Shilpashastra represents the ancient Indian science of creative arts — sculpture, iconography and painting — rooted in the Vedas and Puranas, believed to have originated from the Vishwakarma community, the divine lineage of craftsmen who built the temples and cities of ancient India.

In ancient Indian literature, Shilpa signifies any form of art or craft, while Shastra represents science. Together, Shilpa Shastra refers to the scientific study of arts and crafts.

Shilpashastra is not a single text — it is an entire library of knowledge, covering sculpture, painting, architecture, iconography, temple construction and the cosmic principles that govern all of them. It is the grammar of Indian art. Every temple, every sculpture, every painting in India traces its rules back to this ancient science.

To learn Shilpashastra is to learn the foundational language of Indian civilisation itself. Saisri has studied this language. Everything she creates is rooted in it.

Pichwai paintings are one of India's most intricate and spiritually rich traditional art forms — originating in the 17th century in Nathdwara, Rajasthan, initially created as intricate cloth hangings to adorn the backdrop of Lord Krishna's idol in the Shrinathji Temple.

The word Pichwai comes from Sanskrit — Pichh meaning back and Wai meaning hanging — literally, that which hangs at the back of the deity.

Creating a Pichwai can take several months and requires immense skill — as the smallest details need to be painted with precision. Pichwai artists use fine brushes, gold and silver leaf, and natural pigments to create compositions of extraordinary richness — lotus flowers, cows, festival processions, Krishna's divine play — each element carrying layers of symbolic meaning encoded over centuries.

In Saisri's hands at age 11, this 400-year-old tradition finds a new home — in Freising, Bavaria.

The origin of Madhubani painting can be traced back over 2,500 years to the Ramayana — when King Janaka of Mithila commissioned the first Madhubani painting to celebrate the wedding of his daughter Sita to Lord Rama.

Madhubani painting originated in the Mithila region of Bihar — practised for centuries by the women of the region, passed from mother to daughter, generation after generation, on the mud walls of homes during festivals, weddings and sacred ceremonies.

Artists traditionally used twigs, matchsticks, bamboo pens and their own fingers as brushes — and colours derived from turmeric, indigo, lampblack and flowers. This is not just painting. It is a 2,500-year-old conversation between a woman, her community and the cosmos.

Saisri brings this conversation to Germany.

Alongside her classical training, Saisri explores modern art and sketching — giving her a rare and precious dual fluency. She can move from the strict iconographic rules of Shilpashastra to the open freedom of contemporary expression — a bridge between India's ancient visual language and the modern world.

This duality is what makes Saisri truly extraordinary. She is not just preserving tradition. She is expanding it.

Amigurumi — the Japanese art of crocheting small, stuffed yarn creatures — is Saisri's most playful and tactile art form. Each piece is handcrafted, unique and full of personality — from adorable animals to imaginative characters that seem to have a life of their own.

What makes Saisri's Amigurumi extraordinary is not just the skill — but the fact that every single piece is made by an 11-year-old's hands, with patience, precision and a love for craft that is deeply moving.