Get Tibetian Thangka Paintings - Lord Bhaishajyaguru Mandala by Exotic India Art

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Exotic India Art has a vast collection of many different varieties of Indian made products based on Paintings. You will find marvellous collections with many different varieties. Here in Exotic India Art gallery you will find Paintings such as Folk Art, Madhubani Paintings, Mughal Art, Persian Art, Wild Life Art, South Indian Art, Sikh Art, Oil Paintings, Thangka Paintings, Batik Paintings, Tantras Paintings, Marble Paintings, and many more other different paintings and its formats like landscape, portrait, cotton paintings, etc. You must visit to Exotic India Art Paintings gallery and book your beautiful Paintings.

Tibetian Thangka Paintings - Lord Bhaishajyaguru Mandala

The mandala is of especial significance in eastern religion and spiritual culture. Geometrically speaking, it is a closed curve that represents the micro- and macro-cosm and serves as a visualisation aid. In Vajrayana Buddhism, each deity comes with their own unique mandala. In traditional works of art such as the thangka that you see on this page, it is seen to emerge from the deity poised at the centre of the composition.

The mandala of the Lord Bhaishajyaguru has been mapped out in detail in this thangka. The robe of red silk and the blue medicine-pot contrast sharply with the olive colour of His complexion and the ice-pink of His lotus pedestal. He is contained within a circle of seated dhyani (contemplative) bodhisattvas and the main mandala made up of rectilinear curves. From the latter project the structure of ancient Himalayan temples and the wrathful mouths of mythical creatures. A circle of pastel lotus petals and thick gold vines encapsulates the same.

Below the Lord Bhaishajyaguru Mandala is a verdant snatch of the lower Himalayan landscape. Above it is a sky composed of varying shades and tints of blue and delicate wisps of coloured clouds. Together with the Vajrayana deities around the mandala and the mythical creatures on the frame of the painting, these are the common elements of Nepal’s thangka tradition.

Get Thangka Paintings - Tibetan Buddhist Six Armed White Mahakalas

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Here in Exotic India Art and Paintings collection you will find multiple Arts and Paintings based on many different varieties and styles. You will find Folk Art, Mughal Art, Persian Art, Thangka Paintings, Oil Paintings, Madhubani Paintings, Batik Paintings, South Indian Arts and Paintings, Marble Art, Wild life Art, Sikh Art, and many more in many different forms like watercolor Paintings, Landscape Paintings, Portrait Paintings, Cotton Paintings, Paper Paintings, and many others. For all these many different varieties of Paintings you must visit to Exotic India Art Paintings gallery and choose you best one.

Tibetan Buddhist Six Armed White Mahakala

Thangka or Tanka is a sacred Buddha art form made on a cotton fabric and usually demonstrates a Buddhist deity, scene or Mandala; based on themes of history, culture, policy or social life; each detail here is filled with a retold myth with laid guidelines of their symbols and allusions. The Buddhist Mahakala painted here is the protector deity of the Shangpa Kagyu tradition and its practitioners.

The Tibetan Buddhist Six Armed White Mahakalas is a wrathful aspect of Avalokiteshwara and is worshipped for eliminating spiritual and material poverty; stands here in his ferocious stance, lotus petals which are placed on a stylized multicolored pedestal; attired and jeweled graciously with the outrageous expressions signifying him as the King of Power and the Lord of pristine awareness.

He has six arms and three eyes with the brilliant fires of dissolution and dwells in the midst of eight cremation grounds; he holds a trident, damru, scythe etc in his various hands as his incensed weapons of protection; framed in an aureole of deadly ashes from the cremation ground and surrounded by White Elephants near his legs and skulls at the bottom. The painter has created a very realistic view of the deity, such that his single glance is enough to picturize his actual self.

Get Oil Painting On Canvas - The Furtive Princess by Exotic India Art

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Oil Painting On Canvas - The Furtive Princess

She has scarcely attained to womanhood. She runs around on the grounds of the palace of her father the King, mischievously keeping her handmaidens on tenterhooks in their never-ending search for her. She is bursting forth with life and fecundity, the beauty of her fulsome youth unbeknownst to her yet. In this oil painting, she is captured in a moment of stillness.

Something has caught the little princess by surprise. In one of the sombre corners of her home, she stands stock still and overhears her father discuss possible liaisons through her marriage. In her shyness, she draws her sheer dupatta over her bosom clad in a brick-coloured choli. Note the dilemma in her body language - the stance of her torso is as if to rush on in her playfulness, but she turns back a little, her head leaning in the direction of her father’s voice as he decides her future.

