THERIAN (2026)
Primal introduced a badass, female archetype that I never got to see growing up. A wild animal. I chose to finally tell people that I'm a Therian, because being a dinosaur is honestly kickass.
#therian #blackartist #indianartist #otherkin #comingout #alterhuman
Eleven women sit in two rows wearing garments varying in color, drape, and ornament. Their jewelry, head coverings, and instruments signal different regions, classes, and communities of South Asia. Their skin tones, textiles, and poses are individualized but idealized, with attentive faces avoiding us. No single performer dominates. Instead, our eye moves across fabrics, hands, and instruments, reading the group as a carefully orchestrated ensemble of women, music, and cultural difference. The women are not presented as named portraits. Scholars have identified some of them: at far left, a Nair woman plays the veena; near the center, a Marathi woman is signaled by her sari drape and green glass bangles; in the back row, a Parsi woman holds a fan, while beside her stands a figure in a feathered hat and dress read as British or Indo-European; at far right sits a Muslim woman. Varma builds the group less as an inventory of individuals than as an idealized gathering of communities, costumes, and musical traditions. Their differences in dress, posture, and instruments create a visual argument for plurality, while their shared space and calm coordination suggest harmony across region, religion, and class. Painted in 1889 for the Mysore court, this work belongs to the mature period of Indian artist Raja Ravi Varma, who was renowned for merging European oil-painting techniques with Indian subjects and settings. Here, music becomes a visual language for plurality as each figure suggests a distinct cultural identity, yet the painting binds them into one harmonious composition. That unity creates an imagined picture of India itself, feminized, elegant, and assembled through regional diversity at a moment of colonial modernity. The women are therefore both musicians and symbols. Varma turns clothing, gesture, and sound into a political and poetic idea of a nation pictured through women’s presence rather than through landscape, battle, or throne.
“A Galaxy of Musicians” by Raja Ravi Varma (Indian) - Oil on canvas / 1889 - Sri Jayachamarajendra Art Gallery, Jaganmohan Palace (Mysuru, Karnataka, India) #WomenInArt #RajaRaviVarma #Varma #JaganmohanPalace #IndianArt #art #arttext #PortraitOfWomen #MusicArt #BlueskyArt #IndianArtist #1880sArt
Did this watercolor a few years ago, titled Mischief..
New here, still figuring things out. I mostly draw male anatomy… especially butts.
Would love to find fellow artists and people open to posing.
#anatomyart #MaleArt #QueerArt #IndianArtist #Malebutt #homme #malenude
An alcohol marker study of male in his late 20s , queer art, body positivity, male nude, nude art, brown butt, lgbtqia , gay artists
Hi, I am an artist new to this app. recently painted this..
If you would like to be painted with your bare butt as the reference,
feel free to send me a message/drop your pants in the comments below.. 😁
#malebutt #maleart #Malenude #Queerart #brownbutt #twinks #lgbtqiaart #indianartist #nudeart
Marker drawing of a reclining male figure with warm brown skin tones. The body is relaxed, one leg bent, with red decorative bands around the legs and a red strip across the eyes. The study focuses on the weight, curves and structure of the male body in a quiet, vulnerable pose.
New here. I’m an Indian artist who mostly draws male anatomy and queer figure studies. Trying Bluesky because Instagram keeps removing my artwork for “guideline violations.”
