Researcher at Center of Art & Archaeology at the American Institute of Indian Studies. I work on archival collection and documenting museum collections in India. Address: Delhi, Delhi, India
International Seminar on Buddhism, Trade and Art at Banaras Hindu University, 14-16 March, 2024
The Kanheri monastery in Maharashtra is notable for its extensive network of over 100 caves and i... more The Kanheri monastery in Maharashtra is notable for its extensive network of over 100 caves and its long period of occupation, distinguishing it from the region's other 1,200 caves. Located within the Sanjay Gandhi National Park, it developed in three phases: the first from the mid-2nd to early 4th century CE, supported by the Satavahanas, during which most of the caves were excavated; the second during the 5th-6th centuries under the Traikutakas, who sponsored new caves and modifications; and the third from the 7th century onwards, with minimal additions under the Rashtrakutas and Shilaharas. The paper analyzes the site's success through economic, political, and cultural lenses, and explores factors such as Buddhism's appeal to seafarers, archaeological evidence of material culture, and the financial and innovative contributions that sustained Kanheri's influence.
Regular Indian Ocean trade between Iran and Western India before and in the fifteenth century fac... more Regular Indian Ocean trade between Iran and Western India before and in the fifteenth century facilitated a rich transfer of artistic traditions to medieval Indian painting even before the Mughal Empire spread the Persian arts and culture in South Asia. The artistic transfer transcended religious boundaries and can be best observed in Jaina manuscript culture of Western India. This study identifies and presents instances of such influences through the case of a Jaina Kalpasutra from late fifteenth century Gujarat. Foreign influence is apparent, but not limited to, in the shift to paper as a medium, extravagant use of new pigments such as ultramarine and gold and direct iconographical borrowings from Persian and Middle Eastern artistic products. However, in absence of recovered art objects or records that would firmly establish the source of these new developments in Western Indian painting, this research also hypothesises the nature of interactions between the two regions on the basis of evidence found at other places that formed part of the Indian Ocean trade network. Iranian art became available in India through patronage, diplomatic relations, gift exchanges and development of in-house Indo-Islamic art and over time elements of Persian art got incorporated in the repertoire of Indian painting collection.
Abbas Kiarostami (1940-2016) was one of the most influential post-revolution (1978-79), Second Wa... more Abbas Kiarostami (1940-2016) was one of the most influential post-revolution (1978-79), Second Wave filmmakers of Iran who accrued universal attention for his atypical cinematic style. Kiarostami helped in setting up the film department for Institute for the Intellectual Development of Children and Young Adults (Kanun). Over the twenty years during which he made films for Kanun, he developed his individualistic style. Kiarostami's cinema is austere and devoid of an ostentatious mise-en-scène. He often empaneled non-actors to play the roles in his films to leverage their wisdom and sincerity. His style is known for mix of fiction and documentary-like elements. His distinguishing cinematic techniques include scenes shot in cars, panoramic long shots, intimate close-ups, real time filming and a realistic diegetic soundtrack. He created a poetic cinema by not only using poetry of Persian poets such as Omar Khayyám, Sohrab Sepehri and Forough Farrokhzad in themes and dialogues, but also by metaphorically linking it with his films. He replaced a large part of the narrative with poetic imagery. Despite his orientation towards minimalism, his cinema is artistically evolved and intellectually challenging. His films often deal with deep philosophical complexities and tickle the conscience. Some recurring themes in his cinema are about life and death, oppressive society and search for identity. Kiarostami gives the audience space for constructive expressionism by keeping the film endings abstract and open-ended. His films invite the audience to introspect, challenge conventions and appreciate unorthodox shots. The scenes selected here illustrate Kiarostami's distinct cinematic style and make us question existential truths.
The Kala Bhoomi, Crafts Museum at Bhubaneswar, Odisha is a one-stop place to witness the splendou... more The Kala Bhoomi, Crafts Museum at Bhubaneswar, Odisha is a one-stop place to witness the splendour of Odia handicrafts and handlooms. The ten galleries are sprawled across a vast 13-acre space that is a retreat for anyone seeking an experience of traditional arts and culture within a scenic backdrop. The terracotta gallery hosts everything from humble and practical kitchenware to more complex figures of Lankapodi Hanuman and intricate paintings. Folklores, epics, and secular art come alive in the traditional painting gallery in the form of pattachitra, papier-mâché and palm leaf paintings. Stone and woodwork and metal work are a testimony to the meticulously created patterns and statuaries. A gallery dedicated to the tribal lifestyle in Odisha showcases their fabric, quotidian belongings, ritual accessories etc. Pre weaving and handloom galleries unveil the journey of larvae to silk and finally into the famed tie-and-dyed sarees that have grossed immense appreciation world over. And if galleryhopping becomes overwhelming, the lush landscape offers plenty of photo opportunities amidst the tulsi chauras, votive horses and ghumas (earthen tumblers) that embellish the courtyards.
