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#Lithographed Reel by @mfaboston (verified account) - Vivid prints of divinities are part of daily life for Hindus in India and around the world. Opening January 31, "Divine Color: Hindu Prints from Moder
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@mfaboston
Vivid prints of divinities are part of daily life for Hindus in India and around the world. Opening January 31, “Divine Color: Hindu Prints from Modern Bengal” explores the origins of these vivid works in 19th-century Calcutta (known today as Kolkata). The MFA is one of only two American museums that collects these rare early prints—those that survive represent only a fraction of the thousands that were originally produced—and the exhibition presents nearly 40 vibrant examples. Here, we take a closer look at one of them with Laura Weinstein, Ananda Coomaraswamy Curator of South Asian and Islamic Art. 🖼️: “Shri Shri Krishna Balarama” (about 1910–20), published by Kansaripara Art Studio. Lithograph.
#Lithographed Reel by @artistinmass2 - Divine Color: Hindu Prints from Modern Bengal at MFA Boston Part 1. March 2026 @mfaboston
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@artistinmass2
Divine Color: Hindu Prints from Modern Bengal at MFA Boston Part 1. March 2026 @mfaboston
#Lithographed Reel by @sangeet.shyamala - Nineteenth-century Bengal saw the Ramayana reimagined through ink, wood, and print. Early Bengali woodcut illustrations trace the emergence of print
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@sangeet.shyamala
Nineteenth-century Bengal saw the Ramayana reimagined through ink, wood, and print. Early Bengali woodcut illustrations trace the emergence of print culture, shaping new visual vocabularies of the epic and expanding its reach across audiences. We invite you to explore these rare prints and their role in shaping the visual history of the Ramayana. Engraved Epics: Early Bengal Prints of the Ramayana Curated by Jyotirmoy Bhattacharya 📍 Surendra Paul Art Gallery, Sangeet Shyamala, Vasant Vihar, New Delhi 🗓 On view till 15 February 2026 🕚 11:00 am – 8:00 pm . #Ramayana #IndianPerformingArts #TheatreAndCulture #SangeetShyamala #EpicNarratives
#Lithographed Reel by @vanisayeedstudios (verified account) - This morning I had the pleasure of experiencing Divine Color: Hindu Prints from Modern Bengal at the Museum of Fine Arts, Boston @mfaboston with Laura
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@vanisayeedstudios
This morning I had the pleasure of experiencing Divine Color: Hindu Prints from Modern Bengal at the Museum of Fine Arts, Boston @mfaboston with Laura Weinstein and members of the Jasmine Society. These vivid devotional prints from early 20th-century Calcutta are rich with color, history, and spiritual beauty. The clever use of lithography the latest technology of the time to create multiple prints is brilliant! ✨✨✨ #art #devotionalart #vanisayeedstudios #globalchic #explorepage✨
#Lithographed Reel by @artalindaindia - 'Engraved Epic: Early Bengal Prints Of Ramayana' presnted by Jyotirmoy Bhattacharya. An exhibition showcasing a rare body of woodcut illustrations of
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@artalindaindia
'Engraved Epic: Early Bengal Prints Of Ramayana' presnted by Jyotirmoy Bhattacharya. An exhibition showcasing a rare body of woodcut illustrations of the Ramayana, tracing a crucial moment in the visual and print culture of nineteenth-century Bengal. These images are not merely illustrations of an ancient epic; they are historical archives that reveal how technology, colonial encounter and craftsmanship converged in Calcutta to shape a new visual journey. Date: 19 January -15 February, 2026 Time: 11-8 PM Venue: Surrendra Paul Art Gallery Sangeet Shyamala Street A 12, Vasant Vihar, New Delhi - 110057 #DelhiExhibition #Ramayana #Woodcut #19thcenturyart #jyotirmoybhattacharya #ArtAlinda #SangeetShyamala
#Lithographed Reel by @thehistoryboy_ (verified account) - The assertion that Raja Ravi Varma was the first to draw and mass-print Ganpati is inaccurate; while he did produce iconic, mass-printed oleographs of
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@thehistoryboy_
