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Category: Arts & Culture

  • Tree and Serpent – Unveiling Early Buddhist Art in Ancient India

    Tree and Serpent – Unveiling Early Buddhist Art in Ancient India

    The exhibition is particularly noteworthy for the series of spectacular sculptural masterpieces from southern India that will be exhibited to the public for the first time, including newly discovered works of art from ancient monastic sites in the Deccan….reports Asian Lite News

    Opening at The Metropolitan Museum of Art on July 21, 2023, the exhibition Tree and Serpent: Early Buddhist Art in India, 200 BCE–400 CE illuminates how the religious landscape of ancient India was transformed by the Buddhist presence. Featuring more than 125 objects, including major loans from India, the exhibition consists of stone sculptures associated with the adornment of the stupa—the monumental dome structures that housed the Buddha relics—as well as metalwork, ivory, ceramics, paintings, and jewelry. It presents a series of evocative and interlocking themes to reveal both the pre-Buddhist origins of figurative sculpture in India and the early narrative tradition that was central to this formative moment in early Indian art.

    The exhibition is particularly noteworthy for the series of spectacular sculptural masterpieces from southern India that will be exhibited to the public for the first time, including newly discovered works of art from ancient monastic sites in the Deccan.

    Max Hollein, Marina Kellen French Director of The Met, said: “Buddhism inspired an extraordinarily innovative and beautiful flowering of art in ancient India. It is a tremendous honor to present this stunning exhibition—and to introduce new discoveries from this pivotal moment in the history of art—to our global audience. We express a special thanks to the Government of India and the six state governments in India, who have all been generous lenders to this pioneering exhibition, along with institutions in Europe and the United States.”

    Govind Mohan, Secretary, Ministry of Culture, Government of India, remarked: “It gives me immense pleasure to learn that this international exhibition is being organized by The Met, in joint collaboration with a consortium of Indian museums to enhance cultural exchange between India and the United States of America. The exhibition will most definitely reinvigorate interest in India’s cultural heritage through its artefact wealth and will lead to deeper understanding of cultural diversities of two nations and appreciation among the people. I wish the exhibition a grand success.”

    Randhir Jaiswal, Consul General of India, New York, commented: “We are truly delighted to partner with The Met in bringing this important Buddhist art exhibition to the U.S. This exhibition will allow the Museum’s audiences to delve deep into India’s ancient past and understand how Buddhist thought and culture shaped our imagination and progress. That this exhibition is being held at a time when India celebrates 75 years of its independence, ‘Azadi Ka Amrit Mahotsav’, makes the event truly memorable, and I wish it every success.”

    John Guy, Florence and Herbert Irving Curator of South and Southeast Asian Art at The Met, said: “This exhibition presents the story of the origins of Buddhist art through the lens of newly discovered masterpieces from early India. It showcases the beginnings of Buddhist art in southern India and presents it in a wider landscape of early Buddhist devotional practice, centered on honoring the Buddha and his relics. Buddhist monasteries were places for meditation but were also, on occasions, places for noisy festivals, the air heavy with the fragrance of fresh flowers and perfumes. The lived traditions of early Buddhism are foregrounded here, along with the role of beautiful stories that found expression in the art adorning the stupa. This is an exhibition that celebrates the senses, just as Buddhist worship does.”

    Much of the earliest Indian art was produced in the service of Buddhism, a religion that emerged in northern India in the 4th century BCE as a result of the teachings of the Buddha Shakyamuni. This thematically organized exhibition explores the pre-Buddhist nature cults of India that influenced early Buddhist art, the role of stupas and relic worship, the role of patrons, and the influence of India’s global position, including its international trade with the Roman world. The resulting art was cosmopolitan and new, and devoted above all to the celebration of the Buddha and his message.

    Highlights include sublimely beautiful renderings of stupas, sections of ceremonial gateways, and processional railings protected by awesome rearing cobras (nagas). Housed within are the precious relics marking the Buddha’s presence, honored through these sculptural adornments— masterpieces of early Buddhist art.

    The magnificent exhibition, which traces the history of Buddhist art, was made possible by Reliance Industries Limited and founder and chairperson Reliance Foundation, Nita Ambani. Ambani has been a lifelong and ardent supporter of the museum. In 2019, she was designated an Honorary Trustee of The Met, making her the first Indian individual to serve on the board of trustees. She has continued to promote the best of Indian art to audiences throughout the world in this capacity.

