In Indian art and ritual, the act of seeing has always been sacred. The gaze is not just observation, it is creation, awakening, communion. The concept of darsana is an integral part of Indian knowledge systems, which means to see and be seen by the divine. It transforms the viewer and the viewed alike. In art, the eyes of the deity, the devotee and the artist converge into one unbroken act of perception.
From the frescoes of Ajanta to the scroll paintings of Odisha, from the stone gaze of Chola bronzes to the delicate lines of Pichhwai paintings, the all-seeing gaze remains one of the most enduring and charged symbols in Indian art and culture. It embodies consciousness itself, as the eye that beholds the world and the self.
Beyond the temples and manuscripts, these same eyes live on in the painted panels, scrolls and textiles that adorn modern homes today. From Pattachitra and Kalamkari to Madhubani, Pichhwai, Gond and beyond, what draws the viewer in first is almost always the eyes. Stylised and spiritual, serene or searing, they carry the essence of their tradition - a gaze that is at once divine, human and artistic.
In these paintings, the eyes don’t just depict emotion, they give the painting life. Through this visual language, the painted eye becomes both ornament and oracle, acting as a sacred threshold between the inner and outer worlds. It watches, blesses, protects and invites. The gaze in Indian art is thus not passive but participatory. Each time we look upon it, the painting, too, looks back.
Let's explore various Indian art forms from different regions, made with different materials and methods and the ways in which they depict, interpret and sanctify the gaze.
Pattachitra
Pattachitra is one of the oldest surviving classical folk traditions of India, with roots in Odisha and Bengal, where it has long been associated with temple rituals and sacred storytelling. Among the most striking features of Pattachitra painting are the eyes, which dominate the facial composition and immediately command the attention of the viewer. Typically large, round and frontal, these eyes are said to represent the sun and moon, which are the eternal witnesses of the universe, giving the deity a cosmic omnipresence. The final act of painting the eyes after the entire painting is finished, is called Netronmeelan. It is a ritual moment in which the divine image is awakened and consecrated. Beyond their visual impact, the eyes establish a direct line of engagement with the viewer, embodying awareness, vigilance and protection. In contemporary adaptations, these eyes retain their spiritual potency, transforming the wall into a space of silent devotion and making the painting come alive with presence.
Check out our entire collection of Pattachitra paintings here
Jagannath - Pattachitra Painting by Purusottam Swain for Home Decor
Pichwai
Originating from Nathdwara in Rajasthan, Pichhwai paintings emerged as devotional backdrops for the worship of Shrinathji, a seven year old form of Krishna. In Pichhwai paintings, eyes are almond-shaped, soft and meditative, radiating tenderness and compassion. The eyes are carefully proportioned and complemented by detailed ornamentation like peacock feathers, lotus motifs and intricately painted garments, forming the focal point of the composition. These paintings ensure that even from a distance, the deity’s gaze can reach the devotee. Each eye embodies the spiritual principle of bhakti, a quiet, loving attention that draws the viewer inward. In modern Pichhwai paintings, these eyes retain their serene authority, quietly blessing and observing, creating a contemplative presence that bridges ritual and domestic space.
Check out our entire collection of Pichhwai paintings here
The Serene Devotion: Shrinathji in Pichwai by Naveen Soni
Madhubani
Madhubani or Mithila painting originates in the courtyards of Mithila, historically practiced by women for festivals, marriages and daily devotion. In this style, the eyes are bold, often outlined in black and disproportionately large, even when faces are shown in profile. This kind of representation emphasizes the act of looking itself, where the gaze engages the viewer directly. Symbolically, these eyes represent wisdom, awareness and protective energy. In ritual contexts, they were thought to ward off evil and invite auspiciousness. The vivid eyes, combined with geometric patterns and depictions of flora, fauna and deities create an animated narrative. Contemporary Madhubani works maintain this directness, bringing into modern interiors an art that combines both heritage and living presence.
