Niramish | निरामिष

This post started as a way for me to share some close-up details of ordinary figures in Nainsukh’s paintings that I saw at the Victoria and Albert Museum, mainly because I wanted to highlight his skill in portraiture. But then I felt these close-ups also lend themselves to wider questions about whom this art form depicts and whom it does not.

नयन | Nayan

• An artwork and a book by Ankit Vyas, centred on ten eyes from Indian miniature paintings

• Each eye is examined through careful research, close visual analysis, and writing.

•Each copy includes ten hand-painted eyes by master painter Riyazuddin ji, created for the project.

•Bound by Mazzotti Books, London

•First edition of 25 copies

•Conceived and produced between Jaipur and London

For more information:

Nayan - an artwork / book by Ankit Vyas, examining 10 eyes from Indian miniature paintings.

The first edition consists of 25 copies. Each includes 10 hand painted eyes created in the Jaipur studio of Riyazuddin ji, one of the leading Indian miniaturists working today.

The book has been bound in London at Mazzotti Books.

The typography of the Hindi/Devnagri title has been created by the talented designer Shreya Maheshwari.

*To purchase, visit www.niraamish.co.uk* - In Indian miniature paintings, the tiger appears both as a guardian of forests and as a symbol of royal power. In Indian thought, the tiger embodies strength, courage, and an untamed spirit, and is the mount of the fierce goddess Durga. This piece captures that same balance of elegance and ferocity, distilling it into a pin that roars quietly yet commands presence. #Pin #brooch #indianminiaturepainting #ArtDetail #IndianArt #enameljewelry #enamelling #tiger

In Indian miniature paintings, the moon appears in many guises—sometimes as a great luminous disc framing Krishna’s raasleela with the gopis, other times as a shy crescent slipping out from behind monsoon clouds. Beyond its beauty, the moon—Chandra—holds deep symbolism in Indian philosophy, as the keeper of cycles, the muse of poets, and the embodiment of grace. This piece distils that stillness and mystery into a form you can hold, carrying with it the soft, meditative glow of moonlight.

This pin draws on recurring motifs from Indian miniature paintings, echoed across other Indian art forms. Growing up in Rajasthan, I often encountered the anthropomorphic sun—from Suryavanshi dynasties and festivals honouring Surya to ritual depictions in Hindu ceremonies. In miniatures, the sun appears in many guises, sometimes serene and benevolent, sometimes regal and commanding. This piece captures the celestial power and life-giving energy of Surya, the eternal source of light.

The banana tree is a recurring presence in Indian miniature painting, from the courts of Rajasthan to the ateliers of the Himalayan hills—appearing as a tree spirit, a lush grove behind a terrace heroine, or anchoring a Charbagh garden. Stylised across regions and centuries, it carries rich symbolism. Growing up, I often saw banana trees painted on the entrance walls of homes in small-town Rajasthan, heralding weddings or auspicious occasions. From folk murals to royal manuscripts, the banana tree endures—lush, layered, and full of life.

Dear all, I’m very excited to launch something I’ve been working on for a while: limited edition silver enamel pins based on details from Indian miniature paintings.

They are now available at niraamish.co.uk.

Over the next few days, I’ll share more about each pin and the ideas behind them. Stay tuned.

Ankit