Synopsis:
For more than three thousand years, the Indian subcontinent has stood as the epicenter of spirituality and philosophy—with modern India as its heart. It went beyond the religious rituals or philosophical reasoning and discussions, infusing deeply into daily life and various arts.
Arts, which modern humans might view merely as entertainment, were never seen that way by ancient scholars—they were a path of communicating the inner-self. As the famous quote by George Bernard Shaw, an Irish playwright, critic, and polemicist, "You use a glass mirror to see your face. You use works of art to see your soul."
Art is a reflection of oneself. It is a symbol of spiritual connection.
And in ancient times this "spiritual connection" was not confined to the yogis or the ascetics who have cut all their ties with the mundane world. Instead, it encompasses a large spectrum of arts: from the philosophical and speculative questions to cosmology studies in Rigveda; from the pursuit of enlightenment, mantra to the instructions of performing rituals and sacrifices in Yajurveda along with elaborative discussions on warfare and archery in Dhanurveda, an upaveda/ sub-text of Yajurveda; from the devotional gestures of Manipuri, the graceful and aesthetic movements of Mohiniyattam, delicate facial expressions and mudras (hand gestures) of Bharatanatyam—to the dynamic and acrobatic movements of Tandava, Chhau.
Nor does this artistic spirituality end with movement and sound. It continues: from the intricate detailing to the mythological narrative of Madhubani, tribal folklore depicting Gond, the vibrant color accompanying the three-dimensional effects in Tanjore paintings—to story-telling through puppetry and the impersonation or Behrupiya; all these depict different art forms traditional to Indian culture.
Rooted in ancient text like the Nātyaśāstra, Dhanurveda, Shilpa Shastra, and many more; each form reflects a civilization where art was inseparable from life, philosophy, and the divine. Though these arts differ in medium by which they are conveyed, they share a common essence: they were either performed in devotion and praise of the divine, or practiced as a form of meditation—to let go of worldly worries and be one with the spiritual self, to blend with nature.
"A form of meditation!"
Interesting, isn't it? When the word "meditation" comes, it is often associated with an image of a sage motionlessly sitting under a tree, away from society, with his eyes closed; not a person delicately dancing in ananda/bliss or someone carving sculptures. And yet, these too are acts of meditation.
This is what the book explores: A realm where spirituality meets art.
Section 1: Spirituality blending with art
Chapter one: Dance as Devotion and Meditation
In ancient times; dance, more than amusement, was an act of worship—a sacred offering to the revered God. Inscribed in the Nātyaśāstra, an ancient text written by Bharata Muni, dance forms were depicted as a mean of spiritual elevation. Each mudra (gesture), abhinaya (facial expression), and tala (rhythmic footwork) are more than techniques—they are unity of body, mind, and soul; a perfect harmony of spiritual and earthly aspect of human being.
There are various such dance forms, and among these forms, Bharatanatyam is one of the well knowns. It is also one of the oldest and most structured as it follows a proper set of rules and techniques. While described in Nātyaśāstra, its roots can be seen there.
Mohiniyattam, another dance form originating from ancient times, is meditative in nature—like a prayer slowly unfolding in motion. This very nature requires performers to have a calm mind while performing. Its delicate swaying motions and soft expressions, are more than enough to cast enchanting spells on the observer. Also, this very feature is the reason it is given the name of "Mohini"— the female avatar of the Lord Vishnu— or "The dance of the Enchantress" as its literal meaning.
In contrast, dances like Tandava or Chhau embody vigor, aggression, and martial spirit. These dance forms, involving acrobatic moves and intense emotions like anger or courage, are usually performed by men.
Especially, Tandava, inscribed in the Nātyaśāstra; it is the cosmic dance of Lord Shiva, often associated with the ultimate destruction. Yet it became one of the major elements for the gentler forms like Bharatanatyam, or Mohiniyattam.
Reflecting that within destruction lies the all-caring force of creation.
Chapter two: Sacred Architecture
From the beginning of civilization, humans have looked for ways to express their thoughts. These ways have varied from gestures, song, to dance, painting and even art such as sculpture, and architecture.
The sculptures or architectures are not merely a beautiful scenery, rather they are essence of the creator's soul—a spiritual image.