The fullness of her youth is set off by the ample gold and jewels on her person. A faint blush rises from the high of her cheeks to the roots of her black curls. Her heaving breasts are almost bursting through the silk of her choli. Her gaze is resting on a nearby lamp - an eerie glisten characterises those large, kohl-rimmed eyes.

Get Nandi Muzzling The Feet Of Ardhanarishvara - Folk Art by Exotic India Art

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Of all the folk art forms in India, pattachitra is the most complex. One of the oldest art forms to have flourished in the subcontinent, it is what a lot of people know the state of Odisha by. 'Patta' in Sanskrit means canvas, and 'chitra' picture. And it isn't your run-of-the-mill canvas that functions as the foundation to the pictures. The patta of pattachitra is made in a week-long process that starts with soaking tamarind seeds for the first 3, pestling them thoroughly, and heating them in an earthen pot. The natural paste that emerges is called niyas kalpa in the local language, which is used to glue 2 pieces of fabric. This is further given double coats of soft powdered clay and polished with a rough stone followed by a smooth stone to produce the finished canvas.

The natural pigments that are used for the chitras look great on this patta. While themes usually revolve around Jagannath (for the obvious reasons) and avataras of Krishna, this pattachitra depicts the Ardhanarishvara instead. The deity is stands on a blooming lotus with the seated Nandi muzzling Shiva's feet. Parvati's saree is long and flowing, while Shiva is draped in an austere tigerskin. Her shringar is ampler and more feminine than the grim bands of rudraksha on His limbs. The curves of Her anatomy are more defined, Her thick straight tresses cascade down Her back while His wavey locks are flying in the wind. His jatamukuta is complemented by Her luxuriant crown. Winged celestial beauties floating amidst the clouds on either side of the pattachitra on top complete the composition.

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The porcelain toned lady with exquisite facial features, looks away, in the lovely piece of art, as she is appareled in a fire yellow, cotton lehenga that is emblazoned with scarlet red and emerald green floral motifs, which goes along with her glittery ballet slipper crop top choli. Despite the revealing element of her outfit, she conceals her bare skin with a gleaming white full sleeve inner which skillfully camouflages in the brush strokes, with her golden bangles that adorn her thin hands. A lapis blue, waist flare that is embellished with sequins drapes down her thighs as her translucent, carolina blue dupatta with a thick golden lace sways in the air with each swing. Her beauty is enhanced with a lovely quartz crystal set, that comprises of a breathtaking opera and a choker necklace, combining with valuable drop earrings which beautify her beady brooch.

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The painting even captures her better half, who protectively swings the entrancing lady. The handsome man is encapsulated as a possessor of a fawn colored countenance adorned with a thin imperial moustache. The Royal geezer is appareled in a light lava silver jama that drops down his ankles, swaddled in a tawny brown and golden stripped choga, revealing the silver cloth below his arms. A cinnamon brown, tuscany thread-embroidered turban sets down over his frizzy, unkempt hair, as a lavender shaded and orange tinted dupatta entangles in his manly wrists. He is emblazoned with ravishing white pearl ear tops and an elegantly layered opera that droops down his neck.

Although, this scene of giving one's lover a splendid ride should show cheerfulness, the illustrator has portrayed both the characters to look away, instead of smiling, a grim expression drenches their face, complimented with the pale and dusty fern green trees, depicting their despising lives, making it a painting with an intriguing secret, worth working out.

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A young maiden sits in the privacy of her chamber. She has had a long day, perhaps spent in the kitchen in order to welcome the evening guests. They would arrive any moment now, and her mother has sent her beautiful daughter to her room in order to do her hair and paint her palms and soles with alta. As such, the freshly applied dye would give off the most vibrant colour against her roseate skin. In parts of India; it is customary for young ladies to don the alta on the occasion of having prospective grooms visiting her with their respective families.

Get Oil Painting of Young Maiden Paints Her Soles

Made from the crushed petals of the hibiscus flowers, the organic dye has a rich red colour and is symbolic of youth and fecundity. There is a particular way of applying it - along the edges, a solid circle at the centre, at the tips of the digits - as could be gleaned from the gesture of the subject.

She has chosen a green bootidar saree for the occasion, teamed with a pink low-cut blouse. Languidly she traces her fingers dipped in alta along her soles, her minimal gold ornaments motioning in accordance with her gently tilting head. A soft lilac cushion lies next to her. Within moments she is going to finish off the alta and, whilst putting her ample tresses in a bun, wait for it to dry.