International Seminar on Buddhism, Trade and Art at Banaras Hindu University, 14-16 March, 2024
The Kanheri monastery in Maharashtra is notable for its extensive network of over 100 caves and i... more The Kanheri monastery in Maharashtra is notable for its extensive network of over 100 caves and its long period of occupation, distinguishing it from the region's other 1,200 caves. Located within the Sanjay Gandhi National Park, it developed in three phases: the first from the mid-2nd to early 4th century CE, supported by the Satavahanas, during which most of the caves were excavated; the second during the 5th-6th centuries under the Traikutakas, who sponsored new caves and modifications; and the third from the 7th century onwards, with minimal additions under the Rashtrakutas and Shilaharas. The paper analyzes the site's success through economic, political, and cultural lenses, and explores factors such as Buddhism's appeal to seafarers, archaeological evidence of material culture, and the financial and innovative contributions that sustained Kanheri's influence.
Regular Indian Ocean trade between Iran and Western India before and in the fifteenth century fac... more Regular Indian Ocean trade between Iran and Western India before and in the fifteenth century facilitated a rich transfer of artistic traditions to medieval Indian painting even before the Mughal Empire spread the Persian arts and culture in South Asia. The artistic transfer transcended religious boundaries and can be best observed in Jaina manuscript culture of Western India. This study identifies and presents instances of such influences through the case of a Jaina Kalpasutra from late fifteenth century Gujarat. Foreign influence is apparent, but not limited to, in the shift to paper as a medium, extravagant use of new pigments such as ultramarine and gold and direct iconographical borrowings from Persian and Middle Eastern artistic products. However, in absence of recovered art objects or records that would firmly establish the source of these new developments in Western Indian painting, this research also hypothesises the nature of interactions between the two regions on the basis of evidence found at other places that formed part of the Indian Ocean trade network. Iranian art became available in India through patronage, diplomatic relations, gift exchanges and development of in-house Indo-Islamic art and over time elements of Persian art got incorporated in the repertoire of Indian painting collection.
Abbas Kiarostami (1940-2016) was one of the most influential post-revolution (1978-79), Second Wa... more Abbas Kiarostami (1940-2016) was one of the most influential post-revolution (1978-79), Second Wave filmmakers of Iran who accrued universal attention for his atypical cinematic style. Kiarostami helped in setting up the film department for Institute for the Intellectual Development of Children and Young Adults (Kanun). Over the twenty years during which he made films for Kanun, he developed his individualistic style. Kiarostami's cinema is austere and devoid of an ostentatious mise-en-scène. He often empaneled non-actors to play the roles in his films to leverage their wisdom and sincerity. His style is known for mix of fiction and documentary-like elements. His distinguishing cinematic techniques include scenes shot in cars, panoramic long shots, intimate close-ups, real time filming and a realistic diegetic soundtrack. He created a poetic cinema by not only using poetry of Persian poets such as Omar Khayyám, Sohrab Sepehri and Forough Farrokhzad in themes and dialogues, but also by metaphorically linking it with his films. He replaced a large part of the narrative with poetic imagery. Despite his orientation towards minimalism, his cinema is artistically evolved and intellectually challenging. His films often deal with deep philosophical complexities and tickle the conscience. Some recurring themes in his cinema are about life and death, oppressive society and search for identity. Kiarostami gives the audience space for constructive expressionism by keeping the film endings abstract and open-ended. His films invite the audience to introspect, challenge conventions and appreciate unorthodox shots. The scenes selected here illustrate Kiarostami's distinct cinematic style and make us question existential truths.
The Kala Bhoomi, Crafts Museum at Bhubaneswar, Odisha is a one-stop place to witness the splendou... more The Kala Bhoomi, Crafts Museum at Bhubaneswar, Odisha is a one-stop place to witness the splendour of Odia handicrafts and handlooms. The ten galleries are sprawled across a vast 13-acre space that is a retreat for anyone seeking an experience of traditional arts and culture within a scenic backdrop. The terracotta gallery hosts everything from humble and practical kitchenware to more complex figures of Lankapodi Hanuman and intricate paintings. Folklores, epics, and secular art come alive in the traditional painting gallery in the form of pattachitra, papier-mâché and palm leaf paintings. Stone and woodwork and metal work are a testimony to the meticulously created patterns and statuaries. A gallery dedicated to the tribal lifestyle in Odisha showcases their fabric, quotidian belongings, ritual accessories etc. Pre weaving and handloom galleries unveil the journey of larvae to silk and finally into the famed tie-and-dyed sarees that have grossed immense appreciation world over. And if galleryhopping becomes overwhelming, the lush landscape offers plenty of photo opportunities amidst the tulsi chauras, votive horses and ghumas (earthen tumblers) that embellish the courtyards.
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