As Dr. Rabindranath Tagore once said, "In art, man reveals himself and not his object." Which, in turn, is inevitably true, as every creation reflects the state of its creator's soul—his emotions. This is clearly reflected in the architecture of Indian temple.
Indian temples, rooted in Shilpa Shastra and built upon the principles of Vastu Shastra, serve not just as places of worship but as reflections of the cosmic universe. Each structure, from the sanctum to the shikhara (peak), follows sacred geometry aligned with celestial principles. The garbhagriha (womb chamber) represents the cosmic womb, while the vimana (a tower like architecture) symbolizes the soul's rise.
On the other hand, sculptures and carvings embodies cosmological narratives and philosophical teachings within stone. Indian temple architecture is not just about construction—it is shaped by spiritual principles, offering a space where the divine can be experienced.
Chapter three: Spiritual Dharma of Warfare
Throughout civilizations warfare was not a mere blind pursuit of power; instead, it was a sacred discipline of virtue, an act of the moral order.
Especially in ancient Indian civilization, rather than resorting to unnecessary violence, warriors emphasized on yuddha dharma (the righteous conduct of war), and kshatriya dharma (the warrior code).
Roots to this belief can be traced back as far as the treatises of the Dhanurveda, one of the four Upavedas attached to the Yajurveda. It describes in detail not only the use of weapons but also the ethical responsibilities of the warrior, also about whom to be and not to be killed
This very text emphasizes that," The heroic warrior who meets death in the battlefield for the sake of dharma is sure to gain eternal salvation."
It can further be concluded as: "One must live their life with dharma and justice, that way one can attain the eternal salvation even if they don't recite God's name. But if one were to stray away from dharma, then not even sitting idly and chanting holy mantras can redeem them."
Remember, that the teachings of the Bhagavad Gita, through which Arjuna, a master archer, came to understand the truth of life; came to existence in middle of the battlefield, not a religious place. It teaches that fulfilling one's personal duty, without attachment to the outcome, in alignment to the dharma is itself a form of yoga—of spiritual elevation.
But it must also be noted that the word "Dharma" doesn't refer to any religion or its teachings; rather Dharma is the ultimate duty— the morals and virtues with which every human must live.
Chapter four: The silent spirituality dyed with color
Even before humans began to dance or write, they used colors to express themselves, and to shape the divine. Early humans used to paint things they saw in their daily life. Paintings of animals, hunting and other have been found all around the world, some of these paintings dates back to as far as 45,500 years—Sulawesi Warty Pig Painting, in Indonesia.
In India, the oldest paintings found are on the walls of Bhimbetka caves, that are said to be around 30,000 years old. One of the oldest known painted cave and theater in India containing dancers, singers, and floral patterns can be seen in the Jogimara and Sitabenga Caves.
These paintings slowly became more than just mere art or amusement. As civilizations developed, paintings came to be seen as acts of devotion, visual prayers capturing the essence of divinity and the rhythm of the cosmos.
From the ancient wall paintings of Ajanta to the intricate lines of Madhubani and the storytelling scrolls of Pattachitra, painting in India has been deeply intertwined with spirituality. These forms were not born from aesthetics alone, but from inner stillness, discipline and more than anything, curiosity.
Folk and classical traditions alike, be it the golden Tanjore paintings of Tamil Nadu or the earthy patterns of Gond art, shared a unified aim: to reflect the divine in everyday life.
The use of natural pigments, symbolic colors, and mythological narratives were never random; each carried layers of meaning. Red embodied energy, white symbolized purity, black offered protection, and gold represented the transcendental.
This chapter explores how traditional Indian painting was and remains a silent path to the spiritual. Like dance, music, or temple architecture, it is a practice for understanding the inner self.
Section 2: Current conditions
These arts, once forming the spiritual backbone of a civilization, are now endangered in meaning if not in form. As we move to explore their state in the modern world, we must ask—what remains of their soul?"
Chapter five: Arts and their spiritual relevance in modern world
Throughout the last few centuries, with the increase in industrialization, people's interest has also shifted towards materialistic possessions; and amongst this, the cultural arts are slowly losing their initial essence — some even losing their existence. Classical dances are no more than a performance of entertainment, limited only to some temples and traditional events. Sacred architecture is often reduced to mere commercial design, and narratives have lost their moral teaching ability.
