As the curator of the exhibition Gayatri Sinha points out while discussing the Bengali tradition, ‘This is a complete reversal from the hitherto painted contemporary depictions of Kali in Pahari miniatures as gaunt and hideous, with sagging breasts, an emaciated body, and a tiger skin to cover her nakedness. This description follows that of the Devi Bhagavata Purana (ninth to fourteenth century) that celebrates the Devi or the great goddess as the primary cosmic power. Kali, embattled in the paintings of Guler, Mandi and other hill schools of the seventeenth century, appears to aid Durga in her fight against the asuras Chanda, Munda and Raktabeej. Alternatively, she is depicted as beautiful, as she stands on a prone Shiva, in a delicately rendered cremation ground, as in Kangra painting.’ Landscape is another major protagonist in these works, drawn from the hilly regions where they were made and referring back to them as part of a sacred geography.

Besides the Devi Bhagavata Purana, she also suggests Devi Mahatmya to be an important source for her iconography.

Gayatri Sinha writes, ‘The Pahari schools of painting aestheticise Kali even in her fierce aspect. Typically, Kali is depicted in the cremation ground, with corpses, jackals and carrion birds, while she is seated or walking on the prone body of Shiva. She is frequently also shown adorned with a golden crown and halo, in a young or old and ghoul-like form. While Shiva may be passive and peaceful, Kali is fully energised, bearing a decapitated head and a sword in her left hands, while her right hands hold the gestures of the Abhaya and dhyana mudras.’

In Rajasthan, the depiction of Kali often aligns with the broader Hindu iconography prevalent in the region. While retaining core elements such as her fierce demeanor and association with destruction and renewal, Kali's depiction in Rajasthan might incorporate local artistic styles and cultural nuances. Artworks of Kali in Rajasthan may emphasise her wrathful aspect, often portrayed standing or dancing atop Lord Shiva, with her tongue protruding and wielding weapons to represent her power to overcome evil forces. The regional artistic motifs and styles of Rajasthan influence the depiction of Kali in this context.

Another fascinating subcategory of works on Kali included in the exhibition are the reverse glass paintings depicting the goddess in action. Reverse glass painting is a unique art form where glass is used as the canvas instead of traditional materials like canvas or paper. This technique involves painting on the back side of the glass, creating a distinctive visual effect. The process of reverse glass painting typically includes three main steps: line art, painting of internal areas, and background. Artists start with line art to outline the primary idea of the painting, followed by filling in internal areas and finally adding the background. This method requires careful planning as each layer of paint affects the final outcome. The art form has a rich history, with examples found in various cultures like Europe, China, Japan, India, and Senegal. In fact, looking at some of the facial features employed in the works, it is possible to speculate that these may have been made originally outside India, perhaps in a Chinese port city, even if it was intended for an Indian patron or devotee. The reverse glass painting, therefore, becomes a node in the global history of Kali in art.

The exhibition also includes ceramic sculptures and porcelain works depicting the goddess. They provide a tangible form through which devotees can connect with and worship the goddess. Worshipping Kali is believed to bring protection, empowerment, and spiritual transformation. The ceramic sculptures of Kali, many of which are produced in Bengal, serve as cultural artifacts and are often found in temples, shrines, and homes, symbolising devotion and reverence towards the goddess.