Havan Gallery, Jaipur (2026)

01/04/2026

This vibrant painting by Indian artist Acharya Vyakul (1930–2000) features six interlocking, paisley-like forms—symbolizing the "divine flame" or cosmic seed—arranged in a rhythmic, wave-like pattern. Each shape is built with concentric layers of magenta, teal, and a bright orange core, defined by bold black outlines on aged, cream-toned paper.
Vyakul, a self-taught philosopher from Jaipur, became internationally famous after his debut at the Centre Pompidou in 1989. His work is celebrated for its "tantra-folk" aesthetic, often created using handmade pigments derived from natural sources like plants, stones, and coal. This piece beautifully bridges ancient spiritual traditions with modern, raw abstraction.

Artist - Acharya Vyakul (Signed)
Medium - Water colour on paper
Size - 10.7 X 20.7 CMS

28/03/2026

For more details please visit our instagram page

25/03/2026

Peacock
A meticulous portrayal of a peacock perched on a rocky outcrop, its vibrant plumage rendered through a masterful blend of pen, ink, and watercolor, enriched with delicate, white-etched strokes. Celebrated as “Pakshiyon ka Chitera,” Sharma harmoniously fuses traditional Rajasthani aesthetics with modern draftsmanship, capturing the rhythmic beauty of nature.
🎨
Artist - Deoki Nandan Sharma
Signed & Dated - 1975
Medium - Water color on paper
Size - 15.1 X 11.3 cms

22/03/2026

Pioneer moment 😊! Proud to present this striking painting by the legendary Nannu Singh, bringing his brilliance to the art world.
This abstract reimagining of Lord Ganesha transforms the traditional deity into a complex, earthy form using Singh’s signature mineral pigments and cow dung. The composition features interlocking geometric shapes in ochre and deep red, rendering Ganesha’s iconic trunk and ears as stylized symbols of "spiritual mystery." A prominent swastika—a traditional emblem of auspiciousness—grounds the piece in its sacred origins.

Signed - Nannu Singh (1905 - 2002)
Size - 14 X 22 inches

22/03/2026

This surreal work by Nannu Singh depicts a Multi-Eyed Avi-Spirit. Using stone-ground mineral pigments, Singh blends bird and human forms into a Mystical Chimera with nested faces and watchful eyes. The figure perched on a V-shaped branch represents a soul bridging the physical world and the spiritual "inner cosmos" through its many layers of consciousness.

Signed - Nannu Singh (1905 - 2002)
Size - 14 X 22 inches

31/01/2017

A BAGH WITH PARROTS

The Dowry chest contains things that a young bride surrounds herself with during the early days in her new home where she is still a stranger. The dowry contains pieces that were made by her mother and grandmother before her own eyes through her childhood. Pieces that are embedded with memories of many afternoons in which the women of the family gathered together to create her wedding canopy.

This particular piece is called a Bagh that comes from East Punjab. Bagh literally means ‘garden of flowers’. The embroidery is so profuse that the ground colour is no longer visible and the embroidery has become the fabric itself. Unlike Phulkari, Bagh demanded more time and patience and more material, thereby increasing the expense. Thus, Bagh was a status symbol.
The embroidery uses fluffy silk threads that came from Kashmir or Afghanistan called ‘pat’ in Punjab and is done on a coarse cotton fabric that is handspun and handwoven and dyed with red pigments. The colour red signifies that this piece was used for ceremonial occasions and weddings. Simple darn stitches are used here in colours like orange, pink and white.

The colours as well as the motif of the sparrows seen here symbolizes creativity, fertility, happiness, prosperity, energy and sincerity of a woman’s mind; a reflection of rural Punjab, liveliness and devotion. In the pattern seen here, there are one or two motifs where additions of a different colour or line are visible. This supposed ‘mistake’ was done on purpose as a means to ward off the evil eye from harming the legacy created.

31/01/2017

MOR BAGH

This Bagh or ‘a Garden of Flowers’ from East Punjab is embroidered with bright golden yellow, pink, blue and mint green silk threads and white cotton threads. The embroidery uses soft, untwisted floss silk yarn called ‘pat’ in Punjabi and this is done on a handspun and handwoven coarse cotton fabric dyed with red pigments.
Popular since the 15th century, Phulkari and Bagh adopted various styles and patterns that differed according to their purpose and content. This particular Bagh is called the Mor Bagh on which a single motif of a rustic peacock and another bird sitting on it, is embroidered all over the field in a number of bands. Darning stitches in various lengths are used like crayons on a canvas that fill vibrancy into the fabric.
In order to ward off the influence of the evil eye, the embroiderer has purposefully made three patterns in the corner, different to the rest, to give an impression of her imperfection. However, the mastery is evident in the layout, where she has embroidered the birds upside down on the other half of the fabric, so that when it is worn over the shoulder it looks the same on either side.
Art on textiles like this, ceased to exist after Partition of India and Pakistan due to various factors. Hence, these pieces hold great traditional value among the people of Punjab.