    Commenting on the occasion, Nita Ambani said, “I come from India, the land of the Buddha, and it is a huge honour for me to support ‘Tree & Serpent’ through Reliance Foundation’s partnership with The Met. This historic exhibition traces the origins of early Buddhist art from 2nd century BC to 4th century AD, with over 125 objects from ancient India. With the ‘Tree & Serpent,’ we take immense pride in showcasing the deep-rooted connection between Buddhism and India. The teachings of Buddha are entwined with Indian ethos and continue to shape global thought. I hope people from around the world come and enjoy this one-of-a-kind experience. We remain committed to bringing the best of India to the world, and the best of the world to India.”

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  • A Breathtaking Art Show by Rang Mirage

    A Breathtaking Art Show by Rang Mirage

    The art show will feature the artworks of more than 30 artists including the paintings of illustrious artists like MF Husain, Paresh Maity, SH Raza, Sanjay Bhattacharya, Arpana Kaur, Ganesh Pyne, Dhiraj Choudhary, O P Sharma, Raja Ravi Verma etc…reports Asian Lite News

    Prepare to be captivated from beginning to end at a 7-day exhibition showcasing stunning watercolor paintings, mesmerizing drawings, and an array of textures and colors that will leave a lasting impression.

    The “Master Collection” Art Show by Rang Mirage features a stunning display of legendary and masterful artworks. Held at the Rang Mirage Art Gallery in Sainik Farms.

    The artists on display include M F Husain, Paresh Maity, Manu Parekh, Jogen Choudhary, , S D Shrotriya, Satish Gujral, Biman B Das Bihari, Sanjay Bhattacharya, F N Soza, Sakti Burman, Dhiraj Choudhary, Chandan Sen Gupta, Kartick Chandra Pyne, Prokash Karmakar, S H Raza, Manoj Mitra, Sujit Bera, Manas Ranjan Jena, S K Pandita, Ramesh Gorjala, Om prakash sharma, Siddharth, N S Rana, Ramesh Gorjala, Amit Bhar , Vijender Sharma, Biman Bihari Das, Niladri Paul, Purnendu Mondal and more. 

    The art show will feature the artworks of more than 30 artists including the paintings of illustrious artists like MF Husain, Paresh Maity, SH Raza, Sanjay Bhattacharya, Arpana Kaur, Ganesh Pyne, Dhiraj Choudhary, O P Sharma, Raja Ravi Verma etc. 

    Fact Sheet

    Date: 15th to 20th July 2023

    Time: 11:00 AM to 8:00 PM

    Address: A-58 Central Avenue, Sainik Farms, gate no. 1, New Delhi

    Contact number: +91-7290091801, +91-7982812782

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  • ‘Every artist is different, that comes forth in their work’

    ‘Every artist is different, that comes forth in their work’

    Also a member of pure classical-based percussion band ‘LayaCurry’ that was created in early 2015 and brings the second generation of musicians, she says: “The duration of pieces is much shorter without compromising on purity.”…writes Sukant Deepak

    She was three years old when the training started. Even childhood games revolved around dance. At different stages, she has been a witness to the God-like stature of her grandfather Pt. Birju Maharaj enjoyed the world of dance.

    But Shinjini Kulkarni understood pretty early that as an artist it was important for her to separate herself from the identity of Maharaj’s granddaughter. “You cannot even imagine the pressure. And it gets amplified when you perform in cities where people have witnessed him on the stage. I feel it is important for me to live up to the expectations but also find my own voice. Every artist is different and that comes forth in their work,” Kulkarni, who is now the ninth generation of the Kalka Bindadin lineage tells.

    Though given a choice, she would have taken up Bharatnatyam but being born into a legacy, she decided otherwise. Realizing that to ‘remain’ a part of the family narrative, Kathak should be her choice, she adds, “I did not want to feel left out and excluded from the conversations,” smiles the dancer who has performed at the Khajuraho Dance Festival, Sankat Mochan Samaroh, Taj Mahotsava, Chakradhar Samaroh, Kalidas Festival, Kathak Mahotsava, etc besides shows at New York, San Francisco, Houston, Minneapolis,  Bangkok, Tehran, and Chabaha.

    Trained by her grandfather, Kulkarni, who gave her first performance at the age of eight, stresses that she never missed out on a normal childhood or youth — “Whenever a production is being created, so much goes behind the scenes which can be very exciting for a child. Just because I was being trained by a legend, does not mean that I was not expected to behave like a child. By the way, dance brought a lot to my student life. I took great pride in being a part of that community in college when people were bickering about silly things. And yeah, during college, when girls were competing on who will wear the shortest skirt, my leheriya dupattas would make many people pause, “ she laughs.

