Table of Contents
Introduction
Indian art has historically been deeply connected to religion and spirituality, a relationship that continues to shape artistic traditions across regions and communities through worship, ritual, storytelling and devotion. Through mediums such as terracotta, wood, cloth, metal, paper and painting, artists transform materials into objects of faith, memory and cultural expression. Bringing together works from the collection of the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya spanning Hindu, Buddhist, Jain, folk and tribal traditions, this trail explores how art is a universal language through which beliefs, philosophies and sacred narratives are expressed and preserved. From painted manuscripts and ritual textiles to portable shrines, yantras and carved figures, the objects in this trail reflect the many ways in which spirituality and artistic practice have remained closely intertwined in the Indian subcontinent.
Sculpture Gallery
The museum has a large collection of sculptures from three major Indian religions - Hinduism, Buddhism and Jainism, most of them excavated from historical sites, restored, preserved and presented to the visitors to help them understand the iconography of different deities. A new perspective, however, is added here, as the gallery goes beyond the three mainstream religions and presents visuals of indigenous nature worship as well, which lies as the root of ancient Indian religion.
Mother Earth: Gond painting by Venkat Raman Singh Shyam
Mother Earth: Gond painting by Venkat Raman Singh Shyam
Painting on paper, 21st century C.E.
Rooted in the visual language of Gond art, this painting reflects the deep relationship between nature, spirituality and everyday life within Gond communities. Traditionally, the Gond tribe from Madhya Pradesh views forests, rivers, animals and trees not merely as elements of the environment but as living sacred entities connected to ancestral spirits and cosmic balance. The painting shows Mother Nature as a nurturing and life-giving force, while also drawing attention to the growing exploitation of the natural world in the name of modern development. The animals, birds and flowing vegetal motifs become symbols of interconnectedness, echoing indigenous traditions of nature worship where ecological harmony is closely tied to spiritual belief and collective survival.
Vanadevata: Metal alloy Dokra Art by Suresh Baghmare
Vanadevata: Metal alloy Dokra Art by Suresh Baghmare
Bronze, 2014 C.E.
The belief systems of the tribal society in India have been inspired deeply by nature and life experiences, which reflects in the art as well. It is nature that provided them with all that they required for their livelihood and therefore they worship elements of nature. The depiction of nature and animals on the bodies of Vanadevata (forest deities) here, testify the belief systems of these forest dwellers who practice the idea of non-injury to all living creatures. It was a common practice in ancient India to install the village deities (grama-devata) in groves or orchards. In these sacred groves (devarai) plant and animal life were protected.
Jain Art Gallery
As a part of the sculptures gallery, this space is dedicated to sharing the rich visual heritage of Jainism, majorly displaying bronzes of Tirthankaras and divine figures and teachers, along with manuscript paintings depicting their cultures and traditions right from the pilgrimages to artistic depictions of complex philosophical ideas.
Gyanabaji Board: The game of snakes and ladders
Gyanabaji Board: The game of snakes and ladders
Painting on cloth, 18th century C.E.
The Jains are firm believers in the Law of Karma. This boardgame known as Gyanabazi is associated with the good and bad actions and their results, where the ladders denote good behaviour and virtues while the snakes denote downfall. The game has long been played by Jains particularly during the Paryushana Festival by which players can learn about Jain ethics. This shows us how art was also functional and practical, serving not only as a visual object but also as an interactive medium through which religious philosophy, moral values and ethical teachings could be understood and passed down across generations.
Hallway
As we proceed to the first floor, we see the walls beside the staircases adorned with beautiful terracotta panels from Rajasthan depicting religious scenes, made specially for the museum, depicting sculptures of deities and visitors overlooking them.
Varaha by Jamnalal Kumhar
Varaha by Jamnalal Kumhar
Terracotta, 2024 C.E.
This magnificent Terracotta panel by artist Jamnalal Kumhar from Molela, Rajasthan is inspired by an 11th century sculpture of Varaha, the boar incarnation of the Hindu deity Vishnu, the protector of earth. On top are lotus medallions, symbols of purity and abundance across religions. At the bottom are the Panchatattvas, the five essential elements worshipped in nature - Earth, Water, Air, Fire and Sky.
First Floor Central Gallery
As we reach the first floor, we see the walls all around filled with mythological paintings representing different artistic traditions of India. This gives the viewer an idea of the diversity of Indian folk art while introducing them to the various stories, and versions of those stories, associated with Hindu gods and goddesses, making the walls a narrative space full of endless visual tales to discover and interpret, while the display cases show other mediums depicting these stories, not restricting the artistic expression of religion to only paintings.
Navagunjara - Vishnu's Cosmic Form
Navagunjara - Vishnu's Cosmic Form: Pattachittra by Gitanjali Das
Natural pigments on silk, 2024 C.E.
This Pattachitra painting portrays Navagunjara, a mythical creature from Odia folklore, which represents a form of Lord Krishna or Vishnu, symbolizing the unity of all life, divine interconnectedness and the acceptance of different dimensions of reality. It is composed of nine animals: the head of a rooster, neck of a peacock, hump of a bull, waist of a lion, tail of a serpent and legs of an elephant, tiger and horse. One limb is a raised human arm holding a chakra or disc, an emblem of Vishnu. This composite figure symbolises the divine's all - encompassing nature.
