30 Oct 2026

Understanding Tax Implications on Art in the Indian Context

 The Tax Behind the Canvas: What India’s Income-tax Law Means for Artists, Galleries and Collectors

By Subathra Mylsamy


An artist sells a painting to a gallery, and the gallery sells it to a collector. Years later, the collector decides to sell it. Although the artwork has not changed, the tax consequences of these transactions can be quite different.

The Income-tax Act, 2025, which came into force on 1 April 2026, provides the current legislative framework. For artists, galleries and collectors, understanding how the law applies to each transaction is an important part of managing the financial side of art.


For the Artist: What Counts as Taxable Income?

When an artist regularly creates and sells paintings as a commercial activity, the profits will generally be taxable as business or professional income, depending on the nature of the activity.

Section 34 of the Income-tax Act, 2025 permits deductions for expenditure incurred wholly and exclusively for business or professional purposes, subject to the statutory conditions. Eligible expenses may include art materials, studio rent, assistants, framing, transportation and sales commissions. However, personal expenses and capital expenditure are not deductible.

Artists should also distinguish between selling an original painting and transferring its copyright. A buyer may acquire the physical work without acquiring the right to reproduce or commercially use its image. Where reproduction, licensing or copyright assignment is involved, the agreement should clearly specify the rights being transferred and the consideration payable.

Understanding Tax Implications on Art in the Indian Context, Image for representation only
Photo courtesy Pixabay
For the Gallery: Buying Art or Selling on Commission?

The tax treatment of a gallery depends, in part, on whether it purchases artwork for resale or sells it on behalf of an artist.

A gallery that buys a painting for resale generally treats it as stock-in-trade. The sale proceeds and the cost of the painting are reflected in its business accounts, and the resulting profit contributes to the taxable business income.

Illustration: Consider a painting sold for ₹5 lakh under an agreement allowing the gallery a 20% commission. The gallery earns ₹1 lakh, while ₹4 lakh remains payable to the artist, before any other agreed adjustments. In the above scenario, both the gallery and the artist would be liable to pay tax on their respective earnings.

In a genuine agency arrangement, the gallery ordinarily accounts for its commission as its own revenue rather than treating the entire sale proceeds as its income. The contract, actual conduct and accounting records must support this treatment.

Gallery owners should document the agreed commission, ownership of the artwork, custody arrangements, expenses and payment deadlines. Applicable tax-deduction-at-source obligations should also be examined.

Calling an arrangement a consignment does not, by itself, determine its tax treatment.


For the Collector: Is a Painting a Personal Asset?

A collector may purchase a painting purely for personal enjoyment and display it at home for decades. That does not automatically make its eventual sale tax-free.

Section 2(22) of the Income-tax Act, 2025 excludes paintings, drawings, sculptures and other works of art from the personal-effects exclusion from capital assets. A gain on resale may therefore attract capital-gains tax even when the painting was never purchased for commercial purposes.

As per Section 2(101) read with Section 2(67), a painting held as a capital asset for more than 24 months will generally qualify as a long-term capital asset. Section 197 provides a general long-term capital gains tax rate of 12.5% without indexation, subject to applicable provisions and the taxpayer’s circumstances.

Section 72 governs the computation of capital gains, allowing eligible transfer expenses and acquisition and improvement costs to be deducted. Collectors should preserve purchase invoices, payment records and evidence of qualifying expenditure. Without these, establishing the cost of a painting acquired many years earlier can become difficult.


For Inheritance: Why the Original Purchase Records Matter

An inherited painting does not automatically attract capital-gains tax simply because ownership passes to an heir. Under Section 70, specified transfers under a will or gift are not treated as transfers for capital-gains purposes.

However, a subsequent sale by the heir may attract tax. Under Section 73, the previous owner’s acquisition cost generally remains relevant when determining the cost of an inherited asset. The previous owner’s holding period may also count under the applicable provisions.