    A History Honours pass-out from St. Stephens College (DU) in the Capital, Kulkarni did think of preparing for UPSC but that would mean giving up on rehearsals, something she did not want to do. In Chandigarh recently where she enacted the role of Meera in ‘Veer Meera’ – a musical, she says that while it was important to be factually right about the subject, her effort was to lend the performance a new edge. “It is about what can be done differently. She has been depicted beautifully multiple times. But how to make the movements thought-provoking and leave my signature is what matters.”

    Also a member of pure classical-based percussion band ‘LayaCurry’ that was created in early 2015 and brings the second generation of musicians, she says: “The duration of pieces is much shorter without compromising on purity.”

    Kulkarni, who performed a dance sequence in Muzaffar Ali’s movie ‘Jaanisaar’ and will soon be seen as the lead dancer in a ballet to be staged at the Lotus Temple says he is in many ways a mentor for her.  “I also associate myself with the aesthetics that he creates on stage and the camera. The way he builds up a dance is like a painting because primarily he is one (a painter). Of course, we have a shared love for everything Lucknow.”

    While she may be exploring different art forms and training actors, cinema is not something she is planning to chase right now. “There is a certain contentment in what I am doing right now. Yahan sukoon hai,” she concludes.

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  • Symbiotic bond between pop culture and art

    Symbiotic bond between pop culture and art

    Renowned as KAWS in the Western contemporary art realm, Brian Donnelly is an esteemed artist and designer celebrated for his exclusive limited-edition toys, paintings, sculptures, and prints that span various mediums…reports Sneha Gautam

    The symbiotic relationship between popular culture and art has long served as a wellspring of inspiration and influence for artists worldwide. By seamlessly weaving together famous iconic symbols, renowned celebrities, and mass media references, artists are able to captivate a broader audience while offering insightful commentary on contemporary issues.

    This profound connection not only provides a shared language and visual vocabulary, but also fosters a deeper understanding of the artwork. In celebration of the enduring influence of popular culture on art, the upcoming ‘Masterpieces & Editions’ auction showcases a curated selection of works by international artists. These remarkable pieces reflect the multifaceted ways in which popular culture has inspired and shaped artistic expression across different mediums.

    THE SPRING AT EVIAN (Perrier) by Salvador Dali´

    Salvador Dalí, renowned for his thought-provoking and surreal art, was also a pioneer in understanding the impact of mass media after the war. He embraced the changing role of artists and ventured into commercial endeavors, crafting captivating advertisements, posters, and visual designs. Collaborating with various brands, Dalí’s innovative thinking and artistic talent produced visually stunning works infused with unconventional symbolism and intricate details. One such creation is ‘The Spring At Evian’ (Perrier), a 1968 model for a Perrier water advertisement. Executed with ink and collage on gilt paper, the composition features strategically placed, vividly colored figurative cutouts that capture attention. The use of vibrant hues like purple, blue, red, and black further heightens the surreal ambiance of the piece.

    LINCOLN CENTER TICKET (Ed : 500) by Andy Warhol

    Andy Warhol, an iconic figure of the Retro Era, lives on through his unique, quirky art. He revolutionised the art world by exploring consumerism, mass production, and celebrity culture, pushing the boundaries of traditional art. The ‘Masterpieces & Editions’ Auction will feature four of Warhol’s works, including a poster he made for the Fifth New York Film Festival in 1967. This vibrant piece showcases colourful floral designs and black text, created through a screen printing process.


    JACQUELINE KENNEDY III (JACKIE III) 15 (Ed :19/200) by Andy Warhol

    The captivating artworks of Andy Warhol, commonly referred to as his Death and Disaster pieces, garnered immense recognition. Among them, this particular piece draws its essence from the mournful occasion of Jackie Kennedy’s presence at her husband’s presidential funeral. Warhol found inspiration for these screenprints in press photographs he collected during the aftermath of President John F. Kennedy’s assassination. With a deliberate focus on capturing Jacqueline Kennedy in iconic moments shortly before and after the loss of her beloved husband, Warhol skillfully crafted this remarkable artwork.