#IndianArtist #MaleArt #QueerArt #FigureStudy #MaleAnatomy
In a soft, luminous woodland landscape, three young South Asian women occupy the foreground while a fourth, older figure in pale draped cloth walks away at far left with a staff. At right, Shakuntala stands barefoot on one leg, lifting her other foot behind her with one hand as if pausing to remove a thorn, though her turned face carries a soft, distant, almost secretive expression. She wears a rose-pink sari, floral garlands, earrings, bracelets, and flowers tucked into her dark hair. Beside her, one companion in a pale cream wrap faces us with a knowing smile, while another, seen mostly from the back, wears a pink drape and carries a basket filled with bright flowers. Behind them rise green trees, a narrow stream, and hazy blue hills under a pale sky touched with peach and blue. Indian artist Raja Ravi Varma builds the painting around a moment of emotional disguise. Shakuntala is not truly occupied by a thorn. She is stealing one more look at King Dushyanta, the beloved she is reluctant to leave. That blend of modesty, desire, and performance gives the work its enduring tension. The subject comes from the Shakuntala story known from the Mahabharata and especially from Kalidasa’s celebrated drama, where longing, memory, and recognition shape the lovers’ fate. By 1898, Varma was already famous for painting Indian epic and literary figures with European-inflected realism, helping make such popular. Here he gives the story a texture of lived feeling: friendship, flirtation, hesitation, and the charged instant before departure. The companions are not background figures but co-conspirators who understand what Shakuntala cannot openly say. The painting’s beauty lies in that social intimacy. Love is shown not as spectacle, but as a private emotion briefly made visible through a turned a lifted foot and turned glance backward. Today, it is one of Varma’s most memorable images of feminine intelligence and desire, where gesture itself becomes narrative.
"Shakuntala Removing a Thorn from Her Foot" by Raja Ravi Varma / രാജാ രവിവർമ്മ (Indian) - Oil on canvas / 1898 - Sree Chitra Art Gallery (Thiruvananthapuram, India) #WomenInArt #RajaRaviVarma #राजारविवर्मा #Varma #SreeChitraArtGallery #IndianArt #IndianArtist #artText #RaviVarma #GaneshShivaswamyFoundation
जागतिक महिला दिनाच्या सर्व रणरागिणींना हार्दिक शुभेच्छा! ✨
#WomensDay2026 #BreakingChains #BreakingTheFrame #ArtistVikasAgawane #WomenEmpowerment #CreativeArt #ArtOfLiving #vikasagawane #vikas #ArtistVikasAgawane #Painter #GraphicDesigner #ArtTeacher #MarathiArtist #CreativeWork #DailyArt #IndianArtist #ArtLife
Art & nationality! 🪷🪽✨
Lol, my pfp is kinda a dead giveaway but I am a desi American! I have lived in the US my whole life, but I appreciate my Asian roots. 🫶🏼
#art #artist #desi #nationality #indianartist #oc #ocsky #artsky #usa #asian
Two women occupy a tall, narrow composition with a striking contrast of poses and garments. At left, a seated woman with deep brown skin, strong red lips, and large almond eyes faces forward with a steady gaze. She is wrapped in layered blue-green drapery and head covering. One hand extends across her lap, fingers holding her knee. At right, a second woman stands in profile, head bowed, wearing a luminous white veil and robe that nearly merges with the pale wall behind her. Her hand rises to her chin in a thoughtful gesture. A broad, simplified green plant enters from the upper left. Hungarian-Indian artist Amrita Sher-Gil uses muted creams, gray-greens, blue, and warm ochre, with soft brushwork and flattened space, to create stillness and emotional gravity. These women are not presented as decorative types. They are rendered as distinct presences with one meeting the viewer’s gaze, one turning inward. The composition stages a quiet emotional dialogue through contrasts like seated/standing, frontal/profile, blue/white, and engagement/reflection. The broad empty wall becomes active space, heightening silence and psychological weight. Sher-Gil’s handling of form reflects her synthesis of European modernist structure and an Indian-centered figural vision. The result is intimate yet unsentimental, with dignity carried through posture, stillness, and the careful modeling of hands and faces. Painted in the mid-1930s, this work belongs to the crucial period after Sher-Gil’s return from Paris, when she shifted toward subjects in India and developed the earthier palette and monumental figuration that define her mature style. Born in Budapest to a Hungarian mother and Sikh father, she was in her twenties yet already a formidable painter, using portrait and genre imagery to challenge idealized or colonial ways of seeing. In works like this, women are neither background figures nor symbols alone. They are complex subjects shaped by mood, social reality, and self-possession.