For families with art collections, preserving acquisition invoices, ownership records and evidence of qualifying improvements can make future transfers considerably easier.


What Every Participant in the Art Market Should Know

Before a painting changes hands, the parties should understand what is being sold, how the proceeds will be treated and which records must be retained.

For artists, this means documenting income and eligible expenses. For galleries, it means distinguishing purchases from agency arrangements. For collectors, it means retaining acquisition records and understanding the potential tax consequences of resale.

In the art market, tax treatment depends on the nature of the transaction and the character of the holding—not simply on the price or prestige of the painting.


Disclaimer: This article is intended for general information and educational purposes only. It does not constitute legal or tax advice. The application of tax law depends on the facts and circumstances of each case; readers should seek appropriate professional advice before acting on any matter discussed here.


This Guest Post is by Subathra Mylsamy, who is a lawyer and Managing Partner at A.K. Mylsamy and Associates LLP, bringing her background in fine arts and law to the intersection of art, legal rights, taxation and ownership in India.  


To contribute articles, please get in touch at artsceneinfo@gmail.com



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25 Oct 2026

Archives: Jogen Chowdhury’s Compelling Presence

 Jogen Chowdhury’s Compelling Presence - A Retrospective Show (in 2016)

The retrospective is a comprehensive visual catalogue, which offers a clear spectrum of Jogen Chowdhury’s artistic oeuvre, its transformative nature and multiplicity of styles, motifs and ideas.

By Nalini S Malaviya

The National Gallery of Modern Art, Bangalore is an aesthetically designed building set back from the road in a quiet and green lung space right in the heart of the city. It has become an active and important centre showcasing prominent art exhibitions by artists of international repute. This is where Jogen Chowdhury’s retrospective exhibition featuring more than two hundred works and spanning fifty years is ongoing.

Jogen Chowdhury’s Compelling Presence at NGMA, Bangalore, Art Scene India
Having missed the inaugural programme, I spoke to Jogenda over the phone to know more about the show and to gain further insights into his creative oeuvre. He describes, “My journey, like many others’ I suppose, is fraught with challenges of various kinds. I decided quite early in my life that I was not going to give up at any cost. I would not allow any defeatist mentality to creep in. I was determined to encounter boldly the trials of life and not to collapse under the given pressures. This is the message that transpires from my journey.” Born in 1939, in an East Bengal village, now in Bangladesh, Jogen Chowdhury’s troubled childhood in the aftermath of the Partition and displacement from his homeland has had a long lasting impact. As he explained during our conversation, human tragedy and social situations continue to affect him the most. A difficult upbringing in a Kolkata refugee settlement exposed him to the trials and tribulations of life from an early age. Issues related to identity, displacement, loss and trauma often figure in his works. Disfigurement and distortion of human figures with exaggerated limbs are commonly observed in several of his drawings.

Jogenda finds an interrelation and connectedness between all forms of art, whether music, theatre, performing arts or literature. A writer and a poet as well, he writes poetry in Bengali and has published several collections of poems. His art whether paintings or poetry have a common thread of inspiration, which weaves both lines and words in a fluid rhythm. And, as he says the temperament and personality of the artist remains the same, even if the medium of expression varies.

Jogen Chowdhury’s Compelling Presence at NGMA, Bangalore, Art Scene India

Inspired by folk arts and traditions which are often reflected in his art, he has worked as a textile designer with the Weavers’ Service Centre, Chennai from 1968 to 1972, and then as a curator of the art collection of Rashtrapati Bhavana, New Delhi from 1972 to 1987. This was before he moved to Santiniketan as a teacher in1987, and although retired now, as an Emeritus Professor he is still actively involved with the college.