    SKULL SPIN PAINTING by Damien Hirst

    Damien Hirst’s artistic practice has been defined by his spin paintings, which originated from a significant childhood inspiration. At the tender age of nine, Hirst was captivated by a 1975 episode of the British show Blue Peter, where John Noakes demonstrated spin painting using a motorized cardboard machine. This mesmerizing childhood memory stayed with him, and in the early 1990s, Hirst earnestly began incorporating this technique into his artistic repertoire. In 1993, Hirst introduced the spin painting series at a London street fair, donning a clown costume and inviting the public to participate in his spin art stall. The following year, he furthered his exploration by installing a spin machine in his studio. The artwork presented here, created in 2009 using acrylic on paper, is part of a series of spin paintings where Hirst once again collaborated with the public.

    THE NEWS (Ed : AP 6/20) by KAWS

    Renowned as KAWS in the Western contemporary art realm, Brian Donnelly is an esteemed artist and designer celebrated for his exclusive limited-edition toys, paintings, sculptures, and prints that span various mediums. The showcased piece, titled ‘News,’ is a screenprint on wove paper created in 2017. In line with his other notable series like Tension, these artworks are distinguished by their captivating circular composition. The News series offers an intimate glimpse into KAWS’ iconic cartoon characters, which are somewhat concealed by a vibrant fusion of overlapping shapes and intense, acidic hues. Observers are invited to peer into a magnified fragment of a broader image, revealing KAWS’ deep fascination and exploration of abstraction.

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  • Prabhakar Barwe: Between Object & Space, a solo show on modernist Barwe

    Prabhakar Barwe: Between Object & Space, a solo show on modernist Barwe

    Opening on 22 July 2023 for a month, it includes portraits, anatomical studies, landscapes from his travels across Europe, his engagement with the vibrant social life of the time, and his haunting anxiety about death…reports Asian Lite News

    In this intimate exhibition, Prabhakar Barwe: Between Object & Space, a solo show on modernist Prabhakar Barwe, DAG presents a selection of watercolours, drawings, paintings, textiles, and sculpture spanning the gamut of the artist’s interests across several decades of his practice.

    Opening on 22 July 2023 alongside Altaf: Early Drawings in the second space, it serves as an introduction to one of the most important artists of modern Indian art and also showcases drawings of motifs that formed part of his body of work at Weavers’ Service Centre, revealing the relationship he helped bridge between art and craft—a rare opportunity to see so many works of high quality by Barwe in the same space.

    “Exhibitions on Prabhakar Barwe are extremely rare because a sizeable body of works by this modern abstractionist are impossible to find. A recent retrospective at NGMA Mumbai and New Delhi, with loans from institutional and private collectors, showed the amazingly extensive oeuvre of this extraordinary artist. Barwe was a highly accomplished artist who experimented with techniques and styles, adapted technology, used enamel paint, intellectualised art practice (even writing a manifesto, Kora Canvas, in the form of a book), employed tantra, but most of all liked to provoke viewers into thinking about objects and their relations hip to us. this is why everyday objects cast such a spell in his work.” – Ashish Anand, CEO and Managing Director, DAG

    This is a rare opportunity to see so many works by the artist of high quality in the same space. Post a retrospective exhibition held by DAG in Mumbai in 2017 and New Delhi in 2018, the blue- chip gallery announces a unique exhibition on Altaf’s early drawings from the 1960s and ’70s with an aim to place the artist’s formative years and art within his milieu including the books he read, the music he listened to, the films he watched, the actors and writers he admired, recreated in one of its Mumbai galleries. Curated by his daughter Sasha Altaf, these early drawings—from academic studies to doodles and abstract watercolours—exhibit the range of his engagement with art in London and Bombay in this exciting period. Opening on 22 July 2023 for a month, it includes portraits, anatomical studies, landscapes from his travels across Europe, his engagement with the vibrant social life of the time, and his haunting anxiety about death.

    Accompanied by a book illustrated by his drawings, the exhibition also sees the release of a second book, Altaf, The Journals, 1963-73, which shows him as a thinker whose writings shed light on an era that now survives as a faint memory. Published by DAG and edited by Sasha Altaf, this 500-page volume is a testament to one of India’s most socially conscious artists and his deeply humanistic perspective – from how riots impacted the impoverished to manmade catastrophes that held no one accountable – and was seared by the human tragedy of it all. Another interesting piece of writing is by H. Masud Taj whose life oddly paralleled Altaf’s, about which he writes from a deeply personal perspective. He draws inferences with telling examples about their individual beliefs, their words as poets, and instances where architecture and art collude and cross over into each other’s zones. Premjish Achari’s essay on Altaf’s drawings comes from a place of reflection that draws from various Marxist philosophers. While his later concerns with capitalism, authoritarianism, institutional capriciousness, and political disenchantment are well known, his early period which formed the foundation for his sensitive and deep intellectualism is less known. DAG’s exhibition of his early drawings is aimed at filling this gap.