Yet, despite all this, spiritual awareness along with traditional practices have once again swum up to the surface — as the last attempt of a flickering flame. All across India, movements and campaigns for the preservation and revival of traditional practices can be witnessed. Yoga and meditation are becoming a part of day-to-day life, even if it's just to escape the stress and duties of this "new world."
In this context, traditional Indian arts and their deeply rooted wisdom, that could be witnessed all around, are seeking to emerge once again. Arts, which had risen above being just aesthetic expressions, were the means to understand oneself, to feel the divine. Even today, they still carry their subtle essence. A well-performed classical dance can still feel sacred. The temple built with Vastu principles still leaves you with a sense of peace. Despite not fully understanding them, the chants and mantras still touch the soul.
Chapter six: Challenges, preservation, and revival
Traditions of every civilization from all over the world are declining, degrading— slowly but surely. This is even more true for Indian traditions, which have been slowly fading away due to globalization and commercialization. Cultural forms like classical dances, traditional architecture, and tribal arts are losing their original meaning and essence as they become commercialized or confined to performances. Many of these arts rely on one generation to the next oral teaching, with little written documentation, placing them at risk of disappearing.
Despite this, dedicated efforts across the country are working to revive and preserve these practices. NGOs, scholars, digital platforms, and spiritual institutions are reintroducing ancient practices by documenting histories, teaching young ones, and translating ancient texts. This revival doesn't aim to save art forms just as cultural artifacts but to restore their deeper spiritual purpose—where art remains a path of self-realization, discipline and of spiritual awakening.
The chapter discusses about both the challenges and hopeful initiatives that can help preserve what's left of these arts, emphasizing the need to actively participate in keeping India's sacred arts vibrant and alive beyond mere remembrance.
Chapter six (ll): The Crisis of India's Indigenous Arts
Amidst all the discussions about preserving classical forms like Bharatanatyam or the glory of temple architecture, India's rich and lively tribal and folk arts are often overlooked or barely mentioned. Yet these native art forms—the Bhils' storytelling murals, the Bauls' hypnotic chants, and the Kalbelia snake charmers' graceful dances—carry a deep, living spirituality that is both personal and enduring. Unlike classical temple arts or ancient scriptures, these traditions are passed down through memory, rhythm, and a living bond with nature and the community.
Unfortunately, many of these gracious practices are now rapidly declining. The pressures of modern economic life, the absence of robust institutional backing, and the gradual loss of oral teachings between generations threaten their existence. For these communities, their art is more than just a performance or craft—it is a way of life, their ancestral wisdom and spiritual expression. Preserving these indigenous arts is not just a cultural duty, but a deep spiritual responsibility—one that calls us to honor and keep alive the living spirit of India's diverse heritage.
Conclusion: Where Do We Go from Here?
Apart from the previously mentioned art forms, there still remains many various arts that are deeply rooted in the Indian culture, such as music and its rich history, which needs to be discussed.
Even so it's undeniably true that spirituality, at its core, is the freedom of the soul—an inner journey beyond the material world. And art opens the path to this journey of self-realization and connection with the divine essence within. In ancient India, the arts—whether dance, architecture, warfare, or storytelling—were not just creative expressions. They were sacred practices, guiding people toward inner peace and spiritual awakening.
Today, however, these traditions stand at a point where their future cannot be guaranteed. Modern life, with its distractions and fast pace, has pulled away many of these arts from their spiritual roots. While efforts to preserve and revive them are growing, they must be approached with care. True spirituality cannot be forced or treated as a duty. These practices lose their essence when followed out of obligation or performed just for show. If one is forced with these practices, they won't be able to comprehend the true meaning behind these practices.
Spiritual and true freedom comes from within. It allows each person to explore new experiences, in this case traditions, not as a burden, but as a source of inspiration and peace. Arts become meaningful only when they awaken something deep in the soul—not when they are performed for the sake of cultural displays or formal routines. In this way, spirituality and art are deeply linked by the freedom to choose, to connect, and to grow. One can expand their perspective of how they view the world through arts.
The future of these sacred arts depends not only on preserving them, but on reigniting the inner flame they were meant to inspire. Whether through movement, sound, structure, or story, these ancient forms offer a path to something greater. As inheritors of this heritage, we must protect it with respect, and share it with love—so that new generations, too, may walk the path where art leads to the soul's liberation not to the museum.