Art | Parvathy Baul

Parvathy Baul Art Exhibition

Parvathy Baul has always pursued art as integral part of her inner practice.

All her works reflect this aspect of inner freedom embodied in traditional forms.

The art and paintings are serving as a continuous meditation and contemplation on the Divine.

As part of this exhibition, we invite you to incorporate what speaks to you and allow it to deepen your meditation, practice and connection with the Divine.

Her Journey as Visual Artist

After taking up the path as the practitioner of ancient Baul path, Parvathy Baul integrated her visual art work with her inner practice. She was inspired by the traditional art practices of India and the world, which are duly reflected in her art work.

She works now to create art which helps seekers to mediate, contemplate and touch the wisdom of the ancient Baul tradition.

In her earlier years of Baul sadhana, Parvathy Maa has created many images of daily life of Baul surrounding communities as well as images drawn from Baul stories and poetry. Painting has always remained one of the several ways to absorb the knowledge she had received from her Gurus.

The visual art had appealed to her during her childhood. She had been studying art at Vishvabharati University in Shantiniketan during her teenage years before she took the Baul path and chose to immerse fully in it.

From her early sketches and small A4 size acrylic paintings, Parvathy Maa's modes of expression evolved, including later woodcut printing, big storytelling paintings called Chitrakatha Geethi, mural paintings and ink drawings and watercolours both in traditional and contemporary style and more recently contemplative images of Deities on canvas.

Just like many other spiritual traditions, Buddhism or Tantra, have their own inner processes related to art, Parvathy Baul’s art practice is mainly focused on creating a contemplative art form unique for the Baul tradition.

Mural of Ashtanayika in an 8th century monastery (now TAD Residency), Bergamo, Italy.jpeg

Her works are not merely depicting stories or historical events. In spite of their iconographic value, they, in the image of the Baul poetry, transcend the visible form in order to bring the spectator towards his own inner vision.

They are a contemplative visual representation which has its own "shakti" in its form.

“As a practitioner of Baul tradition, I was deeply moved by the metaphors, stories and history of the Baul oral tradition.

Baul tradition was not written down, as it is a process of “transmission” from Master to disciple, so there hasn’t been any efforts to create images.

But as a practitioner, I felt the need to create the images because images have power and the right energy, which could create a bridge between cultures and visualization of the Baul poetry.”

– Parvathy Baul

To enquire about an opportunity to purchase Parvathy Maa's artwork, please email programs@parvathybaul.com

Woodcut Collection

TRAVELERS BEYOND TIME

Bhaba Pagla inside the Womb of a Banyan Tree

© Parvathy Baul & Ravi Gopalan Nair

Bhaba Pagla was born in 1902, in the village Amta of Manikganjo, Dhaka, in Bangladesh. He was born in a Shakta family. Bhaba Pagla was the sixth child of his parents.

As a child he grew up in a spiritual environment, and these circumstances developed in him a very humble and sweet disposition. From a very young age he was tuned to spiritual presence within.

He was reluctant to pursue a conventional education. In his teenage years would sing Kirtan unto the Kali idol that was established in his ancestor's house. He wrote songs by his instinctive poetry.
In many of his songs we can see Krishna, Kali, and Shiva all become one.

In 1947 he moved from East Bengal to Kalna in Burdwan with his Kali idol. He established a Kali temple there. Bhaba Pagla established six or seven Kali temples on both sides of Bengal.

This woodcut depicts the great master as if sitting in the womb of a banyan tree and looking at the world.

Maha Guru Thangal (Karippur Abdul Salam)

© Parvathy Baul & Ravi Gopalan Nair

Mahaguru Thangal was a great Siddha who belonged to the school of Mast Kalandar, who lived his life in Trivandrum.
Born in a muslim family, in Nedumangad and studied Arabic. At a very young age he became Maulvi of a Mosque.
Then he met Gafoor Ali of Ajmer Sharif, who transmitted spiritual teachings to Mahaguru Thangal which unfolded into a mystical journey.

