Blossoming Across Traditions: Flowers in Indian Art

Updated on

By Vanirathi Nathani

10 min read

  • Folklore
  • Home Décor
  • Handmade Art
  • Gifts
  • Painting

    • Table of Contents

    1. The Lotus
      1. Lotus in Pichwai Painting
      2. Lotus in Madhubani Painting
      3. Lotus in Kalamkari Paintin
      4. Lotus in Kalighat Painting
    2. The Jasmine
      1. Jasmine in Krishna Art
      2. Jasmine in Mughal Miniatures
      3. Jasmine in Kalamkari Textile
      4. Jasmine in Folk and Tribal Art
    3. The Hibiscus
      1. Hibiscus in Shakta Art
      2. Hibiscus in Pattachitra Painting
      3. Hibiscus in Bengal Folk Scrolls (Patachitra)
      4. Hibiscus in Domestic Folk Art
    4. The Sunflower
      1. Sunflower in Rural Wall Murals
      2. Sunflower in Madhubani Painting
      3. Sunflower in Kalighat Painting
      4. Sunflower in Modern Folk Reinterpretations
    5. The Rose
      1. Rose in Mughal Miniatures
      2. Rose in Kalighat Painting
      3. Rose in Company Paintings
      4. Rose in Popular Bazaar Prints
    6. Conclusion

    Flowers in Indian art are not just decorative—they carry deep layers of symbolism, spirituality, and cultural identity. From temple walls to palm-leaf manuscripts, from textile traditions to court paintings, blossoms bloom across canvases as metaphors for purity, fertility, divinity, and beauty. Each art form interprets them differently: some treat flowers as sacred offerings to gods, others as motifs of romance, and still others as markers of changing aesthetics in colonial and modern India. This article traces how five iconic flowers—lotus, jasmine, hibiscus, sunflower, and rose—appear in diverse artistic traditions, showing how petals became palettes of meaning.

    The Lotus

    Lotus in Pichwai Painting

    Lotus in Pichwai Painting

    In Pichwai paintings of Nathdwara, the lotus dominates as both background motif and divine symbol. These cloth hangings dedicated to Shrinathji, a form of Krishna, often depict him surrounded by lotus ponds, where blossoms cradle cows, gopis, or swans. The lotus, with its ability to rise unsullied from mud, resonates with the Vaishnavite idea of divine purity and spiritual detachment. Artists painstakingly filled entire canvases with repeating lotus patterns—pink, white, and blue—creating a rhythm of devotion. Here, the lotus is not merely a flower but a stage for sacred drama, transforming the natural bloom into a metaphysical landscape of bhakti.

    Lotus in Madhubani Painting

    In the Madhubani art of Bihar, the lotus carries strong ritual associations, often linked to Lakshmi, the goddess of wealth, and Saraswati, goddess of wisdom. Painted on walls and wedding mandapas, the lotus appears as a central mandala-like motif, radiating order and fertility. Its symmetrical petals embody cosmic balance, while fish, birds, and snakes often orbit around it, weaving together myths of creation and abundance. Unlike the refined repetition of Pichwai, Madhubani artists employ bold outlines and natural dyes, giving the lotus a raw, earthy vitality. It becomes both auspicious décor and an invocation of divine blessings for prosperity and harmony.

    Portrayal of fishe and lotus motifs: Madhubani by Vibhuti Nath

    Lotus in Kalamkari Paintin

    In Kalamkari textiles of Andhra Pradesh, the lotus appears as a flowing decorative motif, curling around deities, trees of life, and mythical animals. Executed with a kalam (pen) and vegetable dyes, the lotus is stylized into intricate arabesques, blending Persian-inspired designs with Hindu symbolism. Draped across temple walls or stitched into garments, these lotuses are both ornamental and sacred, marking the textile as worthy of divine presence. The flower’s adaptability—appearing in borders, central medallions, or as repeated patterns—shows its role as a bridge between the sacred narrative and the fabric’s aesthetic appeal.

