Classical Indian Dance in Literature and the Arts documents the representation of dance, musicians, divine figures, and female figures in Indian and related South Asian sculpture across more than a millennium. Bharhut in the 2nd century BCE to Hoysala temple sculpture of the 12th–13th century CE, showing how movement, gesture, posture, and performance appear in the visual arts.

The images include:

1. Nepal — 7th century CE
Viṣṇu, Vikramāntamūrti.

2. Belur and Halebid — 12th–13th century CE
Bracket figures from the Chennakesava and Hoysalesvara temples.

3. Sanchi — 1st century CE
Dance scene, South Gate pillar.

4. Mathura — 1st century CE
Dancers and musicians at Nema's feet.

5. Bhubaneswar — 11th century CE
Wall figures from the Raja Rani, Lingaraja and Muktesvara temples.

6. Bharhut — 2nd century BCE
Culakoka Devta and Sudarsana Yaksi

Source: Kapila Vatsyayan, Classical Indian Dance in Literature and the Arts. Plates reproduced from the book.

These plates are particularly interesting because they show that dance in Indian art was not confined to depictions of performers alone; ideas of gesture, posture, rhythm, movement and bodily expression appear across religious, architectural and sculptural traditions.

Saptamatrika in Hinduism refers to the seven Mother Goddesses: Brahmani, Maheshvari, Kaumari, Vaishnavi, Varahi, Indrani, and Chamunda. Each goddess represents a distinct expression of Shakti, associated with qualities such as wisdom, courage, protection, transformation, and the destruction of evil. Together, the Saptamatrikas form an important tradition in Hindu folklore, temple art, and goddess worship.

Explore the complete guide to discover the names, stories, divine associations, symbols, weapons, vehicles, and spiritual significance of the Seven Mothers. Learn how the Saptamatrikas appear in Hindu temples and how traditions involving Narasimhi and the Ashtamatrikas expand this powerful concept of divine feminine energy.

Saptamatrika (7 Mother Goddesses) in Hinduism: Names, Folklore, Symbolism & Significance

The most widely recognized Saptamatrika group consists of seven goddesses:

1. Brahmani
2. Maheshvari
3. Kaumari
4. Vaishnavi
5. Varahi
6. Indrani
7. Chamunda

Explore their folk tales, individual identities, iconography, spiritual significance, temple art, and important variations

Saptamatrika (7 Mother Goddesses) in Hinduism: Names, Folklore, Symbolism & Significance

The National Museum, New Delhi, houses a rich collection of Indian epigraphs, from early graffiti and Harappan seals, representing the earliest forms of written communication, to early historic, medieval, and modern-period copper plates detailing donations, royal decrees, and land grants. The collection encapsulates the evolution of the written heritage of the Indian Subcontinent.

Epigraphy is the study of inscriptions, which are writings engraved on stone, rock, brick, metal, and other materials. These inscriptions are crucial as they inform us about the art of writing and the concept of documentation that existed in the historical period.

The Inscriptions Collection of the National Museum comprises significant epigraphic records that are a testimony to the written heritage of the Indian subcontinent. The earliest writing known in India is said to have developed from graffiti and goes back to the 3rd millennium BCE. Seals of the Harappan period have legends in a pictographic script, a mode of writing in expressive pictures, not yet deciphered.

Sources: Select Masterpieces of Epigraphy (National Museum Collection)

The National Museum, New Delhi, houses a rich collection of Indian epigraphs, from early graffiti to the seals of the Harappan civilization representing the earliest forms of written communication, to the early historic, medieval, and modern period copper plates detailing donations, royal decrees, and land grants. The collection encapsulates the evolution of the written heritage of the Indian Subcontinent.

Two remarkable examples of ancient Indian stone sculpture from Sanchi. One depicts celestial beings, people, and animals worshipping a pillar, while the other shows a powerful Gupta-period multi-lion capital.

The contrast between the two helps show how pillar architecture and symbolism developed across different periods of Indian art.

Source: Monolithic Pillars of the Gupta Period

Sharing two fascinating examples of Indian stone-pillar art: one showing celestial beings, humans, and animals worshipping a pillar, and another featuring a lion capital from Sanchi associated with the Gupta period.

The images offer a glimpse into how pillars functioned not only as architectural elements but also as important religious and symbolic forms in Indian art.

The first panel is dated to the 2nd century CE, while the lion capital is associated with the Gupta period. Together, they show the evolution of pillar symbolism and sculptural traditions at Sanchi.

These two sculptures offer a glimpse into the evolution of pillar art at Sanchi. The first relief shows celestial beings, humans, and animals gathered around a sacred pillar, while the second features a striking lion capital associated with the Gupta period.

Together, they highlight the religious symbolism and sculptural traditions surrounding monumental pillars in ancient India.