    ‘With his retrospective exhibition, which we opened in Mumbai in 2017, travelling next to New Delhi in 2018, I became more acutely aware of the Altaf’s career. The drawings in this book I saw some years later and knew, instinctively, that they deserved an exhibition of their own. Any artist’s doodles and sketches are the grammar they use to create their lexicon, and these early drawings are the most intimately we will know Altaf— the artist as well as the person. The drawings converge with another interesting aspect of Altaf’s life, his journals, or diaries, that he wrote between 1963 and ’73, which his wife, Navjot, and daughter, Sasha, found when clearing through his cupboards following his death. The diaries—published alongside this catalogue—will reveal a more vulnerable and intimate side of Altaf. Together with these drawings, it will help establish the foundation and thinking on which Altaf built his practice. I could think of no one better than Sasha to edit Altaf’s journals, or curate this exhibition of drawings. She has the voice of an art historian, her own convictions, the ability to see Altaf’s works from a place up close, and yet with dispassion. Both projects have improved from her sharp insight as well as her personal warmth.’ – Ashish Anand, CEO and Managing Director, DAG.

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  • ‘Translation is not to impose meaning on a text’

    ‘Translation is not to impose meaning on a text’

    Stressing that there cannot be a rigid ‘process’ when it comes to translations, he feels different texts require different approaches, thus the process can also change and it is hard to make general rules…writes Sukant Deepak

    In the course of writing on/interviewing several authors who have won major awards, a name would come up repeatedly in the conversation — Rahul Soni. They insisted that the work would not have in its current avatar if Soni had not edited it. One of them even said, “He deserves the award as much as I do — for acquainting me with so many possibilities…”

    And they were also right about another thing — he liked being in the shadows.

    Also, a translator, his translation of Shrikant Verma’s milestone book of poetry ‘Magadh’ which was published in 2013 has been revised and recently hit the stands (published by Westland Books). In fact, the editor/translator’s translation of International Booker Prize-winning author Geetanjali Shree’s ‘The Roof Beneath Their Feet’ (Penguin) was also republished two months back.

    Soni, who first encountered Verma’s ‘Magadh’ in 2007 post a friend’s recommendation remembers that he started translating it almost immediately before he had even finished reading the collection in its entirety. “I was struck most of all by the language, the most arresting thing about the collection – the almost-paradox of its pared-down vocabulary and repetitions, against the slippery circularity and riddle-like ambiguities of its locutions. There was also the intense, often unbearably overwhelming, even indiscriminate, sense of loss – for times, for places, for people – that haunted its pages. I had never translated anything until then; in fact, I didn’t think of what I had begun doing as ‘translation’ at all – I was just so struck by the voice of these poems that I wanted to see if it was possible to achieve those effects in the language I wrote in, i.e., English.”

    Stressing that there cannot be a rigid ‘process’ when it comes to translations, he feels different texts require different approaches, thus the process can also change and it is hard to make general rules. For him, the effort is to try and replicate the effects of the original (“there’s a phrase I’ve grown very fond of:  the ‘literal force’ of a text”) in the target language without adding or subtracting anything – which he feels is that is ideal. “The other thing I try very hard to do is to resist interpreting. As a translator my job, I feel, is not to impose meaning on a text. It helps, for me, to approach the early drafts as a writer – to try to create a poem or a story that works first, and then over the course of many drafts and revisions get closer and closer to the original…”

    Talk to him about the many many writers who acknowledge his work and if editors are finally coming out of the shadows, and he stresses that editors, much like translators, have been mostly doing their thing invisibly; often the best compliment to their craft has been that it is unnoticeable… “I feel lucky that my work has been acknowledged, and I have had the good fortune of getting to work with a number of remarkable writers and translators, perhaps more than my fair share…”

    Someone who co-founded ‘Pratilipi’, a bilingual literary journal that carried a lot of translations, and was also associated with ‘Almost Island’ and ‘Asymptote’, he feels we need many more small magazines. Arguing that small presses and little magazines are crucial to the health of literary culture in any language – to keep it vibrant, diverse, to push the envelope and take risks, he adds, “One cannot rely on mainstream publishing to do that.”

    While the past decade and a half has witnessed a boom in translations from Indian languages into English, he says some important changes that have come about in the past few years – Arunava Sinha’s translation of Sankar’s Chowringhee and then Srinath Perur’s translation of Vivek Shanbhag’s Ghachar Ghochar were perhaps key turning points.