    Elephant and Lotus Contemporary Kalamkari by Harinath N

    Lotus in Kalighat Painting

    In 19th-century Kalighat paintings from colonial Calcutta, the lotus took on new meanings. While still associated with Lakshmi or Vishnu, it was increasingly secularized into symbols of beauty and love. Artists depicted women holding lotuses as emblems of sensuality, or men offering them in romantic encounters. Sometimes the lotus appeared in hybrid forms—European-style vases with lotuses inside, or stylized blossoms accompanying fashionable Bengali babus. This blending of tradition with colonial modernity reflects how even sacred flowers could be reinterpreted as social symbols, linking devotion with desire, and spirituality with urban sophistication.

    Maternal Love: Nurturing devotion of devotion Khalighat Painting by Sonali Chitrakar

    The Jasmine

    Jasmine in Khovar by Manikchand Mahto

    Jasmine in Krishna Art

    In Krishna imagery across miniature and mural traditions, jasmine blossoms embody sensuality and divine romance. Radha is often depicted stringing jasmine garlands, their fragrance symbolizing love’s invisible presence. Krishna himself is adorned with jasmine tucked into his hair or garlands draped across his chest. The delicate white petals mirror the moonlight under which the Ras Lila unfolds, making jasmine both visual and olfactory metaphor for divine play. In these scenes, the flower becomes more than ornament—it is a silent witness to intimacy, marking the union of human longing and cosmic love.

    Jasmine in Mughal Miniatures

    Mughal artists embraced jasmine as a courtly flower, emblematic of refinement and sensual charm. Emperors are shown receiving garlands of jasmine from attendants, while noblewomen wear jasmine buds in their braided hair. Its whiteness suggested purity, yet in poetic contexts, it was also linked to fleeting beauty and fragile desire. The fine brushwork of Mughal miniatures allowed jasmine blossoms to be painted with minute detail, often scattered in gardens (baghs) or held in delicate hands. In this context, jasmine carried both aesthetic and symbolic weight, reflecting the Mughal synthesis of natural observation and literary metaphor.

    Jasmine in Kalamkari Textile

    In Kalamkari panels, jasmine creepers curl gracefully around mythological figures, balancing the dynamism of narrative scenes with floral calm. The small white blossoms, though simple, are carefully repeated to create patterns that resemble woven garlands. In textiles used for temple rituals, jasmine motifs often accompany deities like Krishna or Ganesha, echoing the living practice of flower offering. On garments, the flower’s stylized form symbolizes freshness and auspiciousness, allowing everyday wearers to carry a trace of divine fragrance even in fabric form.

    Jasmine in Folk and Tribal Art

    Across regional folk paintings, jasmine appears as a humble, accessible flower of everyday devotion. In Warli murals, women sometimes hold garlands suggestive of jasmine, while in rural wall paintings of Rajasthan and Madhya Pradesh, stylized jasmine chains frame domestic shrines. Unlike lotus, which is rare and symbolic, jasmine thrives in village courtyards, and thus its depiction reflects lived intimacy. Here, the flower is not elevated into grandeur but cherished for its nearness—an art of small blossoms evoking community rituals, marriage ceremonies, and quiet evenings of fragrance.

    The Hibiscus

    Hibiscus

    Hibiscus in Shakta Art

    The hibiscus is inseparable from the worship of Kali and Durga, its blood-red petals symbolizing both life-force and sacrifice. In Shakta paintings from Bengal, Kali is often shown adorned with hibiscus garlands, their fiery color echoing her destructive yet protective energy. Artists use the hibiscus to visually amplify her fearsome aura, suggesting the offering of blood without violence. The flower becomes an aesthetic substitute for ritual intensity, linking beauty with danger, devotion with dread.

    Hibiscus in Pattachitra Painting

    In Odisha’s Pattachitra tradition, hibiscus flowers often frame the central deity or decorate the borders of scrolls. Their vivid red hue enhances the overall vibrancy of the composition, while also aligning with the auspiciousness of rituals. Since hibiscus is a common offering to Jagannath, its presence in paintings blurs the line between painted devotion and lived ritual. The stylization of the petals into rhythmic patterns turns the natural bloom into a timeless symbol of divine energy.

    Hibiscus in Bengal Folk Scrolls (Patachitra)

    Bengali patuas (scroll painters) often illustrated mythological tales with hibiscus motifs, especially in scenes of goddess worship. The flower’s bright pigment was derived naturally, making it both practical and symbolic. In these scrolls, hibiscus sometimes punctuates narrative panels as markers of climax, often where divine wrath or sacrifice is at its height. Its visual shock anchors the viewer’s attention, underscoring the flower’s deep connection to transformation, endings, and rebirth.

