Indian Art Framing in Robbinsville and Mercer County, NJ
Serving the Akshardham temple community and Indian families across Mercer County
Robbinsville and Mercer County collectors trust CustomPictureFrames.com for Indian art framing. Located in Somerset, NJ, we serve Robbinsville and Mercer County and surrounding areas with custom-cut frames in any size, framer's grade acrylic glazing (with non-glare acrylic available as an upgrade), and 3-5 business days turnaround on standard orders. Pichwai, Madhubani, Kalamkari, and Tanjore pieces benefit from deep-profile mouldings (1.5 to 3 inches), spacered glazing, and acid-free mounting that protects natural pigments and gold leaf from contact damage. Local pickup at our frame shop is available by appointment for customers who prefer to skip shipping. Open the frame designer to enter your exact dimensions.
Picture Framing for the Mercer County Indian Community
We provide picture framing for Indian families across Mercer County, with particular focus on Robbinsville, home to the BAPS Swaminarayan Akshardham temple. The temple anchors a substantial Gujarati and Rajasthani community in central New Jersey, and our framing service supports the families who visit it. We serve Hightstown, East Windsor, West Windsor, Princeton Junction, Princeton, Hamilton, Trenton, and Lawrenceville, with our framing facility located in Somerset.
Robbinsville sits about 35 minutes south of our Somerset workshop, and many families coming from the Akshardham temple area combine a Saturday morning consultation with other errands in the Somerset and Franklin Township corridor. Walk-ins are welcome during weekday hours, and evening and Saturday slots are available by appointment so multiple family members can be present for the design conversation. Pieces brought from India by relatives, purchased on a trip back home, or inherited from parents or grandparents all benefit from an in-person review so we can confirm the substrate, surface, and any prior conservation work before recommending a frame profile.
Indian Art Traditions We Frame
Indian art covers a wide range of substrates and surface conditions, and each tradition asks for a different framing approach. Below are the traditions we handle most often for Mercer County families, with links to the dedicated pages where we cover each one in depth.
Tanjore Paintings
Tanjore pieces are painted on cloth-wrapped wood panels and carry raised gesso work, gold foil, and often embedded stones. The dimensional surface needs shadow box depth (typically 1 to 2 inches) so the gold leaf and gesso never touch the glazing. See our dedicated Tanjore painting framing page for the full conservation approach.
Pichwai Paintings
Pichwai is a painted-cotton (sometimes silk) tradition from Nathdwara, Rajasthan, and the textile substrate asks for archival cotton backing, never linen, and a minimum 10 mm spacer between glazing and surface so the paint is never in contact with acrylic. Read more on our Pichwai painting framing page.
Madhubani Paintings
Madhubani is painted on handmade paper from Bihar, and the paper substrate asks for reversible hinging, acid-free mounting, and archival glazing options. Our Madhubani painting framing page walks through the paper-specific conservation steps.
Other Indian Folk and Contemporary Work
We also frame Mysore, Kalamkari, Warli, Phad, Pattachitra, Kerala mural, Gond, and other Indian folk and contemporary art. Each substrate (textile, paper, wood, or scroll) has its own conservation needs, and we walk through the right approach for your piece during the in-person consultation.
Our Conservation Approach
For South Asian art with relief work, gilding, natural pigments, or textile substrates, we use archival acrylic glazing held off the artwork's surface with spacers, acid-free backing, and reversible mounting methods. Framer's grade acrylic is our standard, with non-glare acrylic available as an upgrade. The conservation work itself protects the piece against contact, acidity, and the humidity swings typical of central New Jersey.
Spacer construction follows the Western Australian Museum textile-display standard of a minimum 10 mm clearance between the glazing and the artwork surface, which is particularly important for raised gesso, gold leaf, and cotton or silk substrates. Backing materials are chosen for the substrate: archival foam core with ventilation for wood panels, archival cotton or cotton-poly blend for textile pieces, and acid-free four-ply mat board for works on paper.
Respecting the Piece and the Space
Many Indian art pieces are devotional objects with active spiritual significance, not just decorative pieces. When you bring a piece to us, we will ask where it will be displayed, whether in a puja space, family room, or other setting, because that affects the frame depth, hanging hardware, and weight. We treat every piece with the care it deserves.
Vastu Shastra placement guidance is a real design input for many families, and we account for it in the consultation. Wall position, intended viewing direction, and proximity to other religious objects all influence the frame profile, depth, and mounting choices we recommend. If the piece is intended for a puja space, we will discuss hanging height, the weight rating of the hanging hardware, and whether a deeper shadow box profile is preferable to a flat picture frame for the specific substrate.
For any antique, high-value, or visibly damaged piece, we recommend a consultation with a paintings or textile conservator through the American Institute for Conservation's Find a Conservator directory before framing.
Visit Us
Walk in during weekday hours, or book an evening or Saturday slot through our scheduling for a quieter consultation. Bring your piece, photos of the display space, and any family members or advisors you would like present. Free parking and walk-ins are welcome, we keep real moulding samples in-store for in-person review, and our solid wood frames are built on-site at our Somerset workshop.