Check out our entire collection of Madhubani paintings here
Durga Mata: Feminine Ferocity in Madhubani by Priti Karn
Kalamkari
Kalamkari, meaning pen work, is a textile painting tradition rooted in Andhra Pradesh and Telangana. It depicts epic narratives like the Ramayana and Mahabharata on hand-painted or block-printed textiles. Eyes in Kalamkari are smaller, precise and highly expressive, conveying mood, emotion and narrative nuance rather than monumental presence. A hero’s steely glance, a deity’s calm awareness or a devotee’s reverence is communicated subtly through delicate line work. The gaze in Kalamkari is relational, directing the viewer’s attention through a story, forming an emotional connection between characters depicted in the paintings and the viewer. In these scrolls or framed textiles, the eyes invite the viewers into the narrative, making them a part of the mythic drama as a part of their everyday life.
Check out our entire collection of Kalamkari paintings here
The Dance of Lord Ganesha in Kalamkari by Siva Reddy
Kalighat
Emerging in the nineteenth century around Kolkata’s Kalighat temple, Kalighat paintings are urban folk art, known for their sweeping brushwork and expressive characters. The eyes are almond-shaped, rimmed with dark pigment and full of intensity, giving the figures a direct, often confrontational gaze. Whether they are depicting Kali, mythic heroes or everyday social satire, the eyes communicate power, emotion and critique- as characteristic of the art style. They bridge the gap between the sacred and the secular, focusing on themes related to both devotion and social awareness. The gaze in Kalighat is dynamic, engaging, challenging and sometimes admonishing. In these paintings, the intensity of the eyes preserves that duality, giving the viewer both aesthetic pleasure and moral reflection.
The Festival of Shakti: Along with Lord Ganesha and Kartikeya in Kalighat and Pattachitra Art by Sonali Chitrakar
Modern life In Kalighat By Uttam Chitrakar
Tanjore Paintings
Tanjore or Thanjavur paintings from Tamil Nadu, are renowned for their use of gold leaf, vibrant pigments and relief work. The eyes are broad, dark, realistic, luminous and elegantly arched, often painted last to symbolically awaken the deity. Against the gleaming backdrop, the eyes project divine vigilance, following the viewer across space. They are said to embody the dual qualities of watchfulness and benevolence, evoking devotion, prosperity and protection. In homes, Tanjore paintings reflect a ritual aura, transforming any wall into a miniature sanctum, merging aesthetics and spirituality.
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Sri Satya Narayana Swani in Tanjore by R. Jayanthan
Phad Paintings
Phad paintings from Rajasthan are long, narrative scrolls that narrate the heroic deeds of folk deities like Pabuji and Devnarayan. Painted on cloth, the eyes are elongated and slightly slanted, carefully positioned to link one figure to another, creating a visual narrative flow. The gaze is both expressive and functional, guiding the viewer through episodes of valour, devotion and legend. These eyes tell the story alongside the singer during performances, making the visual and oral tradition inseparable. Today, when they are displayed on walls, the eyes of the Phad paintings continue to narrate these stories, maintaining the sense of movement and communal memory embedded in their original use.
The Divine Cowherd: A Phad Painting by Kalyan Joshi
Gond Painting
The tribal Gond paintings originating from central India reflect an intimate connection with nature, as the tribe itself lives in close communion with the forest, observing it and using it as inspiration for their paintings. In Gond art, eyes are found not only on human and animal figures, but also on trees, birds and abstract motifs. They are small, dot-like and repeated, conveying sentience, consciousness and awareness throughout creation. This animistic vision, where everything is alive and watching, reflects the Gond worldview of interconnectedness of all living beings with nature. These paintings retain a quiet energy, subtly reminding viewers that life is conscious everywhere and the act of seeing is mutual.