The assertion that Raja Ravi Varma was the first to draw and mass-print Ganpati is inaccurate; while he did produce iconic, mass-printed oleographs of Ganpati and other deities that significantly shaped modern Indian art and iconography, the deity himself was depicted in Indian art and sculptures for centuries prior. Varma's groundbreaking contribution was his use of European realism and oil painting techniques to bring sacred figures to the public eye, popularizing a specific, more relatable, and widely adopted visual representation that became the cultural norm. Raja Ravi Varma's Influence Popularized a specific visual idiom: Varma's distinctive style, blending European realism with Indian mythological themes, helped create the accepted norm for depictions of Hindu deities, including Ganpati. Mass-produced images: Through his lithographic press, he made these images of gods, goddesses, and mythological figures widely accessible to the common people for the first time. Shaped national identity: The widespread distribution of these prints fostered a shared visual culture and a sense of national identity, making his iconography a familiar and unifying image across the country. Before Varma Ancient traditions of depicting deities existed: Indian art has a long history, with ancient depictions of gods and goddesses appearing in temple sculptures and cave paintings, creating "murti" and "vigraha" before Varma. Different styles and aesthetics prevailed: The images of deities in earlier periods differed from Varma's, not having the same level of realism or grandeur seen in his work. In Summary Raja Ravi Varma did not invent Ganpati, but he transformed the way the deity was commonly visualized and revered through his innovative use of realism and mass printing, making his versions of Ganpati and other Hindu deities the ones most recognized and reproduced today. #history #art #painting
#Lithographed Reel by @artisthil - An absolute visual treat at "Print Age: The Art of Printmaking in the Age of AI Reproduction" at Dhoomimal Gallery. Beautifully curated by Johny ML, t
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@artisthil
An absolute visual treat at “Print Age: The Art of Printmaking in the Age of AI Reproduction” at Dhoomimal Gallery. Beautifully curated by Johny ML, the exhibition brings together legendary master printmakers and dynamic contemporary artists, reaffirming the enduring power of printmaking in an AI-driven world. I was particularly captivated by the Russian masters’ works—their technical finesse, depth and evocative visual language left a lasting impression. A compelling dialogue between tradition, experimentation and evolving technologies. A must-see for lovers of graphic and print arts. #PrintAge #Printmaking #GraphicArt #ArtExhibition #DhoomimalGallery ArtInDelhi IndianArtScene ContemporaryArt MasterPrintmakers RussianMasters RussianArt CuratedByJohnyML JohnyML ArtCollectors ArtLovers HarshInderLoomba HarshInderLoombaArt HILArt VisualArtist ArtistLife
#Lithographed Reel by @saritahanda - Conservator Deepshiikha Kalsi speaks about the monumental Coromandel Kalamkari textile depicting the epic battle between the God King Ram and Ravan fr
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@saritahanda
Conservator Deepshiikha Kalsi speaks about the monumental Coromandel Kalamkari textile depicting the epic battle between the God King Ram and Ravan from the Ramayan. A closely related, reversed version of the composition is housed at The Metropolitan Museum of Art, a comparison Kalsi reflects on as she examines the textile’s artistry and narrative structure. Drawn from the Sarita Handa Archive, the work is being showcased at India Art Fair 2026. Kalamkari Ramayan Textile: Battle between Ram and Ravan Cotton, hand-painted | Coromandel Coast, South India
#Lithographed Reel by @mo.of.everything - Bandeep Singh explains this powerful work, the ancient form of Lajja Gauri, symbolising creation, worship, and tantric spirituality through vermilion-
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@mo.of.everything
Bandeep Singh explains this powerful work, the ancient form of Lajja Gauri, symbolising creation, worship, and tantric spirituality through vermilion-rich, ritualistic imagery. #IndiaArtFair2026 #Delhi #LajjaGauri #MO