“Two Women” by अमृता शेर-गिल Amrita Sher-Gil (Hungarian-Indian) - Oil on canvas on board / c. 1935-1936 - National Gallery of Modern Art (New Delhi, India) #WomenInArt #WomensArt #WomanArtist #WomenArtists #AmritaSherGil #Sher-Gil #अमृताशेरगिल #SherGil #AmritaSher-Gil #NGMA #artText #IndianArtist #IndianArt
For art commissions and business inquiries, you can contact me on my socials or via email
#digitalart #speedart #anatomystudy #figuredrawing #artprocess #arttimelapse #conceptart #characterdesign #sketch #photoshopart #commissionopen #artcommission #commissionsopen #indianartist #drawingpractice
For art commissions and business inquiries, you can contact me on my socials or via email .
#digitalart #speedart #anatomystudy #figuredrawing #artprocess #arttimelapse #conceptart #characterdesign #sketch #photoshopart #commissionopen #artcommission #indianartist #artreels #drawingpractice
“Binodini” is widely recognized as a portrait of Indian artist Ramkinkar Baij’s student and muse from Manipur, Maharaj Kumari M. K. Binodini Devi who was an artist and later a major literary figure. Her presence appears across his works during his Santiniketan years. The painting is less a society likeness than a study of interior life showing how a young woman occupies space, carries expectation, and claims a self, even while the world around her feels unsettled and newly forming in the late 1940s. She is depicted as a young Indian woman with medium-light brown skin sitting close to the picture plane, her slim body folded into a compact pose. One knee rises high, creating a strong diagonal across her torso, while her shoulders tilt slightly as if she has just shifted her weight. Long, dark hair falls over one shoulder. Her softly oval face with wide, focused eyes and a small, closed mouth meets our gaze directly, giving the moment a quiet intensity. A loose pale sari crosses her chest and bunches over the lifted knee as the yellow-green garment pools around her legs. Both hands reach down toward a table at the bottom edge, fingers spread and lightly tense, as if preparing to pick up a small, light rectangle paper or magazine near her hands. The background is mottled with warm oranges and muted greens, and the coarse weave of the gunny cloth shows through the paint, making the whole surface feel gritty, tactile, and alive. Painted in 1948 and 1949, the work’s rough support is not incidental as gunny cloth brings everyday materiality into a portrait that is psychologically charged rather than decorative, letting texture and abrasion stand in for uncertainty, restlessness, and emotional friction. In Baij’s image, her forward gaze and lowered, splayed hands read like a body caught mid-decision, perhaps poised between holding herself together and moving forward.
“বিনোদিনী (Binodini)” by রামকিঙ্কর বেইজ / Ramkinkar Baij (Indian) - Oil on gunny cloth / 1948–1949 - National Gallery of Modern Art (New Delhi, India) #WomenInArt #NGMA #RamkinkarBaij #রামকিঙ্করবেইজ #Baij #BlueskyArt #ModernIndianArt #Santiniketan #artText #IndianArt #arte #PortraitofaWoman #art #IndianArtist
नवा भारत, नवी स्वप्ने आणि सृजनाची नवी उमेद!
प्रजासत्ताक दिन चिरायू होवो.
नवनवीन अपडेटसाठी Artist Vikas Agawane : shorturl.at/PF55k या व्हाट्सअँप चॅनलला आजच जॉईन व्हा.
#RepublicDay #ArtistLife #VikasAgawane #IndianArt #CreativeIndia #Patriotism #ArtisticTribute #IndianArtist #RepublicDayArt #Indepen
Painted in 1916, this tall vertical painting identifies an adult woman by her “Prabhu” community rather than by personal name, a choice that hints at how women were often recorded through social categories even when portrayed as individuals. Indian artist Mahadev Vishwanath Dhurandhar (also spelled Mahadeo Vishwanath Dhurandhar), celebrated for watercolor and for depicting everyday life in Mumbai (then Bombay), balances specificity (fabric borders, jewelry, and posture) with a quiet, human immediacy. She is standing outdoors, centered and facing forward with a steady, composed expression. She has medium-brown skin, dark eyes, and black hair parted in the middle and pulled back smoothly. A small red bindi marks her forehead. She wears a deep red sari with a narrow gold border, draped over a pale green short-sleeved blouse. Her jewelry includes earrings, layered necklaces, stacked bangles, and a prominent traditional nose ornament that brightens the center of her face. Her hands are gently clasped at her waist, fingers interlaced, shoulders relaxed. She stands barefoot on green grass dotted with small white blossoms. Behind her, tall stems and clusters of yellow-orange flowers rise through dense foliage, set against a light blue, clouded sky. The woman’s red sari is bold against the greens, making her presence feel calm, dignified, and firmly rooted in place. The garden-like setting, bursting with warm blooms, frames her as part of a living environment rather than an indoor display for an image of belonging as much as likeness. Created before his tenure as the first Indian director of the Sir J. J. School of Art, the portrait also points to Dhurandhar’s broader impact by shaping visual memory of a changing city through sympathetic, attentive observation.