Buy Against the Mirror of Scarlet - Oil Painting on Canvas from Exotic India Art

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Buy Against the Mirror of Scarlet - Oil Painting on Canvas

A young woman stands before a strange mirror. Warm, fluid brushstrokes give it the scarlet tinge of self-absorption and a liquid, almost sublime, texture. The subject that stands before it has caused its existential disintegration, so powerful is her asmita. Asmita is the distinguishing aspect of the citta (psyche), the ego that deludes the individual into afflicting self-perception (klesha). Consumed by raging narcissism, she raises her hand to the mirror and shuts her eyes.

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She is clad in little more than a loosely draped robe. It is a rich brown colour, which sets off the fiery undertones of the youthful skin on her back and arms, the side of one of her breasts and the abdomen softly curving into a deep navel. Hints of embossed gold on her wrist and long spidery fingers, the nape of her neck, and the lobe of her partially exposed ear. The bun of her hair has come undone, her jet black locks cascading helplessly down her cheek and shoulders.

Zoom in on that face, a glowing image of the fullness of youth. Her eyes are shut; yet in her reflection she continues to gaze at herself, steeped profoundly as she is in her own being. Note the sharp dry overgrowths superimposed on the composition, a painful reminder of the bitter aftertase of asmita.

Buy Watercolor Mughal Art Festival of Kites Painting by Exotic India Art

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Navneet Parikh never ceases to amaze his audience with the perfect artistry. In this painting, he encapsulates a bisque toned lady with wide set brown eyes and a lovely Greek nose as she flies a kite. Her countenance is blessed with salmon colored lips that twitch in a suppressed smile, contrasting her high arch rounded eyebrows and the curled lock of hair that rests on her sideburn. The plump faced lady is appareled in a short bright thulian tinged crop top choli, sewn with astounding golden gotas, coupling this outfit with a crimson red cotton lehenga, bordered with a royal blue gota that is embellished with beautiful golden floral designs and eye-catching beads. A translucent algae green dupatta imprinted with sequins and splendidly colored flowers drapes down her beautiful charcoal black hair styling to envelop her as it twists around her waist. The fantabulous lass is festooned with a copper gold and silver arm ring that goes along with her royal choker necklace that is embossed with lovely solitaires, extending over to a multi-layered pearl opera, studded with breathtaking gemstones. She wears a crème white ersatz nose ring, combining it with her distinguished dangling jhumkas, debossed in a ravishing outlook, thus complimenting her silver beady headpiece and the stunning Tuscany bangles that clasp her string holding hands.

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She is accompanied by an equally elegant caramel complexioned woman whose countenance is adorned with thin lips and a fantastic aquiline nose that enhance her wide round eyes which are protected by her soft angled eyebrows. This lass is dressed in an exotic olive-green crop top choli and a remarkable amber colored pleated lehenga that is imprinted with gorgeous flowers, painted in bright red and dark green colors. A superb diaphanous dusty amethyst dupatta embossed with gleaming green tinsel like sequins envelop the woman as she outfits it in a glamorous way. She is adorned in jewelries that matches those of her female partner except for her drop shaped headpiece that hangs over her silky hair as she takes hold of the beige colored manja dor.

The background is illustrated to exhibit a fort like architecture, capturing many mosques and protruding minarets along with multiple archetypal domes that are colored in pretty crème white, bronze and golden tints contrasted by dusty steel blue water that flows in a rectangular pond as three medallion tinged swans swim in the lush green bushes' decorated pool. The Carolina blue cloudy sky is filled with a dozen of soaring kites that are hued in exotic colors, going along with the bright golden cage which captivates a shining pine green parrot as it rests over the cemented flooring. This amazing scene is pictured with a lovely picturesque rectangular enclosure, emblazoned with vibrant painted kites that distinguish the perfect floral motifs embellished on the canvas and even a few more prominent tinted kites that spread on the floor with sharp red and blue manja dors that rest on the ground. This painting turns out to be a perfect match for those who seek paintings from the ancient mughal eras as they are an excellent reminder of the old yet alive culture, portraying the mixed feelings of ecstasy and imprisonment, depicting a parrot who is caged despite the kite flying season, in this fine piece of art.

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Buy Oil Painting On Canvas Of The Princess Confides In Her Lady-In-Waiting by Exotic India Art

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A private moment between two young sahelis (female friends). As they while away their time with a dhol in their private chambers, the princess opens up the recesses of her heart to her favourite lady-in-waiting. She is telling her about a young man, a handsome warrior of the neighbouring kingdom, whom she had occasion to exchange a glance with. Her heart is in a fledgeling state of enamour, and she cannot quite contain herself.