Narration of the Aranya Kanda episode of Ramayana
Narration of the Aranya Kanda episode of Ramayana : Chitrakathi by Chetan Parshuram Gangavane and Eknath Parshuram Gangavane
Watercolour on paper, 2024 C.E.
This set of Chitrakathi paintings belong to a storytelling tradition from Maharashtra, narrating an episode from a local version of the Aranya Kanda - the account of Rama's forest trials. The initial panels depict the accidental death of Subradaitya, son of Ravana's sister Shurpanakha, at the hands of Lakshman. This incident sets off a chain of events, including Ravana's abduction of Sita as an act of revenge. The concluding painting portrays Rama's encounter with the dying Jatayu, who informs him about Sita's abduction. Through bold colours, expressive figures and sequential narration, the Chitrakathi tradition functions as a visual and oral storytelling practice where painted images accompany performative recitation of sacred epics and local legends.
Shiva Purana: Phad painting by Kalyan Joshi
Shiva Purana: Phad painting by Kalyan Joshi
Natural pigments on cloth, 2014 C.E.
Kalyan Joshi illustrates episodes from the Shiva Purana through the traditional Phad painting style, a 700-year-old scroll painting tradition from Bhilwara, Rajasthan. Historically used as portable narrative scrolls, Phad paintings were created to visually recount the stories of local deities and sacred legends through intricate compositions and vibrant imagery. By interpreting the Shiva Purana in this format, the artist continues a long-standing tradition of transmitting religious narratives through visual storytelling. The painting not only reflects devotion towards Shiva but also demonstrates how regional artistic practices have preserved and carried forward sacred texts, philosophies and oral traditions across generations.
Writing box
Writing box by master artists from Mysore
Sandalwood, 1903 C.E.
This intricately carved sandalwood writing box from Mysore reflects the close relationship between craftsmanship, patronage and religious imagery in Indian decorative arts. Awarded a gold medal at the Indian Art Exhibition in Delhi in 1903, the box demonstrates the exceptional skill of Mysore’s wood carvers, who transformed functional objects into elaborate works of art. The depiction of Vishnu in his Trivikrama form draws from Hindu mythology, representing the cosmic form through which the deity measured the universe in three strides during his incarnation as Vamana. By incorporating sacred imagery into an everyday object, the work highlights how religious narratives extended beyond temples and manuscripts into domestic and courtly spaces.
Miniature Paintings Gallery
As we enter the miniature paintings gallery, we witness the entire creation process of these artworks, while also looking at that emergence and development. Though linked majorly to courtly depictions and influenced by political patronage, miniature paintings have been used to illustrate religious manuscripts throughout history, reflecting the artist’s imagination and skill in bringing these texts and epics to life.
Krishna and Arjuna visit King Yudhishthira: An illustrated folio from Razmnama
Krishna and Arjuna visit King Yudhishthira: An illustrated folio from Razmnama (Persian translation of Mahabharata)
Opaque water colour on paper Mughal style, c. 1600 CE
This illustrated folio from the Razmnama, the Persian translation of the Mahabharata, depicts Krishna and Arjuna visiting King Yudhishthira. Produced in the Mughal court during the reign of Emperor Akbar, the manuscript reflects a significant moment of cultural and intellectual exchange where Sanskrit epics were translated into Persian under imperial patronage. The translation, carried out by the court historian Badauni, formed part of Akbar’s larger interest in engaging with diverse religious and philosophical traditions across India. Executed in the Mughal style with delicate detailing, architectural settings and refined figural compositions, the painting demonstrates how Hindu sacred narratives were reinterpreted through Persian literary and artistic conventions, creating a syncretic visual language that blended multiple cultural traditions.
Ganesh Yantra Tanjore Painting
Ganesh Yantra Tanjore Painting
Painting on Paper, c. 18th Century C.E.
This Ganesh Yantra from Tanjore reflects the close relationship between sacred geometry, ritual practice and visual art in Hindu traditions. At the centre is Ganesha, the remover of obstacles and deity of wisdom, surrounded by geometric forms, symbolic inscriptions and concentric arrangements associated with yantric worship. Yantras are not merely decorative images but meditative and ritual diagrams believed to embody divine energies and aid spiritual concentration. The symmetry and precision of the composition demonstrate how mathematical order and symbolism were used to create sacred visual spaces, transforming painting into an object of devotion and contemplation.
Himalayan Art Gallery
This gallery hosts a wonderful exhibit of Buddhist art, right from Thangka paintings to bronze images and wood carvings, educating the visitor about the various art styles and deities associated with Buddhism in India, Nepal, Tibet and other regions.
Goddess Chundhaa Thangka Painting
Goddess Chundhaa Thangka Painting
Painting on silk, 1698 C.E.