“Prabhu Lady” by महादेव विश्वनाथ धुरंधर / M. V. Dhurandhar (Indian) - Watercolor on paper / 1916 - Dr. Bhau Daji Lad Mumbai City Museum (India) #WomenInArt #BhauDajiLadMuseum #MVDhurandhar #महादेवविश्वनाथधुरंधर #Dhurandhar #PortraitofaWoman #Watercolour #IndianArt #art #artText #artwork #IndianArtist #watercolor
Daastan ( Original Song ) By Shaurya Kapoor
#Daastan #ShauryaKapoor #OriginalSong #IndieMusic #IndianArtist
youtu.be/n2MaQc0FEpA?...
Daastan ( Original Song ) By Shaurya Kapoor
#Daastan #ShauryaKapoor #OriginalSong #IndieMusic #IndianArtist
youtu.be/n2MaQc0FEpA?...
Daastan ( Original Song ) By Shaurya Kapoor
#Daastan #ShauryaKapoor #OriginalSong #IndieMusic #IndianArtist #SoulfulMusic
youtu.be/n2MaQc0FEpA?...
Daastan ( Original Song ) By Shaurya Kapoor
#Daastan #ShauryaKapoor #OriginalSong #IndieMusic #IndianArtist #SoulfulMusic
youtu.be/n2MaQc0FEpA?...
Indian artist Arpita Singh (अर्पिता सिंह) builds images the way memory works: not as one viewpoint, but as a crowded field where domestic life, street life, and private myth overlap. By the 1980s, she had returned to figuration with a language shaped by pattern including miniature-like detail, textile sensibilities, and the everyday. A brown-skinned, woman fills the upper half of this watercolor painting, her dark hair parted and braided into two thick plaits that fall like cords along her cheeks. Her almond eyes are ringed with warm reds and yellows, giving her an alert, inward-focused stare. A round talisman pendant rests at her neckline, while two strap-like bands cross her shoulders connecting to round patterned gear-like orbs. Behind her, an orange field glows like heat or late-afternoon light. Across it loops a thick, charcoal vine, braided with blue-green leaves and pale lilac blossoms, forming a wreath that both frames and encloses her. Small, floating motifs interrupt the floral rhythm like a profile head at the top right, a single watchful eye to the right, and a pink cameo-like face near her chest. Below, the picture turns into a mechanized scene. A dark car sits as if cut from metal, its circular wheels rendered as gears and dials on a road that curves up both edges. Inside the windows, two faces look outward like passengers caught mid-story. To the left, a vehicle with one person is moving up the gray stripe. To the right, a person on a bicycle is coming down the gray stripe. Singh signs dates the work “1987 Jan,” anchoring the dreamlike collage to a specific moment. The car may signal modern mobility and public space, yet it also feels like a sealed capsule, carrying faces while containing them. The flowering ring might be both garland and boundary. Her disembodied eye suggests scrutiny or awareness. Freedom, risk, desire, and duty share the same road for an intimate, female-focused map drawn in symbols.
“A Woman and a Car” by Arpita Singh (Indian) - Watercolor on paper / 1987 - Peabody Essex Museum (Salem, Massachusetts) #WomenInArt #ArpitaSingh #अर्पितासिंह #Singh #PeabodyEssexMuseum #IndianArt #WomenArtists #WomensArt #art #artText #BlueskyArt #IndianArtist #IndianArt #WomanArtist #WomenPaintingWomen
Daastan ( Original Song ) By Shaurya Kapoor
#Daastan #ShauryaKapoor #OriginalSong #IndieMusic #IndianArtist #SoulfulMusic
youtu.be/n2MaQc0FEpA?...