The princess is dressed in an ivory silk dhoti and breastband, woven in with gold booties studded with rubies and emeralds. Her ample hair is coiled in a tall pile on the top of her head, and held in place by a number of pure gold pins and ornaments. On the other hand, her humble lady-in-waiting is dressed according to her station - simple white choli with a solid pink lehenga, and unassuming gold ornaments on her relatively duskier skin. The thick plait of her long hair grazes her thigh.

The lady-in-waiting looks deep into the eyes of her mistress, trying to understand the full import of the goings-on over her heart. The princess looks into the distance, trying her best to capture every detail from that tumultuous memory. Note how her delicate hand is raised mid-air, as if caught in some minor detail of the exchange.

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Madhubani art is one of the famous art forms that originated from a village called Mithila in Bihar. Since ancient times, these paintings have been a part of festivities and special events like weddings; initially practiced by women, it is passed on to their daughters since generations to spread good luck.

This painting is characterized by eye catching geometrical patterns depicting pictures of nature and mythology for occasions like marriage, birth and other festivals; painted in bright shades with colors derived from natural sources like turmeric, pollen, pigments, indigo, sandalwood, leaves and flowers of various trees. One of the highlighting features is that this painting represents the Dusadhs caste system as the entire background is filled with splendid motifs of flora and fauna.

The vibrant peacock that stands on this wondrously entangled tree with its long yellow feathers that fall down in ease, represents divine love, romance, knowledge and prosperity. The awe-struck eye pattern on the feathers is symbolic of saving people from negativity. This elegant black elephant painted with green flower motifs symbolizes power and strength.

Made using powdered rice-paste, fingers, nib pens, brushes, matchsticks and twigs, the ethnic royalty of this master craft is one of a kind. Tree of life holds a great significance in Feng Shui as it is linked to divinity and attaining knowledge and spirituality. This painting of an Elephant and Peacock with Tree of Life depicts a beautiful interplay of color palette in its most traditional and elegant charms.

Get Paintings of Sadakshari Lokeshvara in the Lap of the Moon (Tibetan Buddhist Deity)

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There is a distinction and an order to being a bodhisattva. As a testimony to the preeminence of Lord Avalokiteshvara, He belongs to the heaven of the Amitabha Buddha and, together with Lord Mahasthamaprapta, graces a throne as resplendent as the Buddha’s. The majestic Bodhisattva is the beloved of His devotees because He has vowed to deliver each of them to the land of nirvana and pure happiness, without exception; this is the quintessence of the bodhisattva.

Sadakshari Lokeshvara in the Lap of the Moon 

The thangka you see on this page is the Sadakshari Lokeshvara roopa (form/manifestation) of the Bodhisattva Avalokiteshvara. Having emerged from a pristine light from within the Buddha Amitabha, the Sadakshari Lokeshvara is four-armed, the anterior pair of which is in anjali mudra (gesture of adoration). He sits in the lap of the ivory-silver moon, His long fair limbs gathered in the perfect padmasana. A leafy vine of blue lotuses floats about Him, one of which He holds in His left posterior hand.

The face of the Bodhisattva is a highly characteristic image in the thangka tradition. As fair as the clouds of the Buddhist heaven, drawn in perfect symmetry. Half-shut eyes that are brimming with compassion, the all-pervading Buddhist value. Lengthened earlobes from which dangle gold kundalas, and a five-spired crown sitting on the long black straight hair. Note the soothing element of the pastel-coloured halo of the Bodhisattva.

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A youngmaiden sits in the privacy of her chamber. She has had a long day, perhaps spent in the kitchen in order to welcome the evening guests. They would arrive any moment now, and her mother has sent her beautiful daughter to her room in order to do her hair and paint her palms and soles with alta. As such, the freshly applied dye would give off the most vibrant colour against her roseate skin.In parts of India, it is customary for young ladies to don the alta on the occasion of having prospective grooms visiting her with their respective families.

Buy Young Maiden Paints Her Soles Painting

Made from the crushed petals of the hibiscus flowers, the organic dye has a rich red colour and is symbolic of youth and fecundity. There is a particular way of applying it - along the edges, a solid circle at the centre, at the tips of the digits - as could be gleaned from the gesture of the subject.

She has chosen a green bootidar saree for the occasion, teamed with a pink low-cut blouse. Languidly she traces her fingers dipped in alta along her soles, her minimal gold ornaments motioning in accordance with her gently tilting head. A soft lilac cushion lies next to her. Within moments she is going to finish off the alta and, whilst putting her ample tresses in a bun, wait for it to dry.