    “Translation has moved beyond the realm of the worthy, you-ought-to-read-this literary classic, and the focus has shifted equally to more modern and contemporary literary works, and to a larger variety of works – including non-fiction, and commercial and genre fiction. Some major literary prizes now recognize and award translations; there is more awareness in the media and more conversation around it. So there has been more work in translation being published perhaps – or it’s been more visible, certainly. I’m not sure it has necessarily translated into a greater readership for these books though.”

    As the conversation veers towards the market for literary works published in English in India, he feels the same has always had a very niche audience owing to a host of economic and socio-cultural reasons. Stressing that the average sales of a work of ‘literary fiction’ in the English language in India, whether it has been written originally in English or is a translation, are not very different, the editor-translator adds, “Poetry fares a little worse, but again, I’m sure the numbers for English originals and translations are not all that different here either. I do not think most readers of literature discriminate between whether a work is a translation or not. It is a small market, one that I don’t think has expanded much in the past many years and would not rapidly expand in the near future.”

    Busy publishing full-time, at the moment (“and a number of books that I am very happy about”), he says there are some writing and translation projects/ ideas he would like to get back to. “But like most of us, I am struggling to balance the demands of job life and creative work.”

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  • The Mantram at Birla Millennium Art Gallery

    The Mantram at Birla Millennium Art Gallery

    In his London show, Mr. Chowdhary presents a profound study of Shiva and his role in the creation of the universe, exploring the intricate matrix behind it. He delves into the Shree Yantra and its various aspects…reports Asian Lite News

    Ajay Kumar Chowdhary, an alumnus of the National Institute of Design, Ahmedabad, is showcasing his works at an exhibition in London. The exhibition, titled “The Mantram,” is being held at the MP Birla Millennium Art Gallery in West Kensington.

    Mr. Chowdhary, a versatile and passionate artist, explores various mediums and subjects in his works. With 14 years of experience in the art field, he has delved into the anatomy of human and animal forms. His unique artistry lies in his ability to blend different mediums seamlessly.

    In his London show, Mr. Chowdhary presents a profound study of Shiva and his role in the creation of the universe, exploring the intricate matrix behind it. He delves into the Shree Yantra and its various aspects.

    Exhibition Details:

    Title: The Mantram

    Venue: MP Birla Millennium Art Gallery

    Address: 4A Castle Town Road, West Kensington, London, W14 9HE

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  • Best books for your July reading list

    Best books for your July reading list

    The poems in the collection offer an artistic blend of tender response and thoughtful reaction to social realities, as well as an explosion of powerful emotions from a voice sought to be subdued…reports Asian Lite News

    There’s nothing like a good read to get you through the sweltering days of July. Check out these titles:

    India’s Secret War By Ushinor Majumdar

    There are millions of tiny acts of resistance during any fight for liberation. Some of those result in victories and some in defeats. The Bangladesh Liberation War is full of such stories where India participated in these acts of resistance but till now, it has largely remained a secret, gathering dust in the BSF’ s archives.

    India’s Secret War by Ushinor Majumdar is the first detailed, public telling of how India, through the BSF, trained, equipped and fought side-by-side with the regular and irregular forces of Bangladesh. This was above and beyond the paramilitary force’s mandate to guard borders. And the BSF did not fight with only guns-it also reached out to the Awami league leaders, arranged direct meetings with the Indian PM and helped set up the first and exiled democratic government of Bangladesh.

    Dreams of a Healthy India | Edited by Syeda Hameed and Ritu Priya

    Dreams Of A Healthy India looks at the state of health care in india and the means to democratize it with more pro-people design elements. it features the views of some of the foremost experts in the health field, demystifying the issues of health care systems for the general reader, and simultaneously provokes rethinking on several critical dimensions through writings by policymakers, practitioners and academics. this volume suggests that an indigenously developed health-care system, based on public-community partnerships, and respect for the plurality of needs, experiences and knowledges, can generate such health care for every Indian.

    Office Secrets​ by Harish Bhat

    Office Secrets offers a selection of fascinating and useful secrets that can help you be far more successful at your workplace. As a bonus, they can make you happier as well. You will find within a range of subjects-whether the best methods of fighting exhaustion, organizing your work desk, the power of listening, why kindness is so important, workplace lessons from Hercule Poirot and what you can learn from the cookies that your colleagues eat.​

    Varavara Rao by N. Venugopal and Meena Kandasamy

    Varavara Rao: A Life in Poetry is the first-ever collection in English of poems by the Telugu poet, selected and translated from sixteen books that he has published. Having begun to write poetry in his early teens, Varavara Rao, now in his early eighties, continues to be a doyen of Telugu modern poets.