Ever since that special event, Mahaguru Thangal gave up his life as a scholar and religious priest. He became Mast and moved in the lanes of the small town of Nedumangad for years.

Local people have witnessed many instances of miraculous healing by this master. People started calling him Thangal, meaning respected spiritual elder.

This woodcut depicts a key phase of his life. Here Thangal is seen sitting in the triangular space in the middle of the road.

The triangle depicts Goddess Bhadrakali of whom Mahaguru Thangal was a great devotee. He is seen seated on the nibs of the pen while books are being burnt in the flame.

This image depicts his transition from being a scholar to becoming a spiritual master. His space of spiritual practise was always a busy and noisy street. He is seen drinking alcohol and smoking, depicting his attitude of non-conformism with conventional ways of life.

Paintings Collection

Kamala On Boat

“Caught the Fish” Chandidas and Rami

International Exhibitions

2020 Tantra: enlightenment to revolution, British Museum, London, UK, participation

2019 Parvathy Baul artworks, In Cahoots Residency, Petaluma, California, USA, solo exhibition

2018 Parvathy Baul Woodcuts Exhibition Deep Dan Art gallery, Tokyo, Japan, solo exhibition

2018 Shakti in Seeing, Rabindrateertha Kolkata, India, Tantidhatri International Festival of Women Performing artists, solo exhibition

2017 Parvathy Baul, Avondale Odd Fellows Studios, Birmingham, USA, solo exhibition

2017 Parvathy Baul and Ravi Gopalan Nair: Gravures & Miniatures, La Galerie de l’Excellence, La Roche Posay, France, solo exhibition

2016 Parvathy Baul, Storyteller's art, Fortael Galleriet, Transit festival Holstebro, Denmark, solo exhibition

2016 Chitrakathageethi, Ramgashankara, Bangalore, Tantidhatri International Festival of Women Performing artists, solo exhibition

2013 Chitrakatha Geethi, Bengal Art Gallery, Kolkata, India, solo exhibition

2012 La saveur des arts, De l'Inde moghole à Bollywood, MEG Ethnography Museum, Geneva, Switzerland

2012 Parvathy Baul: Paintings, Aurodhan Art Gallery, Pondicherry, India, Tantidhatri International Festival of Women Performing artists, solo exhibition

2011 Hommage au Sublime, Suvita Art, Galerie Etienne de Causans, Paris, France, group exhibition

2007 Parvathy Baul, Woodprints, Tropenmuseum, Amsterdam, participation

2005 Les feux de la Déesse, mythes et rituels du Kerala; MEG Ethnography Museum, Geneva, Switzerland, participation

2003 The adventures of Hamza, Rietberg Museum, Zurich, participation in a big exhibition with the original works of Hamzanama

2000 Paintings from the Baul world, Alliance Française, Trivandrum, India, solo exhibition

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Museum Collections

2020 British Museum, London, UK, Bama Khepa,woodcut print

2011 six paintings from Radha Krishna Lila, Roop Anurag series : Pūrvarāga, Rūpānurāga, Abhisāra, Kalahāntaritā, Mathurā-kathā, Rasa-līlā-kathā, MEG Ethnography Museum, Geneva, Switzerland

2007 The Rain Bird and Women Baul Gathering, woodcut prints, Tropen Museum, Amsterdam, Netherlands

Catalogues

Tantra: enlightenment to revolution, RAMOS Imma, 2020. Exhibition Catalogue, British Museum, London, Thames & Hudson.

Chitra Katha, Parvathy Baul, Sundar Ramanathaiyer, 2013. Exhibition Catalogue, Bengal Art Gallery, Kolkata, Aims Art Initiative.

La saveur des arts, De l'Inde moghole à Bollywood, AUBERT, Laurent (dir.). 2011. Exhibition Catalogue, Gollion: Infolio éditions / Genève: Musée d'ethnographie.