Inherited Arts Forum

17/07/2026

10/07/2026

Rooted in the rich visual traditions of the Pardhan Gond community, Mangala Bai's practice is a celebration of storytelling, ecology, and cultural memory. Drawing upon an inherited artistic language, her paintings transform forests, animals, rivers, and ancestral narratives into intricate compositions that dissolve the boundaries between the real and the imagined.

Characterized by rhythmic line work, vibrant palettes, and meticulously layered patterns, her works reflect a worldview in which every living being is interconnected. Nature emerges not simply as a subject, but as an active presence—alive with movement, spirit, and history. Through this distinctive visual vocabulary, Mangala Bai preserves oral traditions while continually expanding the expressive possibilities of contemporary Baiga painting. Highlighting today some of her works on wood.

Rasika Kajaria Mandiraa Lambba riddhi bhalla

You will find her available works at our space at Inherited Arts Forum. DM us for an e-catalogue. Inherited Arts Forum

All image courtesy the artists and Inherited Arts Forum.

06/07/2026

Rooted in the living tradition of Mata Ni Pachedi, Sanjay Chitara's practice carries forward a rich artistic lineage while engaging with the evolving possibilities of contemporary expression. As a hereditary artist, he draws upon generations of inherited knowledge, preserving the intricate processes of hand drawing, natural dyeing, and block printing that have long defined this sacred textile tradition.

Centred around narratives of the Divine Mother, his compositions unfold through finely detailed iconography, rhythmic ornamentation, and a vibrant visual language that reflects the interconnected worlds of devotion, mythology, and community. Each work embodies a careful balance between ritual significance and artistic precision, revealing the enduring relevance of traditional craftsmanship in the present day.

Through his practice, Chitara affirms that heritage is not static but continually renewed—where memory, material, and making converge to sustain one of India's most distinctive living craft traditions.

Rasika Kajaria Mandiraa Lambba riddhi bhalla

You will find the works at our space at Inherited Arts Forum. DM us for an e-catalogue. Inherited Arts Forum

All image courtesy the artists and Inherited Arts Forum.

05/07/2026

Born from the earth and guided by memory, Warli art transforms the ordinary into the timeless. With a visual language composed of circles, triangles, and rhythmic lines, each composition traces the cycles of nature, labour, celebration, and community—where every figure becomes part of a larger, interconnected whole.

Rooted in the cultural traditions of the Warli communities of Maharashtra, these paintings are more than artistic expressions; they are living archives of collective knowledge, ritual, and belonging. Their enduring simplicity reminds us that profound narratives often emerge through the most elemental forms.

Across generations, Warli art continues to bridge the past and the present, preserving an indigenous visual tradition that remains as relevant today as it has been for centuries.

Rasika Kajaria Mandiraa Lambba riddhi bhalla

You will find the works at our space at Inherited Arts Forum. DM us for an e-catalogue. Inherited Arts Forum

All image courtesy the artists and Inherited Arts Forum.

03/07/2026

More than an ornament, the Mukhalingam is a profound expression of sacred presence in Indian sculptural traditions. Derived from the Sanskrit words mukha (face) and linga (symbol of Shiva), these sculpted lingas bear one or multiple faces of the deity, transforming an aniconic form into a tangible embodiment of divine identity.

Found across different regions and periods of the subcontinent, Mukhalingams reflect the dynamic evolution of devotional practices, where abstraction and representation coexist within a single sacred object. The serene expressions, stylized features, and intricate craftsmanship offer insights into the aesthetic, philosophical, and ritual worlds that shaped their creation.

As objects of worship and artistic achievement, Mukhalingams stand at the intersection of faith, form, and symbolism—inviting us to contemplate the many ways the divine has been imagined, materialized, and experienced through art.

Rasika Kajaria Mandiraa Lambba riddhi bhalla

You will find the works at our space at Inherited Arts Forum. DM us for an e-catalogue. Inherited Arts Forum

All image courtesy the artists and Inherited Arts Forum.

01/07/2026

Bringing together contemporary design and generations of artisanal knowledge, the collaborative works of Morii Design Studio and master artisan Mansukhbhai Khatri celebrate the enduring dialogue between innovation and tradition. Rooted in the centuries-old craft of Ajrakh block printing, the collaboration reinterprets a historic textile practice through a contemporary design lens, foregrounding the richness of material, process, and cultural continuity.