31/01/2017

SAINCHI PHULKARI – THE STORY TELLER

The Great Guru Nanak in the Holy Granth Saheb has mentioned;
“Only then you will be considered an accomplished lady when you will embroider yourself your own blouse”
Hence, the women of Punjab took to the task of creating for themselves beautiful embroidered garments known as Phulkari. Its self-explanatory name meaning ‘Flower work’, describes decades old embroidery techniques that started about 150 years ago.
This particular piece is in the style of Sainchi Phulkari that comes from East Punjab. The base handspun, handwoven cotton fabric called Khaddar is black in colour that indicates that this wrap or veil was used for daily wear. It is also known as Salu or Saloo. An ordinary needle and coloured silken threads, known as Pat, creates multicoloured kaleidoscopic patterns that are a veritable feast to the eyes. This piece would have been created by a young bride to be as part of her bridal trousseau.
Sainchi Phulkari depicts the true rural life where the motifs are outlined before embroidering. One can see a train, introduced by the British in the second half of the 19th century, wrestlers practicing wrestling, native animals and other means of transport. The composition of the pattern is balanced in a masterly way. Varied lengths of darning stitches are employed to produce an array of effects. Threads that came from Kashmir have been embroidered in a fashion that seems like the fabric has come alive.
With their unbridled imagination, a window to the rural life of villages has been opened, the simplicity and directness of which appeals to the heart.

31/01/2017

Chope Phulkari - A grandmother’s gift.

As the little granddaughter of the house steps into womanhood, her maternal grandmother takes on the task of fabricating a tale that holds her love in every stitch. Phulkari helped in marking the most important moments in a girl’s life; from the time she comes of age and steps into womanhood, her marriage, to the birth of her first child and her death.

This type of extra-large sized Phulkari seen here is known as chope. Traditionally, it was presented to a bride by either her maternal grandmother or her maternal uncle. She receives this gift either after the ceremonial wedding bath (vatna) or during the ceremonial presentation of cream and red bangles (chuda).

This chope has been embroidered with golden yellow coloured silken threads (pat) in the most exquisite finesse. It has been embroidered on the rough coarse material “khaddar” that reflects the tough, hard nature of the Punjabi women, but wearing a “Phulkari” adds delicacy, grace, simplicity to their heavy build personality. The red hue of the khaddar is a symbol of auspiciousness, health and fertility, while the gold-colored thread represents prosperity. The design seen here has been created by using the holbein stitch. What makes chope different than the other types of Phulkari is the straight with two sided line stitch which appears exactly same on both the side. Before finishing off, the ‘Nazar butti’ has been embroidered on the side to ward off the influence of the evil eye.

To some, the large triangular motifs on a chope are equally symbolic: the triangles pointing upwards represent the Hindu god Shiva and the male aspect, while the triangles pointing downwards represent Shakti, the female aspect—depictions intended to illustrate the bride and groom, and offer wishes for a happy union.

31/01/2017

BAGH - A GOLDEN FLOWER BED

This piece is probably a medium sized odhini from West Punjab. The base khaddar cloth used in West Punjab is comparatively finer and the quality of silken threads (pat) is higher than what was used in East Punjab. The field was first divided into compartments with a green thread so as to avoid mistakes. Familiar to the Baghs made in West Punjab is the restricted use of colour and the practice of diapering two or three bands of cloth first, joining them and then embroidering them.
The handspun, handwoven cotton khaddar seen here is brown earth in colour. The vibrant geometric flowers embroidered all over the field are golden yellow and orange in colour. The borders of the bands are green while the small flowers that fill gaps are in green and blue.
Herringbone, buttonhole, satin and darning stitch have been employed to create various effects in the design. The two differently angled flowers seen on the entire field of the Bagh are meant to give a light and shade effect as they strike the sun.

15/07/2016

A multicolor kantha quilt from the Bengal,Asia. This beautiful piece is embroidered with cotton thread in red, blue and yellow colors, with a white running stitch background. Fine and intricate work employing motifs of flowers, birds and animals. Size- 61x94 cms Period- Late 19th/Early 20th Century Condition- It has some stains, otherwise good condition.
Ask about this
price: price on request

15/07/2016

A great kantha quilt from Bengal,Asia. This beautiful piece is embroidered with cotton thread in red, blue, yellow, and a white running stitch background. Fine and intricate handwork employing motifs of various figures like horse, deer, dog, snake, peacock, fish, mosque as well as a man smoking hukka sitting on a chair, etc. Size- 76 x 40 cms. Period- Late 19th/Early 20th Century. Condition- Some stains, otherwise good condition.
Ask about this
price: On request.

Havan Gallery

01/04/2026

28/03/2026

25/03/2026

22/03/2026

22/03/2026

31/01/2017

31/01/2017

31/01/2017

31/01/2017

31/01/2017

15/07/2016

15/07/2016

Address

Website

Alerts

Contact The Establishment

Shortcuts

Share

Category