The retrospective is curated by Soumik Nandy Majumdar and Jyotirmoy Bhattacharya, and the works are categorised and displayed according to specific time periods and highlight significant phases from Jogenda’s career. It is no mean feat to encapsulate and present a prolific body of work, and at the same time classify and give a certain direction to the entire output, especially when it extends over a large timeline, such as this. Featuring works from Jogenda’s college days, studies from nature, still life and portraits, the viewer has an opportunity to appreciate and observe the progression, influences and transformative phases in Jogenda’s visual vocabulary. From the academic line drawings in his early days, the evocative self-portraits from over the years, the smudged lines to the cross hatching, and thick, unbroken lines which he has come to be known for, the exhibition offers the entire range.

Soumik Nandy Majumdar explains in his curatorial note, “Jogen Chowdhury’s personal style can also be understood as a natural consequence of his own affinity with the organic energies of life manifested in nature and an incisive observation of life around. Even the pitch dark background or the sagging people with distinctive facial features or female figures with disturbing scars on their bodies have direct or oblique references to his own traumatic experiences of life around. These references make his works edgy and expressionistic often bordering on social and political satire. Through the caricature-like look of many of his figures Jogen does ridicule the corrupt and fraudulent characters he encounters in various social circuits. It is from the same stylistic mode that he can endow his images with erotic underpinnings as well.”

Clearly, having experienced trauma and significant social changes on a personal level, and having lived through the 1940s, a turbulent, transformative phase of modern Indian history, Jogenda has played an instrumental role in redefining the history of modern Indian art.

The line plays a primary role in Jogenda’s works, as a tool to not merely outline but provide volume, expression, character and emotion, conveying it effortlessly with variations in the edges of the line - its roughness, change in bulk and intensity. The imagery is vital and unembellished, often with minimal components and layered with deeper connotations. The strong referencing in his works combined with traditional stylised imagery make it more nuanced and potent.

For instance, ‘Homage to Nandigram’ stands out as a powerful reminder of the horror and violence in Nandigram in 2007. The series titled ‘Bakasur’ narrates the story of the bird demon – a stark image of a fearsome bird with its tongue sticking out. Several drawings feature a claw, a rigid, ruthless symbol of destruction and inhuman act. In a few drawings the background is bedecked with sequins, glitter and bling, a sharp contrast to the object in the foreground - a sword or a claw. Conflict, social and political comments, human conditions and situations dominate the narratives that are sometimes satirical.

The retrospective is a comprehensive display of artworks which offer a clear spectrum of Jogenda’s visual language, its transformative nature and multiplicity of styles, motifs and ideas. And, most importantly a visual catalogue of a lifetime of experiences in an artist’s oeuvre.

 

The exhibition is on view till May 22, 2016.

------

Publishing this piece in memory of Jogenda, who passed away today (1939-2026).

Note: This article was written in 2016 for an art magazine, but it was unpublished due to certain editorial changes. 

Images courtesy NGMA, Bengaluru


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14 Oct 2026

Passing the Light- Bvlgari celebrates Diwali with its first-ever global Diwali campaign, created in partnership with Indian artist Doyel Joshi

 

The monumental installation "Passing the Light" comprising of 4,500 hand-sculpted terracotta lamps inspired by the traditional diya and reminiscent of the iconic scales of Bvlgari's Serpenti was unveiled on 11th Oct, at the Jaipur Centre for Art. The artwork is a collaborative effort between artist Doyel Joshi and the kumhar community and the local craftswomen who shaped each terracotta piece.

"Passing the Light" - Bvlgari celebrates Diwali with its first-ever global Diwali campaign, created in partnership with Indian artist Doyel Joshi, Art Scene India

Earlier during the day, at a panel discussion held in conjunction with the event, author and columnist Twinkle Khanna appreciated Bvlgari’s commitment to co-authorship, and a celebration of the artisans as co-creators.

Regarding the initiative, Laura Burdese, CEO, Bvlgari expressed, "Diwali, with its timeless celebration of light, speaks to something deeply universal: the renewal of hope, the strength of togetherness, and the enduring power of tradition to illuminate the present."