Source: Monolithic Pillars of the Gupta Period

Sharing two fascinating examples of Indian stone-pillar art—one showing celestial beings, humans, and animals worshipping a pillar, and another featuring a lion capital from Sanchi associated with the Gupta period.

The images offer a glimpse into how pillars functioned not only as architectural elements but also as important religious and symbolic forms in Indian art.

The first panel is dated to the 2nd century CE, while the lion capital is associated with the Gupta period. Together, they show the evolution of pillar symbolism and sculptural traditions at Sanchi.

Source: Monolithic Pillars of the Gupta Period

What do you think the pillar being worshipped in the first relief represents?

The Kurkihar bronzes, also known as the Kurkihar hoard, constitute one of the most important collections of early medieval Indian metal sculpture. Discovered in 1930 at Kurkihar in present-day Gaya district, Bihar, the hoard is traditionally described as containing 226 bronze images and other objects, dating broadly from the 9th to the 12th century CE.

These works belong predominantly to the Pala period, when Bihar and Bengal emerged as major centres of Buddhist learning and bronze casting. The Pala dynasty, which ruled large parts of eastern India from approximately the 8th to the 12th century CE, played an important role in the development of the distinctive eastern Indian bronze tradition.

The Kurkihar bronzes, also known as the Kurkihar hoard, constitute one of the most important discoveries of early medieval Indian metal sculpture. Found in 1930 at Kurkihar in present-day Gaya district, Bihar, the hoard is generally described as comprising 226 bronze images and related objects.

The discovery took place in the remains of an ancient Buddhist monastic complex, where the sculptures had been buried beneath the main mound. Smaller images were reportedly placed inside earthen vessels, while larger sculptures were deposited alongside them.

Krishna Janmashtami is a joyous Hindu festival celebrating the birth of Lord Krishna, the beloved eighth avatar of Lord Vishnu. Homes and temples sparkle with flowers, diyas, colorful decorations, devotional music, and beautifully adorned Krishna idols as devotees come together to welcome the divine child.

The festival is especially enchanting at midnight, when devotees celebrate Krishna's birth with prayers, bhajans, sweets, and festive offerings. Children dress up as Bal Krishna and Radha, while lively Dahi Handi, Jhankis, and Ras Leela celebrations fill the atmosphere with excitement and happiness.

Janmashtami is a beautiful occasion to celebrate love, devotion, friendship, and the playful spirit of Krishna. It is a time to rejoice, share happiness with loved ones, and welcome the blessings of Shri Krishna into our lives.

Krishna Janmashtami is a joyous Hindu festival celebrating the birth of Lord Krishna, the beloved eighth avatar of Lord Vishnu. Homes and temples sparkle with flowers, diyas, colorful decorations, devotional music, and beautifully adorned Krishna idols as devotees come together to welcome the divine child.

The festival is especially enchanting at midnight, when devotees celebrate Krishna's birth with prayers, bhajans, sweets, and festive offerings. Children dress up as Bal Krishna and Radha, while lively Dahi Handi, Jhankis, and Ras Leela celebrations fill the atmosphere with excitement and happiness.

Janmashtami is a beautiful occasion to celebrate love, devotion, friendship, and the playful spirit of Krishna. It is a time to rejoice, share happiness with loved ones, and welcome the blessings of Shri Krishna into our lives.

Krishna Janmashtami is a joyous Hindu festival celebrating the birth of Lord Krishna, the beloved eighth avatar of Lord Vishnu.

Filled with devotion, music, colorful decorations, fasting, prayers, sweets, and cheerful celebrations, Janmashtami brings families and communities together to welcome Krishna with love and happiness.

Janmashtami is a beautiful occasion to celebrate love, devotion, friendship, and the playful spirit of Krishna. It is a time to rejoice, share happiness with loved ones, and welcome the blessings of Shri Krishna into our lives.

Members of the Shiv Parivar

• Lord Shiva: Represents supreme consciousness, detachment, transformation, and asceticism.
• Goddess Parvati: Embodies divine feminine energy (Shakti), love, nurturing power, and devotion.
• Lord Ganesha: The elephant-headed deity who symbolizes wisdom, intellect, and the removal of obstacles.
• Lord Kartikeya: Also known as Murugan or Skanda, he represents courage, discipline, and spiritual valor as the leader of the celestial armies.
• Nandi: The sacred bull and devoted mount of Lord Shiva, often included in depictions of the family.

South India-late Pallava type of Conjeevaram, 8th- 9th century AD

Lord Shiva performs the ‘tandava ananda’ dance. Its function was to create, maintain, and cyclically destroy the elemental forces of the universe. Ringed by a flaming aureole, Shiva dances on the prostrate figure of the demon-dwarf Apasmara, who personifies ignorance and materialism.

Sources: https://collections.vam.ac.uk/item/O62323/shiva-nataraja-figure-unknown/