This Thangka painting depicting the goddess Chundhaa reflects the important role of devotional painting within Buddhist ritual and monastic traditions. Associated with Buddhist mysticism, Chundhaa is believed to possess the power to remove diseases, eliminate epidemics and purify negative karma, embodying both spiritual protection and healing. Surrounded by smaller divine figures and sacred iconography, the composition follows the intricate visual language characteristic of Himalayan Buddhist art. The elaborate textile mounting of the thangka also demonstrates how such paintings were traditionally displayed within monasteries, where they functioned not only as works of art but also as sacred ritual objects used in meditation, worship and religious instruction.
Chintamani Lokeshvara
Chintamani Lokeshvara
Jeweled Plaque, 19th century CE
The Sanskrit word Chintamani literally means "wish granting jewel". This plaque depicts Chintamani Lokeshvara flanked by acolytes. His right hand is held in sharanagamana mudra (gesture of giving refuge) and in his left hand, he is holding a branch of a fabulous tree bearing jewels as its fruits. Through the grace of Chintamani Lokeshvara all physical and spiritual desires of devotees are fulfilled. Such bejeweled plaques were made in Nepal and worshipped in household shrines.
Indian Metal and Decorative Art Gallery
This gallery is a beautiful blend of religious artworks spanning different cultures, mediums and time periods, right from metal-cast sculptures to mosaics, carvings and paintings, taking the viewer by surprise with the sheer artistic skill and creativity in religious depictions that has evolved in this country across history, and leaves the visitor longing for more!
Depiction of Dashavataras on Ganjifa playing cards
Depiction of Dashavataras on Ganjifa playing cards
Painting on paper, 18th century C.E.
These Ganjifa playing cards from Sawantwadi, Maharashtra, depict the Dashavataras of Vishnu, reflecting how sacred narratives are woven into everyday leisure and courtly culture. Traditionally hand-painted in circular formats, Ganjifa cards are functional gaming objects and miniature works of art, requiring remarkable precision and detail despite their small scale. These paintings demonstrate how regional artistic styles adapt sacred imagery into objects of recreation, blurring the boundaries between devotion, storytelling and entertainment.
Decorative plaque (Warrior Goddess)
Decorative plaque (Warrior Goddess)
Enamel on gilt silver - Thewa, 19th Century C.E.
This decorative plaque depicting a goddess is crafted in the Thewa tradition of Pratapgarh, Rajasthan, a specialised technique in which intricately worked sheets of gilt metal are fused onto coloured glass. Revered as a symbol of shakti, protection and divine power, warrior goddesses like Durga and the Saptamatrikas have been central figures in Hindu visual culture across regions and artistic mediums. The plaque reflects how religious imagery in India was not confined to ritual spaces alone, but was also integrated into luxury objects and decorative arts, where devotion and craftsmanship became closely intertwined.
Krishna
Krishna
Ivory and wood, 19th century C.E.
This intricately carved ivory and wood sculpture depicts Krishna in his youthful form, playing the flute beneath a flowering tree while seated on a swing. Such representations draw upon themes of divine play or leela, where Krishna’s presence is associated with joy, music, love and harmony with nature. The detailed craftsmanship and delicate carving of ivory combined with wood demonstrate the technical refinement associated with luxury artisanal traditions of the nineteenth century, where precious materials were transformed into intricate devotional objects through highly skilled craftsmanship.
Textile & Costume Gallery
This gallery with a rotating collection of textiles, made keeping in mind preservation guidelines and exposure limitations, displays a fine blend of textiles and clothing associated with the daily life of people, from clothes worn by royals, textiles used for decorations as wall hangings, carpets etc. While each textile art style has distinct techniques and motifs, religion is a common theme across traditions and states, serving as vehicles for the movement of religious stories, morals, ethics and ideas through brushes, needles and the skilled hands of an artisan.
Wall hanging depicting the Rathayatra
Wall hanging depicting the Rathayatra
Kantha embroidery on silk, Early 21st century C.E.
The wall hanging done in Kantha embroidery depicts the Ratha-Yatra (chariot festival) celebrated in Puri, Odisha. The triad, Jagannath, Balabhadra and Subhadra are depicted in an elaborate ratha (chariot). Through textile traditions like Kantha embroidery, religious celebrations and regional devotional practices are preserved not only as acts of faith but also as forms of collective cultural memory and storytelling.
Kavad - Portable Shrine of Jagannath, Subhadra and Balabhadra
Kavad - Portable Shrine of Jagannath, Subhadra and Balabhadra
Polychrome wood, 19th century C.E.
This Kavad, a portable wooden shrine depicting Jagannath, Subhadra and Balabhadra, reflects the close relationship between devotion, storytelling and mobility within Indian religious traditions. Designed with multiple painted panels that open outward, such shrines functioned as portable sacred spaces that could be carried by travelling storytellers and devotees. The polychrome paintings on the doors narrate religious scenes and sacred narratives associated with the deities, transforming the object into both a shrine and a visual storytelling device. Rooted in traditions of pilgrimage and itinerant worship, the Kavad demonstrates how sacred imagery was adapted into interactive and transportable forms, allowing religious experience and storytelling to move beyond fixed temple spaces and into everyday community life.