The installation which was unveiled in the evening, came alive with undulating patterns of light and shadow, while symbolizing the lasting passage of knowledge, creativity, and light through generations. The formal and geometrical structure of the clay elements acquired a sense of plasticity and kinesis through the play of light. It was a commemoration of the material; a receptacle of generations of memory, history and an expression of continuity. The work in terracotta, rooted in Indian tradition and heritage, also draws a parallel with the goldsmithing experience and flair passed down through generations in Bvlgari's ateliers – two vastly different materials - clay and gold.

"Passing the Light" - Bvlgari celebrates Diwali with its first-ever global Diwali campaign, created in partnership with Indian artist Doyel Joshi, Art Scene India
The unveiling of the art installation was attended by author and columnist Twinkle Khanna; Stéphane Larher, Managing Director, Bvlgari Middle East, Africa & India; artist Doyel Joshi; and art patron Noelle Kadar, co-founder of the Jaipur Centre for Art.
Artist Doyel Joshi, who brought a contemporary vision to the terracotta diyas elaborates, “Terracotta is not a humble material. It is a universal one. A diya belongs to the street and to the palace equally; it transcends socio-economic structures.” She adds, “Working with Bvlgari on this installation has been a conversation between two very different histories of making, one shaped in clay, the other in gold, that speak, in the end, the same language of transmission. This installation carries the generational knowledge of the earth it is made from and the hands that made it, passing the light forward.”

The modular format of the installation lends it flexibility to adapt to various spaces and be site-specific as it travels to other locations, and it will be interesting to see it in its iterated forms.

It is encouraging to witness globally renowned brands such as Bvlgari, initiate meaningful dialogs around arts, crafts and cultural resonance, within local and international contexts. Such engagements are vital for the cultural landscape and help in creating a lasting impact. 



To contribute articles, please get in touch at artsceneinfo@gmail.com




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14 Apr 2026

Camera Yoga™ & Nature Art Films – Anil Annaiah’s New Paradigm in Art & Mindfulness

Anil Annaiah Introduces Camera Yoga™ & Nature Art Therapeutic Films as a New Paradigm in Art, Mindfulness, and Well-being

Bengaluru, India — Filmmaker, artist, author, and innovator Anil Annaiah announces an expanding body of work that brings together handcrafted Nature, Art, and Mindfulness through his signature concept Camera Yoga™ and Nature Art Therapeutic Films—positioning them as powerful tools for emotional well-being, awareness, and experiential engagement. 
Anil Annaiah Camera Yoga nature art photography

A New Paradigm in Art and Mindfulness

Anil Annaiah’s work emerges from a deep, intuitive alignment with nature and visual storytelling.

What started as Nature Art photography evolved into a profound practice—one that goes beyond capturing images to cultivating awareness, stillness, and emotional balance. Through years of mindful immersive observation and creative exploration, Camera Yoga™ has taken shape as a method that transforms “seeing” into a meaningful inner experience. As he says, “Camera Yoga™ is not just created. It is realized.” 
Anil Annaiah Camera Yoga nature art photography

Public Survey on Emotional Well-being

As part of this evolving initiative, a public survey has been launched to study the impact of Nature Art Therapeutic Films on individuals. The survey is an integral part of Anil's 13th year of Earth Day Celebrations, and the initiative seeks to demonstrate the transformative power of art and mindfulness by measuring how Camera Yoga™ and Nature Art Therapeutic Films influence emotional well-being. Through immersive visual experiences, the project aims to:
  • Elevate Emotional Health: Foster calm, joy, and resilience by engaging with nature-inspired imagery.
  • Enhance Mental Clarity: Encourage focus, stillness, and mindful awareness in everyday life.
  • Boost Energy & Mood: Use visual storytelling as a catalyst for positivity and vitality.
  • Promote Holistic Well-being: Position art as a therapeutic tool that bridges creativity, science, and human experience.

By inviting public participation in surveys and workshops, the initiative not only validates the impact of art on wellness but also builds a collective movement where creativity becomes a pathway to healing and connection.

