Legend and Art

"...The young prince Gautama Siddhartha was born into the ancient Sakya clan...he learned in a few days the sciences suitable to his race...Intrigued by his first encounter with old age...Four weeks after he began meditating under the Bodhi tree...on the night of a full moon, Sakyamuni attained enlightenment" Gautam Buddha's life and teachings offer valuable insights into the human condition and the pursuit of inner peace and enlightenment. His legacy continues to inspire and influence people around the world, and his teachings remain relevant and meaningful today.

Published in May 2000

Krishna the Divine Lover in Indian Art

The major gods in Indian art traditions have all been given consorts. They are rarely described as celibate recluses. In their incarnate form, they are explicit in their demonstrative attraction for the opposite sex. The goddesses do not lag behind. Their love for their husbands or lovers is often portrayed in an assertively earthy and sensual manner. Gods and goddesses represent a conscious duality, complementing each other. In the embrace of Krishna, the gopis, maddened with desire, found refuge; in their love dalliance with him who was the master in all the sixty-four arts of love, the gopis felt a thrill indescribable; and in making love with him in that climatic moment of release, in that one binding moment, they felt that joy and fulfillment which could not but be an aspect of the divine.

Published in Apr 2000

Sacred Buddhist Painting - The Tibetan Thangka

A Thangka is a painted or embroidered banner which was hung in a monastery or a family altar and carried by lamas in ceremonial processions. In Tibetan the word 'than' means flat and the suffix 'ka' stands for painting. The Thangka is thus a kind of painting done on flat surface but which can be rolled up when not required for display.

Published in Mar 2000

Technique of Batik Art

"The technique of batik is a demanding one. In general, the final design must be conceived before the picture is begun. The batik artist works intimately with color; if he wishes parts of his design to be light yellow, for example, all these parts must be waxed at the same time before any subsequent dyeing. He cannot isolate one part of his design and complete it before moving on to the others as an artist in oils or watercolor may; he must create his design in stages, each of which encompasses the whole picture."

Published in Feb 2000

Technique of Pata Chitra

"Pata is a Sanskrit derivation which literally means canvas so pata-painting means a scroll painting on canvas. The art of Pata Painting (or pata chitra) is practiced by the artists of Orissa, a state on the Eastern Coast of India. The painter first chooses two pieces (generally tussar silk) of cloth and he sticks the pieces together by means of a paste prepared from tamarind seeds. They are then dried in the sun."

Published in Jan 2000

Madhubani Art: From Bihar to the World

"Hindu women who live in villages near the market town of Madhubani in northern India maintain old traditions and teach them to their daughters. Painting is one of the traditional skills that is passed down from generation to generation in the families of some of the women. They paint figures from nature and myth on household and village walls to mark the seasonal festivals of the religious year, for special events of the life-cycle, and when marriages are being arranged they prepare intricately designed wedding proposals." A symbol of Bihar’s cultural richness in the modern world, Madhubani or Mithila Paintings are a prominent folk art form, known for its vivid colors, regional themes, and cultural history. Traditionally, the motifs used in these paintings were made by women on the walls and floors of their houses during festivals, community celebrations, and important religious ceremonies.

Published in Dec 1999

Rajput Miniature Paintings: A Classic Art of India

In this article, we will take a look at the various sub-schools within the Rajput painting category, the features that distinguish them from one another, themes popular among the artists, and the use of colors in the paintings- a marvelous element of these artworks that makes the subjects come to live with vivid energy and drama. The politics of medieval India was marked by a division of regions among many states, a number of which were known as Rajput kingdoms, populated by royal families and their subjects. Though distinctive in the themes and techniques they favored, these schools also share a cultural background, symbols, and stories that run like a thread connecting the many canvases of Rajput paintings.

Published in Nov 1999

Mughal School of Art

"In Indian art generally, possibly because of its predominantly religious character, the symbolic level is always the more important. The depicted surface-reality always very strongly implies some general statement. For instance, the animals and plants of the Buddhist frescoes are not just animals and plants but symbols of the whole of creation, a statement that it is animated, that it feels and suffers."

Published in Oct 1999

Tanjore Paintings - An Art from South India

Tanjore derives its name from the capital of Chola empire, Thanjavoor. This place has one of the beautiful temple of Lord Shiva-Brigadeeswara temple. This art form was developed with the patronage of the Maratha rulers in the 18th century.This type of art which is famous for its ornamental relief work flourished with the patronage of the kings. The process of making a Tanjore painting requires dedicated skilled labour. There are many stages during the making of this painting. The article celebrates Tanjore paintings as a vital part of India's artistic heritage, showcasing their beauty and the craftsmanship involved in their creation.

Published in Sep 1999

Indian Miniature Paintings: A World of Wonder

Indian miniature paintings, a symbol of India’s rich artistic heritage, are exquisite works of art characterized by their diminutive size and unparalleled detail. These paintings, often no larger than a few inches, encapsulate within their tiny frames a world of intricate patterns, vibrant colors, and profound narratives. Spanning centuries and diverse cultures, Indian miniature paintings offer a fascinating glimpse into the country’s history, religion, and aesthetics. The Mughal miniatures, Rajput painting, and sub-schools within it create a large collection of historical miniatures, however, small images drawn on surfaces is a technique that existed in the country since ancient times.

Published in Aug 1999

Understanding Mughal Miniature Paintings & The Colors of the Medieval Art Form

"At first the available colors are ground on a stone slab (by rubbing or grounding) to bring them in a powder form. Some artists use mortar and pestle of a very hard quality stone. Then that color is dissolved in water along with some gum and then filtered. The filtration process is continued till the color becomes totally earth or sand free. Thereafter water is removed and the color is dried and kept in form of balls. When required, the desired color along with some dry gum is dissolved slowly in water with the help of finger or thumb.'

Published in Jul 1999

Marvel of Mughal Miniatures: The Brushes That Make Magic

The Mughal miniature is known for setting a vast and intricate story within a very small frame. This means that the subjects- human, natural, and architectural elements with all their details were drawn with precision. Everything, from a line to shading of the subjects was to be done with a steady hand because the miniature would be effective only if all the visual components were sharp and clear. To draw a perfect miniature, the artist had to pick the perfect brush. "In Sanskrit the word Tulika is used for brushes. The artists in their ordinary language call it Kalam. It is worthwhile noting here that the different styles of paintings are also called as Kalam, viz. - Bundi Kalam, Kangra Kalam, Shah Kalam, etc. Kalams of different thicknesses are chiefly prepared for different types of works and from different types of bristles. The thick or medium size Kalam is required to fill colors in the painting."

Published in Jun 1999