#Lithographed Reel by @bcaf.organization - 🎥✨ 𝐀𝐫𝐭𝐢𝐬𝐭 𝐒𝐩𝐨𝐭𝐥𝐢𝐠𝐡𝐭 | 𝐑𝐚𝐣𝐚𝐭 𝐇𝐚𝐥𝐝𝐞𝐫 ✨🎥 𝐑𝐚𝐣𝐚𝐭 𝐇𝐚𝐥𝐝𝐞𝐫 brings a research-driven and critically engaged printmaking
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@bcaf.organization
🎥✨ 𝐀𝐫𝐭𝐢𝐬𝐭 𝐒𝐩𝐨𝐭𝐥𝐢𝐠𝐡𝐭 | 𝐑𝐚𝐣𝐚𝐭 𝐇𝐚𝐥𝐝𝐞𝐫 ✨🎥 𝐑𝐚𝐣𝐚𝐭 𝐇𝐚𝐥𝐝𝐞𝐫 brings a research-driven and critically engaged printmaking practice to 𝐈𝐍 𝐓𝐇𝐄 𝐍𝐀𝐌𝐄 𝐎𝐅 𝐆𝐎𝐃, where academic inquiry meets contemporary graphic expression. Rooted in rigorous training and sustained scholarly research, Halder’s work examines socio-political histories, material processes, and the evolving language of printmaking in South Asia. His prints reflect a deep engagement with process and context, positioning printmaking as both a visual and intellectual practice shaped by time, place, and lived realities. Presented by 𝐁-𝐂𝐀𝐅 – 𝐁𝐫𝐢𝐝𝐠𝐢𝐧𝐠 𝐂𝐮𝐥𝐭𝐮𝐫𝐞 & 𝐀𝐫𝐭𝐬 𝐅𝐨𝐮𝐧𝐝𝐚𝐭𝐢𝐨𝐧 in collaboration with 𝐋𝐚𝐥𝐢𝐭 𝐊𝐚𝐥𝐚 𝐀𝐤𝐚𝐝𝐞𝐦𝐢 under the purview of the 𝟑𝐫𝐝 𝐏𝐫𝐢𝐧𝐭 𝐁𝐢𝐞𝐧𝐧𝐚𝐥𝐞 𝐈𝐧𝐝𝐢𝐚, the exhibition foregrounds contemporary print practices that thoughtfully engage with faith, belief, and human experience. 📍 On view at B-CAF till 𝟏 𝐅𝐞𝐛𝐫𝐮𝐚𝐫𝐲 𝟐𝟎𝟐𝟔 ⏰ 3:00 pm – 7:00 pm 🎟 Entry Free . . #RajatHalder #InTheNameOfGod #BCAF #LalitKalaAkademi
#Lithographed Reel by @itihasology - Radha sits atop a rock, dejectedly resting her face on her palm, as Krishna, before Radha on one knee, attempts to pacify her. This is a lithograph
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@itihasology
Radha sits atop a rock, dejectedly resting her face on her palm, as Krishna, before Radha on one knee, attempts to pacify her. This is a lithograph published by the Calcutta Art Studio of Bowbazaar sometime between 1878 and 1883. The Studio pioneered the commercialization of the Bengal school of art, and popularized printed renderings of historical scenes and religious artwork. Seen here is a pictorial depiction of ‘Manbhajan’, a Bengali song associated with the story of Radha-Krishna. The MET remarks that this image is reminiscent of ‘high Victorian melodrama’. Indeed, the late 19th century saw the rise of a distinctive new style of ‘Indian’ art that drew on the conventions of Western academic art. In the dramatic emoting and gesturing among the figures here, and the lush and idyllic forested landscape that backdrops them, the use contemporary European techniques is evident. The aesthetic and sensorial impact of adapting these styles for ‘local’ themes is explained by Guha-Thakurta as follows: “The dense use of light and shade helped evoke the roundness of bodies, and the tactile feel of flesh, muscle and silk. As the forms became more realistic, the episodes from mythology were also located now in more tangible and atmospheric settings of palaces and landscapes.” Source: Tapati Guha-Thakurta. The Making of a New ‘Indian’ Art: Artists, aesthetics, and nationalism in Bengal, c. 1850–1920. 1992. Image: The Metropolitan Museum of Art, New York
#Lithographed Reel by @bcaf.organization - 🎥✨ 𝐀𝐫𝐭𝐢𝐬𝐭 𝐒𝐩𝐨𝐭𝐥𝐢𝐠𝐡𝐭 | 𝐑𝐚𝐦𝐞𝐧𝐝𝐫𝐚 𝐍𝐚𝐭𝐡 𝐊𝐚𝐬𝐭𝐡𝐚 ✨🎥 𝐑𝐚𝐦𝐞𝐧𝐝𝐫𝐚 𝐍𝐚𝐭𝐡 𝐊𝐚𝐬𝐭𝐡𝐚 brings over three decades of
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@bcaf.organization
🎥✨ 𝐀𝐫𝐭𝐢𝐬𝐭 𝐒𝐩𝐨𝐭𝐥𝐢𝐠𝐡𝐭 | 𝐑𝐚𝐦𝐞𝐧𝐝𝐫𝐚 𝐍𝐚𝐭𝐡 𝐊𝐚𝐬𝐭𝐡𝐚 ✨🎥 𝐑𝐚𝐦𝐞𝐧𝐝𝐫𝐚 𝐍𝐚𝐭𝐡 𝐊𝐚𝐬𝐭𝐡𝐚 brings over three decades of rigorous printmaking practice to 𝐈𝐍 𝐓𝐇𝐄 𝐍𝐀𝐌𝐄 𝐎𝐅 𝐆𝐎𝐃, shaped by deep academic training and sustained international engagement. Trained at Rabindra Bharati University and further refined through advanced study at the Staatliche Akademie der Bildenden Künste, Stuttgart, Kastha’s work reflects a strong command of graphic language, technical precision, and conceptual depth. His practice navigates tradition and contemporaneity, informed by global exchanges through major international biennials, triennials, and residencies across Europe, Asia, and the Americas. Presented by 𝐁-𝐂𝐀𝐅 – 𝐁𝐫𝐢𝐝𝐠𝐢𝐧𝐠 𝐂𝐮𝐥𝐭𝐮𝐫𝐞 & 𝐀𝐫𝐭𝐬 𝐅𝐨𝐮𝐧𝐝𝐚𝐭𝐢𝐨𝐧 in collaboration with 𝐋𝐚𝐥𝐢𝐭 𝐊𝐚𝐥𝐚 𝐀𝐤𝐚𝐝𝐞𝐦𝐢 under the purview of the 𝟑𝐫𝐝 𝐏𝐫𝐢𝐧𝐭 𝐁𝐢𝐞𝐧𝐧𝐚𝐥𝐞 𝐈𝐧𝐝𝐢𝐚, the exhibition brings together contemporary print practices engaging with faith, belief, and human experience. 📍 On view at B-CAF till 𝟏 𝐅𝐞𝐛𝐫𝐮𝐚𝐫𝐲 𝟐𝟎𝟐𝟔 ⏰ 3:00 pm – 7:00 pm 🎟 Entry Free . . #RamendraNathKastha #InTheNameOfGod #BCAF #LalitKalaAkademi

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