Sunday, November 29, 2020



Sunday, June 9, 2019

Company School Botanical Art

 These botanical paintings were produced by Indian artists working in a style called Company School (kampani kalam in Hindi), which was based on Indian miniature painting but often had European influences. Many of the paintings were commissioned by Europeans in the 18th and 19th centuries.

Thursday, January 10, 2019

Shiva Shrines

Thursday, July 20, 2017

Workshop and Exhibition of Miniatures by Ajay and Vinita Sharma

Master miniature painter Ajay Sharma and his wife Vinita will be having another show of their exquisite work at the Square Peg Studios, Marrackville, Sydney, opening Friday 1st Sept.
Not to be missed.

The exhibition will coincide with painting workshops taught by Ajay.

Tuesday, November 22, 2016

The Beautiful, Magical World of Rajput Art

William Dalrymple in The New York Review of Books:

‘Krishna and the Gopis on the Bank of the Yamuna River’; miniature painting from the ‘Tehri Garwhal’ Gita Govinda, circa 1775–1780.
Kronos Collections/Metropolitan Museum of Art

Writing in the early years of the twentieth century, not long before the Partition of India and Pakistan, at a time when Hindu and Muslim Indians were beginning to think of themselves as separate peoples, Coomaraswamy exaggerated the differences between Rajput and Mughal painting, choosing to ignore the many commonalities; but he did so in passages of beautiful and deeply seductive prose. Rajput painting had a unique ethos, he wrote in Rajput Painting: Being an Account of the Hindu Paintings of Rajasthan and the Panjab Himalayas, which was published in 1916:

Rajput art creates a magic world where all men are heroic, and women are all beautiful and passionate and shy, beasts both wild and tame are the friends of man, and trees and flowers are conscious of the footsteps of the Bridegroom as he passes by. This magic world is not unreal or fanciful, but a world of imagination and eternity, visible to all who do not refuse to see with the transfiguring eyes of love.
As late as the 1950s, masterpieces that would now sell for hundreds of thousands of dollars could be bought for a few rupees from the impoverished descendants of Rajput princes or their dynastic court painters. This was the period when William Archer succeeded in assembling thousands of pages of Rajput art for the Victoria and Albert Museum in London; while private collectors such as Jagdish Mittal were able to form extraordinary collections on remarkably low budgets. This golden age for collectors continued through the 1960s and early 1970s, as Indira Gandhi’s fiercely socialist policies stripped away the assets of princely families, leading many to sell their entire miniature collections, flooding the market and reducing prices even further.

Monday, May 23, 2016

Ragamala Paintings from the Bibliotheque Nationale de France

Ragamala painting is a particular genre of Indian miniature painting, mainly from the 16th and 17th centuries. Ragamala means 'garland of ragas'. A raga is a particular mood, colour, season, time of day, or emotional state. A ragamala painting evokes one of these ragas in pictorial form.

There are six main 'parent' ragas, corresponding to the six Indian seasons: summer, monsoon, autumn, early winter, winter and spring.
Each of the male parent ragas has five 'wives' (ragini), and eight 'sons' (ragaputra) and 'daughters' (ragaputri), making a series, or garland, of eighty four.

The six main ragas are:

Bhairava raga - associated with winter, early morning, and the god Shiva.
Malkauns raga - autumn.
Hindol raga - spring.
Deepak (Dipaka) corresponds to the heat of summer.
Sri (Shree) raga - winter and sunset.
Megh raga - associated with the clouds of the rainy  monsoon season.

The concept of raga is also found in Indian classical music and poetry. Some ragamala paintings illustrate the story of a hero (nayaka) or heroine (nayika).

Here is a collection of beautiful Ragamala paintings from the collection of the Bibliotheque Nationale de France.


Thursday, April 7, 2016

Workshops with Ajay Sharma

Great news! The master miniature painter Ajay Sharma is coming to Sydney again to teach two five day workshops.

I thoroughly recommend the classes. The first workshop is now full but there is space in the second one. It will fill up quickly though.

Ajay will also be having an exhibition of his wonderful work. Don't miss it! Will advise date of show soon.

To book or to find out more:

Saturday, August 22, 2015

Ramayana in Canberra

Someone told me today that there has been an exhibition of Indian miniatures at the National Gallery of Australia, in Canberra. They are on loan from the National Museum in New Delhi.
Looks like I've missed this one, as it finishes tomorrow and I don't think I'll be able to make the long drive from Sydney to Canberra and back.
The theme of the exhibition is the Ramayana, the story of Lord Rama, one of the ten avatars of Shri Vishnu, the Preserver of existence. The epic narrative of the Ramayana is the inspiration for many series of Indian miniatures.

Tuesday, April 28, 2015

Thursday, December 18, 2014

Ajay Sharma Workshops in 2015

Great news! Master Indian miniature painter, Ajay Sharma, is returning to Sydney next year to give two week-long workshops.

The workshops will be in May 2015. I took one of the workshops earlier in the year and highly recommend registering if you are interested in learning traditional Indian miniature painting techniques. There were students who were completely new to miniature painting, and others who were very accomplished painters, yet everyone got a lot out of it.

For more information please contact Brenda Factor:

Phone: 0411 370361
Email :

One of Ajay's paintings

Sunday, July 20, 2014

Painting Workshop With Ajay Sharma

I finally have a chance to post about the wonderful enjoyable week I spent recently learning traditional Indian miniature painting techniques from Jaipur master Ajay Sharma. I picked up a lot of valuable knowledge, and drank a lot of delicious chai. Ajay is an incredibly skilled painter and a very encouraging teacher. Hopefully he will visit Sydney again next year and run another course. I can thoroughly recommend it.

Ajay showed us how to mix traditional paints using chalk powder and pigment bound with gum arabic. It's crucial and difficult to get the right proportions of chalk and gum in the mix. Ajay showed us some tricks to get it right. Too little gum arabic and the paint will powder off; too much and it will be brittle and tend to flake off.

Below: kariya (chalk and gum arabic) mixed with pigments in shells.

We also learned how to prepare traditional wasli paper for painting, how to burnish the paper, and how to apply even washes and base colours. Also various brush techniques. Finishing up by learning how to apply gold leaf.

The standard of the paintings produced, even by those students new to this art form, was truly remarkable.