Each work reflects a meticulous engagement with natural dyes, hand-carved wooden blocks, and time-intensive printing techniques that have been preserved and refined over generations. Rather than treating craft as a static inheritance, the collaboration positions it as a living, evolving practice—one that responds to contemporary aesthetics while remaining deeply connected to its ecological, cultural, and historical foundations.

At the intersection of design, craftsmanship, and artistic inquiry, these works embody a shared commitment to preserving intangible heritage while expanding its possibilities. The result is a thoughtful exploration of how traditional knowledge can continue to inspire new forms of expression, inviting viewers to appreciate the artistry, labour, and narratives embedded within every printed surface.
Rasika Kajaria Mandiraa Lambba riddhi bhalla

The works are still on display at our space at Inherited Arts Forum. DM us for an e-catalogue. Inherited Arts Forum

All image courtesy the artists and Inherited Arts Forum.

30/06/2026

Showcasing some glimpses from our No-One Maker exhibit at Bikaner House.

Jigmat Couture presents an intricate body of work that reconstructs traditional Ladakhi garments as contemporary miniatures, foregrounding the cultural, spiritual, and material histories that are re-interpreted within regional attire.

The Drug-ris robe or the Heavenly Robe evokes a celestial authority, crafted from mud-printed silk by gya-mi artisans. The robe carries multiple visual layers—a border depicting the waves and oceans, the Sacred Mount Meru at the centre, and at the top motifs illustrating the auspicious symbols of the thangkas, jewels, clouds, dragons and other celestial beings. Long imported into Ladakh through the Silk Route, this textile has been imbued with connotations of the celestial, symbolically elevating the wearer to the status of a higher being.

The Sulma dress, made from yumbu (lamb’s wool), carries the thik-ma tie-dye pattern, traditionally executed with natural dyes by Zanskari artisans. The dotted thik-ma motif is believed to serve an apotropaic function, to ward off the evil eye and charge the garment with auspicious meaning. Because of its auspiciousness, this textile is used in monasteries as veils for thangka paintings.
Until the middle of the twentieth century, men would wear the Sokzo robe, a long kaftan-like garment traditionally worn with a sash. Crafted from khullu (yak wool), it was hand-spun and handwoven on the skyad-tag or the Backstrap loom by the higher altitude Changthang communities. The robe was often lined with fur for warmth and comfort, while the closures were in handcrafted brass or semi-precious stones. The Sokzo was symbolically associated with youth and purity, and the design reflected the adaptability to the challenging weather of Ladakh. The nomadic community would use the robe as means to carry essentials like knives, cups, and slings, while keeping themselves warm on horseback.

DM us for an e-catalogue. Inherited Arts Forum
Rasika Kajaria Mandiraa Lambba riddhi bhalla

All image courtesy the artists and Inherited Arts Forum.

25/06/2026

"This work did not begin with a fixed concept. It began with time. Time spent returning to the same homes. Time spent understanding rhythms of daily life. Time spent stitching side by side, where conversation moves in and out of silence. Over the years, the quilts have become a space where stories surface — sometimes spoken, sometimes held quietly within gesture and touch. The Siddi community has lived in India for centuries, yet they are often made to feel like outsiders. Their African ancestry marks them as visibly different, even though this land is home. There is an ongoing negotiation between belonging and exclusion that shapes everyday experience.

The quilts in this exhibition do not position the women as subjects of my practice. They are makers and collaborators. They decide what is stitched, how motifs evolve, which fabrics are chosen, and how narratives are embedded. The process unfolds through dialogue. It is not extraction; it is exchange.The materials themselves carry layered journeys. Some fabrics were originally produced for distant markets and later returned as surplus or rejected stock. Others arrive as remainder — excess circulating back through local markets after being displaced elsewhere. These textiles travel across borders, valued in one place and reduced in another."

- Anitha N. Reddy

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Rasika Kajaria Mandiraa Lambba riddhi bhalla

All image courtesy the artists and Inherited Arts Forum.

22/06/2026

Harago establishes a relational connection with Bhuri Bai’s vibrant Bhil paintings, through textile sculptures that interplay with Rajasthan’s material culture. The artist’s signature dots, invoking prayers to ancestors and deities, re-emerge as bindis and lehers within bandhani and leheriya textiles, recalling ideas of prosperity, fertility and abundance of nature.

Rasika Kajaria Mandiraa Lambba riddhi bhalla

DM us for an e-catalogue. Inherited Arts Forum
All image courtesy the artists and Inherited Arts Forum.