This effort is designed to bridge art, human experience, and measurable outcomes, contributing to a growing conversation around art as therapy.

Participants are invited to contribute and be part of this meaningful exploration. 
Click here for the survey 

Upcoming Workshops & Subscription-Based Programs

Anil Annaiah will soon introduce guided Camera Yoga™ workshops and subscription-based programs, offering structured engagement for individuals seeking mindful and creative practices.
  • These programs are designed to:
  • Encourage deeper observation and connection with nature
  • Promote emotional balance through visual expression
  • Provide a guided pathway into art-based mindfulness
  • Explore the therapeutic dimensions of creative practice
More details and schedules will be announced shortly.
Anil Annaiah Camera Yoga nature art photography

Bespoke Nature Art Stills and Films for Corporates & Institutions

In a significant expansion, Anil Annaiah is offering bespoke, specially commissioned Nature Art Films and Photographic Images for corporates, institutions, and brands.

These curated visual installations such as 
Floating with Serenity and My Mirror are designed to: 
  • Enhance workplace well-being
  • Reduce stress and improve focus
  • Create immersive and calming environments
  • Align brand spaces with sustainability and mindful engagement
Delivered as video installations and digital visual experiences, these works transform physical spaces into zones of calm, reflection, and connection. You can watch some of these films here.
Anil Annaiah Camera Yoga nature art photography

About Anil Annaiah

Anil Annaiah is a filmmaker, photographer, artist, podcaster, and author of ten books. He is the founder of Annleela Films and Brand Radianz – Me The Changemaker, and the innovator of Camera Yoga™, a unique practice integrating nature, mindfulness, storytelling, and conservation. His work spans films, visual art, podcasts, and social impact storytelling, with a consistent focus on creating meaningful engagement through creativity.

Website www.CameraYoga.com

27 Jan 2026

apexart International Open Call 2026-27


apexart International Open Call 2026-27, Art Scene India
Opening of Skate, Create, Liberate: Women Artists and the Future of Radical Space in Ethiopia, an open call winning exhibition curated by Betelihem Zena, 2025

apexart INTL Open Call for group exhibitions

Accepting proposals: February 1 - March 1, 2026

apexart invites 500 word idea-based group exhibition proposals for 2026-27 INTL Open Call from February 1 - March 1, 2026. Five winning proposals will each receive a $10k exhibition budget to become apexart exhibitions in their respective locations around the world as part of their 2026-27 exhibition season. Curators, artists, writers, and creative individuals, regardless of experience level or location, are invited to submit a proposal online.

The submission process
Proposals should describe a focused, idea-driven, original group exhibition of 3 or more artists. No biographical info, CVs, links, or images will be accepted. Submissions cannot exceed 500 words and must be submitted in English. Jurors from 85 countries then jury the proposals based on their personal interest, cultural assessment, content and communication of the idea. See examples of winning proposals here.

The selection process
Rather than a typical 5-person panel to review hundreds of ideas, apexart’s crowd-sourced system involves hundreds of jurors from more than 85 countries, reviewing proposals at their own schedule over one month. The jury is composed of up to individuals from a wide variety of professional backgrounds and international locations including students from 20 participating university classes who will rate the proposals. Proposals are anonymous and randomized to ensure each submission receives equal consideration, resulting in more than 30,000 votes on over 600 proposals. apexart staff does not influence the results of the jury in any way.

The results
Each of the five winning proposals will receive an exhibition budget of $10,000; the exhibition brochure, printed and mailed to over six thousand international recipients; and to be a part of apexart’s 2026-2027 exhibition season. apexart provides full admin and logistics support, assisting curators to realize their original ideas into apexart exhibitions. Exhibition curators must work within the funding provided to transform their winning proposals into focused, noteworthy exhibitions. 

To submit an exhibition proposal, visit https://apexart.org/opencalls.php between February 1 and March 1, 2026.



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