Bada Dev's Conquest in Gond by Sukhiram Maravi
The Cosmic Crab in Gond by Sukhiram Maravi
A Harmonious Ensemble: A Deer with Birds in Gond by Kailash Pradhan
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Miniature Paintings
Indian miniature paintings, whether Mughal or Rajput, emphasize on fine detail and delicate expression, particularly in the eyes. Figures are often depicted with elongated, almond-shaped, realistic eyes, carefully shaded to convey subtle emotion like longing, valor, devotion or introspection. In these paintings, eyes reflect psychological nuance and carry narrative energy and divine charisma. The gaze is rarely frontal, instead, situating the figure within story and space, drawing viewers into layered narratives of court scenes, devotional scenes and legends.
Radha-Krishna in Miniature Painting by Mohan Prajapati
Amritsari Pair : Miniature Painting By Rajendra Sharma
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Kerala Murals
Kerala murals are known for their monumental scale and vibrant mineral pigments. Eyes are large, expressive and frontal, often painted with bold outlines and red or black accents. The gaze is meditative yet powerful, signifying darshana - the moment when divine consciousness meets human attention. Eyes in Kerala murals function as reflections of emotion, devotion and narrative, anchoring figures of Vishnu, Devi or other deities in spiritual presence. In these paintings, the gaze retains the solemnity and energy of temple sanctums.
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Krishna Kerala Mural Painting by Adarsh
The third eye
Across Indian art and ritual, the motif of the third eye embodies vision beyond the ordinary, the ability to perceive hidden truths, cosmic forces and spiritual realities. Shiva’s third eye, often depicted vertically on his forehead, is a symbol of both enlightenment and destructive power. It is believed that when it is opened, it annihilates ignorance and illusion, reminding devotees that divine awareness can both nurture and judge. Similarly, goddesses such as Durga and Kali are sometimes represented with a third eye, signifying heightened vigilance, intuitive perception and the capacity to see through deception and malevolence.
Lord Shiva in Chhau mask by Dharmendra Sutradhar
Trinayani: The Goddess Durga in Kerala Mural by Adarsh
Three eye portrayal of Maa Durga: Tikuli round art by Ashok Kumar
Evil eye
The evil eye is a gaze believed to bring misfortune or harm. Artistic representations, whether exaggerated in folk painting, subtly integrated into mural eyes or stylized in miniature portraits, serve a dual purpose - depicting divine awareness as well as warding off negative forces. In homes and temples alike, the painted or sculpted eye becomes a guardian, watching not only the world but also the unseen energies that circulate through it, turning vision itself into protection, insight, and power.
Evil Eye Elephant Madhubani Painting by Ambika Devi
Across all Indian art forms, the painted eye is never incidental. It is simultaneously symbolic, functional and relational. The cosmic vision of Pattachitra, the devotional serenity of Pichhwai, the expressive nature of Madhubani, the narrative function of Kalamkari, the intensity of Kalighat, the luminance of Tanjore, the storytelling of Phad, the animistic awareness of Gond, etc. together form a rich visual philosophy, marking an Indian tradition of seeing that is as much about being seen as it is about looking.
Buddha paintings
On the other hand, in Buddhist paintings, Buddha is depicted with his eyes half closed, in meditative nature. Buddha’s eyes guide inward reflection, merging perception with insight, emphasizing on inner awakening and universal compassion.
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Meditating Buddha in Sikki Grass work by Suraj Kumar Sahu
The act of seeing in Indian art transcends mere observation, it is a sacred act of creation, awakening and communion. The gaze in Indian art forms serves as a bridge between the divine and the human, the artist and the viewer. These eyes are not passive elements; they are active participants in the spiritual and artistic experience, inviting the viewer into a shared moment of perception and understanding. The eye remains a powerful symbol of consciousness, presence and connection. In this rich tapestry of visual traditions, the painted eye is both a window and a mirror, reflecting the world and the self, reminding us that to see is to be seen.Depictions of eyes through Indian art continue to hold power through generations, bridging the gaps between temple and home, past and present, ritual and aesthetic experience.