Daastan ( Original Song ) By Shaurya Kapoor
#Daastan #ShauryaKapoor #OriginalSong #IndieMusic #IndianArtist #SoulfulMusic
youtu.be/n2MaQc0FEpA?...
Daastan ( Original Song ) By Shaurya Kapoor
#Daastan #ShauryaKapoor #OriginalSong #IndieMusic #IndianArtist #SoulfulMusic
youtu.be/n2MaQc0FEpA?...
Daastan ( Original Song ) By Shaurya Kapoor
#Daastan #ShauryaKapoor #OriginalSong #IndieMusic #IndianArtist #SoulfulMusic
youtu.be/n2MaQc0FEpA?...
Daastan ( Original Song ) By Shaurya Kapoor
#Daastan #ShauryaKapoor #OriginalSong #IndieMusic #IndianArtist #SoulfulMusic
youtu.be/n2MaQc0FEpA?...
This square canvas presents a close, frontal portrait that fills the right half of the surface with an adult woman, her elongated face modeled in layered mauves, browns, ash-gray, and flashes of crimson. Jade green eyes, rimmed with white highlights, sit under heavy smoky shadows. The cheeks carry dark areas that feel raw and tender. A long, straight nose divides the face, and the closed mouth is set in a quiet, guarded line. Long strands of hair frame her in vertical sweeps of white, teal, lime, and gold that drip and blur into one another. The background shifts from a luminous yellow-green field on the left (with faint turquoise drips and scratched marks) to deep mossy greens and warm brick-reds on the right. Scumbled layers, scraped edges, and fine crackle leave the surface visibly worked. Made by Roopali Kambo, an India-born, Florida-based artist, professor, and Fulbright U.S. Scholar, "Shukhra 1" continues her inquiry into how language carries identity. In "Roopali Kambo: Resonance" at Gadsden Arts Center & Museum, her paintings are described as transforming written scripts into abstract art, drawing on letterforms across Arabic, Hebrew, Sanskrit, and Japanese. Here, “writing” becomes motion as the hair’s vertical bands behave like glyphs and her face acts as a page where color stands in for sound. Kambo calls her paintings “visual poetry, a glimpse into the soul,” and this "art poem" is made from abrasion as much as radiance. The split ground of bright green light against darker greens and reds suggests a threshold between belonging and otherness or interior life and public mask. The title Shukhra echoes "śukra," a Sanskrit word linked to brightness. Even without translation, it hints at light trying to persist. Rather than a fixed likeness, Kambo stages recognition through the steady eyes perhaps asking us to meet another person across difference, and possibly to notice how a face, like a word, can hold more than one history at once.
"Shukhra 1" by Roopali Kambo (Indian) - Acrylic on canvas / c. 2024-2025 - Gadsden Arts Center & Museum (Quincy, Florida) #WomenInArt #WomensArt #WomanArtist #WomenArtists #art #artText #artwork #RoopaliKambo #Kambo #IndianArtist #IndianArt #GadsdenArtsCenterMuseum #GadsdenArts #WomenPaintingWomen
This tall, rectangular self-portrait shows Indian artist Gogi Saroj Pal in close side profile, turned toward the right edge of the frame and cropped at the shoulders. Her light, warm-toned skin is drawn with fine, even lines so that the forehead, nose, lips, and chin read as one continuous contour. Short, straight hair is combed back from her forehead and rendered in delicate, parallel strands that hug the curve of her head. Oversized round sunglasses dominate the upper half of her face, their deep wine-colored lenses darkening the eye area and creating an oval mask. Her mouth, softly pursed, is tinted mauve, suggesting quiet concentration rather than a posed smile. She wears a vertically striped tunic or kurta that falls straight from the shoulders and a simple cord necklace ending in a small ring-shaped pendant. Behind her, a flat field of maroon red, edged by narrow inner and outer borders, presses close to the figure, emphasizing the strong silhouette and the sense of a woman turned inward, absorbed in her own thoughts. Created in 1989, this work comes at a key moment in Pal’s career, as she was emerging as a leading feminist voice in modern Indian art. Trained in Banasthali, Lucknow, and Delhi and working across painting, printmaking, ceramics, textiles, and installation, she consistently returned to women’s bodies and experiences as her central subject, often using fantastical hybrids and mythic figures, such as her later Nayika, Kamdhenu, and Kinnari forms, to question how society confines female desire and freedom. Here, the language is spare and contemporary, but the questions are the same. The sunglasses act like a shield, blocking conventional art-historical eye contact and asserting her right to look without being fully seen. The close cropping, quiet palette, and etched lines recall her graphic practice while the red ground hints at emotional heat held just beneath the surface.
