richa_oeuvre

As rightly said by Mr. Khushwant Singh ‘To know India and her people, one has to know the monsoon’

Shrawan or month of Savan (monsoon as per the Vedic calendar) is celebrated across India in many different ways and holds great significance for the devotees of Lord Shiva. It is a time of spiritual devotion, fasting, and celebration.

This work of mine is thus a humble attempt to capture the festive, vibrant and spiritual feeling of this auspicious month.

This wonderful collab themed on ‘suhana sawan’ was organized by and


Artists revealing with me today chadda.3


Artists revealing tomorrow



🍀🌼🌿🌧️

for the ongoing collab hosted by and

Symbol of knowledge, power, and clarity…
Dispeller of darkness…
Source of all lives 🙏🏼

***original art***

Doing again what I love the most. What better to start with Shree Ganesh…

Glad to share that my work ’Vijayakantaka’ got a place on the cover page of Sampritimunich’s yearly magazine. Thank you so much and for this opportunity🙏🏼

जटाटवीगलज्जल प्रवाहपावितस्थले
गलेऽवलम्ब्य लम्बितां भुजंगतुंगमालिकाम्‌।
डमड्डमड्डमड्डमनिनादवड्डमर्वयं
चकार चंडतांडवं तनोतु नः शिवः शिवम ॥

Here is my reveal for the amazing collab

Inspiring art and artist- ‘Boating’ by Jamini Roy. This painting pictures lord Krishna and Balram rowing boat with Gopis.

Jamini Roy’s work has always attracted me, even before I thought to try my hands out in painting. I love how he developed a unique aesthetics that balanced traditional Indian iconography and materials with western sensibilities. My attempt to recreate his work in style is just my tribute to this great artist and India’s first modernist.

About the artist- A graduate from the Government College of Art, Kolkata, Roy was a pupil of Abanindranath Tagore, the creator of 'Indian Society of Oriental Art'. He was born in Beliatore village of Bankura district in 1887.

He started his career spanning over six decades as a commissioned portrait artist but soon gave up and began experimenting with Indian folk art. He took lessons from patua, a community known for their traditional occupation of painting idols, to better his craft at Kalighat paintings.

His work, however, wasn’t limited to painting alone. His wooden sculptures, rooted in Indian villages, reflect the traditional art of Bengal. The quintessential ‘Jamini Roy’ work exhibits bold colours of red, yellow ochre, blue, and white. Roy brought versatility and emotion to folk art.

Jamini Roy received many awards and accolades, including the Padma Bhushan in 1955. In 1976, the Archaeological Society of India declared him one of “Nine Masters” to be treated as treasure. Roy passed away in 1972.

I extend my gratitudes to the hosts , .mithila.art
, for making me a part of this very innovative idea.

Revealing with me today are


Revealing tomorrow

With the long awaited presence of at I wish India a very happy .

A small tribute to the patriotic brave soul

🇮🇳

A memorable visit to the artistic town of Raghurajpur, a heritage site and home to the artists of the ancient art of Pattachitra. After some interesting conversations with the artists of Raghurajpur, I learnt about some amazing facts, practices and traditions of pattachitra. Derived from Sanskrit, ‘patta’ means ‘cloth’ and ‘chitra’ means ‘painting’. Here, the ‘patta’ is prepared mostly using old saris, tamarind seed paste, kaitha and ground soft clay stone. And ‘Chitra’ are made using entirely natural colors.

For ‘patta’, the saris that are used are starch free. These saris are arranged in layers, and each layer is stuck to other using the tamarind seed paste and kaitha. The paste is made in two steps, the tamarind seed are first soaked in water for 2-3 days and then grinding it to a gummy paste, called ‘niryaskalpa’. In the second step, kaitha or wood apple gum is mixed to it and other layers of cloth are pasted to it. After the desired thickness is achieved, the cloth is put in sun to dry. This forms the ‘patta’.

To convert the ‘patta’ to paintable canvas, ground soft clay stone is mixed with tamarind paste and then applied over patta and is dried again. Thenafter the patta is rubbed with a rounded stone, sea-shell or a piece of wood. The long patta then forms a roll, from which pieces are cut for the chitras.

The colors used are extracted from purely indigenous sources and are entirely natural. For white color, sea-shells are powdered, soaked and heated. Black is prepared by holding an earthen diya over the smoke of a burning wick. Green is made with green stone and leaves and red by powdered Hingula, a local stone found in Odisha. Blue again is made with a local stone called Khandaneela. Other colors are made by mixing these colors and the brush used is made of mouse hair.

- Richa