Princess Vaishnavi Kumari on how her paintings reflect the past

Princess Vaishnavi Kumari has always been associated with the revered niche of miniature paintings. At the helm of Studio Kishangarh, she has championed her legacy and showcased in spaces and platforms beyond the common thought. Catching her on the heels of her show at the Bikaner House in New Delhi, the lauded artist conversed in an exclusive interview with HELLO! India. 

HELLO! India: How did you venture into art and find your niche? Walk us through your journey.

Princess Vaishnavi Kumari: I always wanted to create something meaningful in my hometown, Kishangarh. About ten years ago, I started exploring various possibilities. Initially, I considered working with crafts and I was fortunate enough to discover that Kishangarh still had active miniature painters—a rare and valuable artistic tradition. Recognising this as a unique opportunity, I envisioned bringing these artists together under one roof to form an art and design studio. The goal was not only to create handcrafted objects and painted apparel but also to focus on fine art—ensuring that this rich artistic heritage continues to thrive in a contemporary context.

HI: How do you work around merging ancient art and modern interpretations?

PVK: At Studio Kishangarh, we are committed to reviving the tradition of artistic patronage within a modern framework. The studio was founded with the vision of recreating the patronage system of earlier eras, supporting artist communities much like in the past. Engaging with contemporary themes is an ongoing dialogue for us. Fortunately, Kishangarh offers a wealth of inspiration—from its architectural heritage and miniature paintings to Pichwai art, devotional traditions, and the distinctive landscapes that define the region. Our approach is to bridge the past and the present, drawing from these rich artistic traditions while reinterpreting them in a way that resonates with today’s world.

HI: How do you approach saying hello to a blank canvas?

PVK: At Studio Kishangarh, every painting begins with defining its thematic direction and identifying the collection it will belong to. Equally important is selecting the medium, as we work across a range of materials—acrylic on canvas, natural stone colours on wasli paper, and textiles. The choice of the medium plays a crucial role in shaping the creative process, often serving as a source of inspiration itself.

HI: What does it mean to revive a legacy not just as a custodian, but as a contemporary woman of royal lineage—navigating tradition, responsibility, and your own creative agency?

PVK: Coming from a traditional family uniquely positions us to deeply understand the culture and heritage we are custodians of. With the right training and perspective, we can collaborate with artists and communities to strike a balance between preserving our legacy and evolving it for future generations. Our aim isn’t merely to continue the traditions of art, poetry, and literature, but to inspire future generations so that, a hundred or even two hundred years from now, this heritage remains alive and relevant. Heritage should never be static—it must be nurtured, adapted, and passed forward in meaningful ways.

HI: As someone whose ancestry is steeped in both art patronage and royal tradition, do you feel that lineage acts as a compass or a shadow in your journey?

PVK: I consider myself incredibly fortunate because my personal interests align closely with my family’s legacy of artistic patronage and devotion to the arts. For me, art is more than just a profession—it’s a compass that guides my path. With the rich knowledge and traditions I’ve inherited, I feel uniquely positioned to carry this legacy forward.

HI: In your view, how can regional art forms like Kishangarh become active participants in today’s cultural discourse—beyond being archived as ‘heritage’? What collaborations, institutions, or mediums excite you in this context?

PVK: I believe exhibitions like Ishq Chaman—our third solo show in Delhi—play a crucial role in fostering open dialogues and engaging audiences. They help dismantle the notion that heritage and traditional art forms belong only to the past, showing instead that they can be reimagined and elevated within a contemporary context. Looking ahead, I’m excited by the prospect of collaborating with institutions, and private collections, and perhaps even facilitating a cultural exchange with a museum. It would be fascinating to curate a dialogue between contemporary and traditional miniatures—placing them side by side to highlight both continuity and evolution within the form.

HI: Any three artists who have inspired your art.

PVK: Three miniature painters who inspire me are Bhawani Das, Nihal Chand, and Nainsukh. 

HI: Explain to us the essence of Kishangarh art in three words according to you.

PVK: Divine, ethereal, and beautiful. 

A pioneer in the literal sense, Vaishnavi doesn’t shy away from exploring newer avenues to honour her rooted legacy. As this royal descendant evolves Kishangarh’s artistic heritage with endurance, it's hard not to get immersed in bridges that merge the past and present.

Edited by Sabrina Mathews