“Self-Portrait” by Gogi Saroj Pal (Indian) - Gouache on paper / 1989 - Delhi Art Gallery (New Delhi, India) #WomenInArt #GogiSarojPal #गोगीसरोजपाल #Pal #art #artText #artwork #DAG #DelhiArtGallery #SelfPortrait #IndianArt #WomenArtists #BlueskyArt #WomensArt #WomanArtist #IndianArtist #SouthAsianArtist
Ooo the textures being built up here layer by layer by PUJA JAISWAL are so satisfying!
#beautifulbizarre #artpujajaiswal #sculpturepainting #birdart #indianartist #sculptureart #birds #natureart #art
Indian artist Rukmini Varma paints a “lady of noble lineage, possibly a princess,” echoing her legendary great-great-grandfather Raja Ravi Varma’s 1894 "Nair Lady With a Mirror." The mirror theme is a way to explore how royal and elite women of Travancore fashioned themselves in private: arranging hair, choosing jewelry and quietly judging the image they present to the world. A young South Asian woman with brown skin fills the canvas from chest up, turned slightly while checking herself out in a oval hand-mirror with an ornate gold frame with a focused sidelong gaze. Dark, wavy hair spills over her shoulders as she lifts a gold forehead ornament into place along her hairline. Her large kohl-lined eyes, arched brows and soft red lips are rendered with precision. Dense gold jewelry including a broad gem-set necklaces, pearl strands, armlets, bangles and rings encircles her neck, chest and arms over a bodice edged in pearls. A dark, softly blended background throws her illuminated skin, hair, ornaments and mirror into focus, turning a routine moment of grooming into an intimate close-up. Painted in Bengaluru in 2018, when Varma was in her late seventies, the work belongs to a mature period in which she balanced studio time with leading the Raja Ravi Varma Heritage Foundation, researching, documenting and exhibiting her ancestor’s art. Born in 1940 as Princess Bharani Thirunal Rukmini Bayi, granddaughter of Maharani Sethu Lakshmi Bayi, she grew up between palace traditions and post-independence Bengaluru, absorbing stories of court life and how images of gods and royals shaped public ideas of beauty and power. The young woman's composure, heavy jewelry and gaze into the mirror allude to the splendor and constraint of royal womanhood, while the act of adjusting her own adornment suggests agency and self-fashioning. Varma preserves a familiar ideal of South Indian femininity yet infuses it with familial history and a belief that women are authors of their own image.
"Lady With a Mirror" by Rukmini Varma (Indian) - Oil on canvas / 2018 - Sandeep & Gitanjali Maini Foundation (Bangalore, India) #WomenInArt #RukminiVarma #Varma #WomensArt #WomanArtist #WomenArtists #art #ArtText #BlueskyArt #SandeepGitanjaliMainiFoundation #IndianArt #SouthAsianArt #IndianArtist
I drew geto for an instagram reel trend
This is how it came out ^^
#rkgk #sketch #jjk #sugurugeto #satorugojo #smallartist #indianartist
She, who is the cosmic reasoning to all the cosmic questions.
#ArtOnBluesky #MythInspiredArt #IndianArtist #DivineAesthetics #CosmicVibes #MythologyMeetsModern #IndieArt #VedicVibes #DesiAesthetic #RitualArt
#DivineFeminine #ShaktiArt #HinduMythologyArt #DivineWrath #DeviChitra #TantricArt