    Hibiscus in Domestic Folk Art

    In rural Bengal and Assam, hibiscus flowers often decorate alpana (ritual floor paintings) during festivals. Stylized into simple geometric petals, they become protective symbols drawn at thresholds or courtyards. Here, hibiscus art is not for temples or courts but for households—bringing the goddess’s fiery blessing into daily life.

    The Sunflower

    Sunflowers in Mughal Miniature By Mohan Prajapati

    Sunflower in Rural Wall Murals

    Although not native to India, the sunflower entered rural art as a symbol of warmth and sustenance. In village wall paintings of Madhya Pradesh and Uttar Pradesh, it often appears as a large radiant motif, its circular form echoing the sun itself. For agrarian communities, the sunflower came to represent fertility and harvest, translating cosmic energy into domestic blessing.

    Sunflower in Madhubani Painting

    Madhubani artists adapted the sunflower with ease, treating its radiating petals like mandalas. Painted in bold outlines with natural dyes, it symbolized cosmic order and agricultural prosperity. Unlike lotus, tied to mythology, sunflower motifs reflected more earthly concerns—cycles of crops, resilience of nature, and the joy of brightness. Its adoption into Madhubani reflects the tradition’s flexibility, absorbing even foreign flowers into its symbolic repertoire.

    Sunflower in Kalighat Painting

    In Kalighat art, sunflower-like blossoms sometimes appear in decorative vases or as stylized floral borders. Their large heads suited the bold, sweeping brushstrokes of Kalighat artists, making them ideal for framing human figures. As urban buyers increasingly sought secular themes, flowers like the sunflower added fashionable, modern touches to otherwise traditional imagery.

    Sunflower in Modern Folk Reinterpretations

    Today, sunflower motifs are common in contemporary Gond and Warli art, often abstracted into circles and radiating lines. Artists employ them to symbolize ecological harmony, resilience, and community ties. In these reinterpretations, the sunflower bridges rural memory and modern artistic identity

    Harmony: Gond Art by Kailash Pradhan

    The Rose

    Rose in Mughal Miniatures

    The rose was beloved in Mughal art, celebrated for its fragrance, symmetry, and poetic resonance. Court scenes often depict emperors enjoying rosewater or being offered roses in gardens. Poets likened the rose to beauty tinged with pain, its thorns a reminder of desire’s cost. In Mughal miniatures, roses are painted with delicate shading, capturing both realism and metaphor, blending natural observation with Persian literary traditions.

    Rose in Kalighat Painting

    With exposure to colonial Calcutta, artists began depicting roses in vases, in lovers’ hands, or as fashionable décor. Unlike the lotus or hibiscus, the rose here was less a ritual flower than a social one, representing romance, status, and European tastes. Its presence in Kalighat painting reflects hybridity: Indian artists absorbing colonial aesthetics while retaining indigenous expressiveness.

    The Rose and the Broom: Babu Bibi Kalighat Painting by Bhaskar Chitrakar

    Rose in Company Paintings

    Company School artists, catering to British patrons, painted roses with botanical precision. Detached from myth or ritual, the rose here became specimen—an object of scientific curiosity and decorative pleasure. This shift shows how colonial encounters reframed the flower as collectible rather than worshipped.

    By the late 19th and early 20th centuries, roses appeared prolifically in bazaar prints, lithographs, and postcards. Used in greeting cards or as decorative borders, they symbolized romance and modern sentimentality. Mass-produced roses circulated widely, bridging elite courtly associations with everyday popular culture.

    Conclusion

    From lotus ponds in Pichwai to jasmine garlands in Mughal courts, from hibiscus in Shakta rituals to roses in colonial prints, flowers weave a continuous thread across India’s visual imagination. Each blossom carries its own symbolic charge, yet together they reveal how Indian art constantly reinterprets nature—sacred, sensual, political, or everyday. In petals, artists found both spiritual metaphors and worldly expressions, proving that flowers are not merely botanical, but cultural texts written in color and form.

    Sources –

    Latest Blogs