    He was a consistent comrade-in-letters to all the social movements from the 1960s to the 2010s, and this volume is a capsule of momentous social history captured in his poetic imagination.

    The poems in the collection offer an artistic blend of tender response and thoughtful reaction to social realities, as well as an explosion of powerful emotions from a voice sought to be subdued. Varavara Rao’s poetry, more than anything else, is an offering of solidarity to the voiceless, the underdog and the oppressed.

    Goa, 1961: The Complete Story of Nationalism and Integration by Valmiki Faleiro

    The subject of the liberation of Goa in 1961 and its integration into the Indian Union in 1962 is sparsely understood at best and misunderstood at worst. Faleiro lucidly outlines the prevailing political atmosphere and its changing character, the part played by indigenous independence movements and freedom fighters leading to the liberation of Goa, and the impact of its consequent assimilation into India. Extensively researched and extremely well-written, Goa, 1961 is a seminal book on an important subject and a must-read for anyone interested in Indian history.

    This book starts with the background of occupation of Goa by the Portuguese in the year 1510 – the first foreign occupier in India, older than the Mughals. It deals with history of the resistance put up by natives of Salcete against the colonial occupier barely fifteen years from the time Salcete came under Portuguese rule. It provides a backdrop of life and politics in Goa, in the face of changing political and economic vicissitudes in Portugal, and the birth of local nationalism. From the time Portugal came under a dictatorship in 1928 to after India attained Independence in 1947, it deals with the local aspiration for freedom and India’s diverse non-violent steps for fourteen years (1947-1961), ending finally with a detailed account of India’s military operation that relieved the colonial yoke and its aftermath – locally, in India and across the world (Portugal was an European country, a member of the North Atlantic Treaty Organisation NATO). It is the first book to shed light on all aspects of a story little understood at best or misunderstood at worst.

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  • ‘Avatar pack worked as a big marketing tool ‘

    ‘Avatar pack worked as a big marketing tool ‘

    Excited to see people interact with his creations, and have conversations about his work, Singh stresses that while there are perks to communicating online, physical shows leave a very long-lasting impression…writes Sukant Deepak

    The most well-known Indian name in NFT (Non-Fungible Tokens) having earned around 3.9ETH when he minted his first NFT ‘Frida Toy Face’ in February 2021, artist Amrit Pal Singh smiles and says that he is the kid who did not give up playing with toys.

    “I am as fascinated by them as I was when I was five. I played and appreciated everything. Some of my favourites include GI Joes, Lego, Puzzles, Board Games, and Arcade Games. I got into 3D because I was drawn towards cartoons and illustrations,” Singh tells IANS, adding that he started quite early on and even made doodles for the school magazine.

    Singh evoked nostalgia worldwide with his collection of Toy Faces & Toy Rooms, resulting in over 94 NFTs and 384+ ETH in primary sales.

    Even as his three-city tour exhibition presented by Method and Hefty.Art will conclude its journey at Bangalore in Church Street Social (July 23), after a successful run in Delhi and Mumbai, Singh says after two years of being active online and doing group shows all around the world, he was looking to do a solo show when he met Method’s Sahil Arora at the India Art Fair. “We ended up with the idea of doing a travelling solo art show. The main reason behind it was to give my audience a tangible experience, and to increase the reach of my work in the traditional art world,” he recalls.

    Excited to see people interact with his creations, and have conversations about his work, Singh stresses that while there are perks to communicating online, physical shows leave a very long-lasting impression.

    “The feedback was incredible! Some said they had never seen something like this before with huge smiles on their faces. Others appreciated the volume of my work and it fascinated them what all can be done with digital art.”

    Talking about his NFT journey ever since he minted your first one — ‘Frida Toy Face’, the artist recalls ‘Toy Faces’ as NFTs started with a bang as he already had a great community from its first year. He went all in after his first few NFT sales and there were several wins and great stories including one of his biggest sales of Daft Punk Toy Faces and a collaboration with a senior artist who worked on the original Transformer Comics and Toys.

    “There were also struggles and unpredictability due to the association of the crypto market with NFTs but overall this has been an incredible tool for me to push my creative pursuits on a global level.”

    For Singh, an idea starts taking shape by creating a lot of mood boards capturing the vibe and energy of the subject. After that, he defines things that make the subject iconic. “I love using a lot of symbols that represent the likeness of the subject so there needs to be a lot of thought around it. Toy Faces is like a canvas now with its basic shape and structure and with each portrait I keep it the same and build upon it,” he says.

    As a person of colour and a religious minority, diversity, and representation is definitely important to him. The entire Toy Face idea came with an interesting illustration style that has a lot of diversity and representation. “That was the first thing that was appreciated about my series back in 2020 when I launched them.”

    Talking about his ‘Avatar’ pack that enjoyed immense popularity, Singh smiles that it feels dreamlike that so many people use Toy Faces in their design and feel well represented owing to them. “The Avatar pack worked as a big marketing tool as well because people would see Toy Faces in VC Pitch Decks, Behind Auto Rickshaws or Mobile apps. The recall value became immense as more and more people used it.”

    Adding that he loves making art and that constant push does not come from just one thing but a mix of wanting to be better, being appreciated, making money, and leaving something inspirational behind, the artist says, “ I am soon going to be working on some exciting– collaborations and personal projects. I am always open to new things.”

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  • The Broken Script

    The Broken Script

    In the words of Dalrymple, Liddle has “salvaged from the ruins an outstanding new history of a great city suspended between two Empires. A brilliant work of historical scholarship.”…reports Sourish Bhattacharyya

     The chronicler of Delhi, Swapna Liddle, has come out with a new book that, in the words of William Dalrymple, “finally supersedes Percival Spear’s classic, ‘Twilight of the Mughals’.”

    Taking a majestic sweep through the years 1803, when the army of the East India Company General, Viscount Gerard Lake, defeated the forces of Daulatrao Scindia led by a French mercenary at the Battle of Patparganj and entered Delhi, to 1857, when the last Mughal emperor involuntarily set off the events of the Revolt, ‘The Broken Script’ explores the forgotten facets of the intervening five decades — or the “hybrid half-century”, as Liddle describes them.

    In the words of Dalrymple, Liddle has “salvaged from the ruins an outstanding new history of a great city suspended between two Empires. A brilliant work of historical scholarship.”

    Liddle is known for her books ‘Chandni Chowk: The Mughal City of Old Delhi’ and ‘Connaught Place and the Making of New Delhi’, apart from her edited and annotated translation of ‘Sair-ul-Manazil’, the first known listing of Delhi’s historical monuments compiled in the 1820s by Mirza Sangin Bayg.

    At the start of the 19th century, there was a Mughal emperor on the throne in Delhi, but the Mughal empire, in decline for almost a century, was practically gone, says the book’s promo. A new power had emerged — the East India Company, which captured the Mughal capital in September 1803, becoming its de facto ruler.

    As two regimes overlapped, Delhi found itself at the cusp of modernity, changing in profound ways that are scarcely recognised today.

    ‘The Broken Script’, published by Speaking Tiger, describes in vivid detail the complex tussle between the last two Mughal emperors and the East India Company, one still wielding considerable symbolic authority, the other a fast-growing military and political power.

    In this maelstrom of political uncertainty, Delhi saw some of its best moments, exemplified by characters such as the poet Ghalib and the self-taught mathematician Ram Chander, and of course the cultural and intellectual elite, business magnates, the old landed nobility and the exotic new ruling class — the British.

    Through their prism, Liddle looks at the economic, social and cultural climate that evolved over six decades.

    She examines the great flowering of poetry in Urdu, even as attempts to use the language for scientific education faltered; the fascinating history of the Delhi College, where both Ghalib and Ram Chander taught, and how it represented a radically new model for higher education in India; the rise of modern journalism in Urdu, and various printing presses and publications, represented by papers like the ‘Dehli Urdu Akhbar’; and the founding of institutions such as the Archeological Society.

    All of these developments point to a fast-modernising society that was being shaped to a significant extent by Western ideas and institutions, but was also rooted strongly in indigenous systems of thought and learning.

    The Revolt of 1857 and its aftermath violently disrupted this distinctive modernity, according to Liddle. Her book draws upon a variety of records — including Urdu poetry written after the revolt was brutally suppressed, proceedings of the trials conducted by the British, private letters and newspaper reports — for a nuanced examination of the events of 1857, challenging many commonly held and often simplistic assumptions.

    In the process, ‘The Broken Script’ details not only the destruction wreaked upon Delhi, but also strategies for survival and early attempts to rebuild and revive individual lives and institutions.

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