Looking Southwards: Reframing Material Knowledge at DakshinaChitra

By
Kriti Sen
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0

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Decentering Art History through Material Knowledge

For the better part of a generation, the nucleus of the mainstream chronicon of Indian art history was restricted to the Indo-Gangetic plains (North India). It primarily highlighted the patronage of the art by the imperial courts and was dominated by what can be identified as “northern aesthetics.” To display the other side of the coin, DakshinaChitra is poised to instate an exhibition titled, “Looking Southwards: The DakshinaChitra Vision of Craft, Art, and Cultural Heritage.” Curated by Shruti Parthasarathy, this showcase of exhibits contests the status quo and inherently looks Southwards. “Looking Southwards” in the context of Indian art and heritage does not refer to a geographical reconfiguration; it is noetic and epistemic in nature.  

This exposition aims to situate the southern Indian aesthetics in a self-contained and critical juncture of global attention. It also looks forward to subverting the narrative of positioning the South as the peripheral cultural zone and setting foot to unveil its true cultural zeal. The exhibition will be on view at the Varija Art Gallery, DakshinaChitra, Muttukadu (ECR), running from January 9 to February 15 and March 9 to March 30. Drawing from DakshinaChitra’s extensive collections, the exhibition presents objects not as inert artefacts but as carriers of histories, labour economies, and intergenerational memory systems.

Understanding the Southward Gaze

A huge chunk of Indian history views the South through a very “selective” lens of temple architecture, classical dance forms, and devotional iconography of certain distinct phases. This tendency creates a huge lapse of everyday material practices, vernacular aesthetics, and craft lineages that are subsequently marginalized and gradually lost within the folds of the past. Therefore, looking southwards means acknowledging the unique sociopolitical and ecological factors that shaped Southern Indian craftsmanship.

Actually, looking southwards poses contrarian views by accentuating craft as a form of knowledge, rather than a commodity. It invests in a huge corpus of craftsmanship ranging from the intricate bronze casting of the Chola period to the vibrant weaving traditions of the Coromandel Coast, and more. In this context, the “south” appears as a depot of techniques that have survived through community-held knowledge rather than just state-sponsored patronage. It subtly breaks the binary of the “traditional vs. modern” and looks beyond it by introducing the “southern” element. 

Craft as Knowledge, Not Ornament

The exhibition at DaskshinaChitra rejects the pure commodification and decorative categorisation of craft. Instead, they situate it within a bigger umbrella of museology, anthropology, and heritage politics. The displayed exhibits are contextualized and validated through their associations with social lives. This aspect makes them a vital node of the ritual, domestic, and market economies. This reflects the contemporary scholastic traditions regarding material culture. This recognizes craft as a repository of technical intelligence and socio-cultural negotiation.

The curatorial narrative directly opposes the narrative of one-region-dominated craft narratives and questions regional representation. Unlike other narrative buildings, this exhibition breaks through the homogenization of “South Indian Culture.” It shifts the foci to multiple cultural segments and offers a pluralistic understanding of the South as a mosaic of languages, castes, occupations, and rituals. In this way, they probe into how museums and heritage institutions construct narratives, what they choose to display, what remains invisible, and how authority is exercised through curation.

Glimpses of The Exhibition 

Exhibition Details
Title Looking Southwards: The DakshinaChitra Vision of Craft, Art, and Cultural Heritage
Curator Shruti Parthasarathy (@lafzbeylafz)
Venue Varija Art Gallery, DakshinaChitra, Muttukadu, ECR, Chennai
Primary Phases January 9 – February 15 & March 9 – March 30
Opening Ceremony January 9, 2026, at 4:00 PM
Focus Area Material knowledge, regional representation, and heritage-making
Core Theme The South as a site of material knowledge and cultural production
Approach Interrogates representation, heritage-making, and curatorial authority

The DakshinaChitra Intervention

DakshinaChitra has successfully earned an image of a “living” cultural centre. It is not a museum of static objects, but an evolving institution with a forward-looking vision. By orchestrating this exhibition, they have enhanced the bargaining power of the South in not being a static relic of the past but a dynamic agent of contemporary culture. The exhibition functions not merely as a showcase of collections but as a discursive platform that questions the politics of heritage-making itself. It echoes current academic conversations around decolonising museums and rethinking regional knowledge systems that challenge Eurocentric hierarchies in art history.

Key Highlights

  • Positions South India as a critical intellectual and material landscape rather than a cultural “periphery.”
  • Draws extensively from DakshinaChitra’s collections, foregrounding living craft traditions.
  • Challenges decorative interpretations of craft by framing it as embodied knowledge.
  • Engages with contemporary debates on decolonising museums and heritage narratives.
  • Encourages reflection on curatorial power, representation, and institutional storytelling.
  • Bridges traditional craft and contemporary artistic practices.
  • The showcase features objects that bridge the gap between daily utility and high art.
  •  The exhibition explores the chemistry of dyes, the physics of loom-work, and the spiritual geometry behind southern architecture.
  • It questions who gets to decide what is “heritage.” 
  • By placing craft on the same pedestal as “fine art,” Parthasarathy challenges the colonial hierarchies of aesthetic value.
  • Beyond the objects, the exhibition utilizes narratives to connect the viewer with the anonymous artisans whose hands shaped the southern identity.

Takeaway

By positioning the South as a “critical site,” the exhibition forces the viewer to confront their own biases regarding what constitutes “sophisticated” art. It challenges visitors to rethink how they understand “tradition,” not as a static inheritance but as a dynamic, contested, and deeply political terrain of knowledge. It is a bold statement that the heart of Indian cultural production has always had a strong, southern pulse. This exhibition does not merely display culture; it reframes it, compelling viewers to confront the epistemological hierarchies that continue to shape how Indian art and heritage are studied, curated, and valued.

Weaving Flowers: Archana Hande’s Solo Exhibition Explores Textile History and Labour

By
Kriti Sen
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0

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The Warp and Weft of History

The Dr. Bhau Daji Lad (BDL) Museum is Mumbai’s oldest museum and a jewel of Victorian architecture. This premier institution is poised to officiate a profound exploration of India’s socio-industrial chorography, by housing a brand new exhibition titled ‘Weaving Flowers, Wandering Stains and Floating Silks.’ This showcase, running from January 10th to March 1st, 2026, is a solo survey exhibition by the renowned artist Archana Hande. It functions as a vital conduit bridging between the city’s colonial past and its contemporary urban identity. The exhibition, curated by Tasneem Zakaria Mehta, appears to be a catalytic retrospective into the interstratified contexts of textile, labour histories, colonial prowess, and personal narratives. 

The Artist Archana Hande is an alumna of the prestigious Visva-Bharati University (Santiniketan) and MSU Baroda. Her artwork stems from deep research and nuanced exploration of her domain, which is reflected in the BDL Museum. Her artwork explores the very bedrock of cities like Mumbai and Bengaluru, which were critically manipulated and indoctrinated by the colonial labour policies, and ultimately resulted in the reshaping of local identities. 

Mapping Textiles, Memory and Modernity

Equipped with years of research, political sensitivity, and nuanced practice, Archana has scrutinized how colonial economic systems, industrialisation, and migration altered India’s textile industry. These parameters are not just measured in terms of production, but in shaping identities, moulding aspirations, and finally summing up to “cultural loss.” 

The housing of this exhibition in the BDL museum creates a contrast, as the museum itself is a colonial-era institution. The exhibition features her works in the form of textile-based installations, drawings, archival interventions, and mixed media that trace how fabrics, dyes, stains, fibres, and weaving patterns operate as carriers of memory, displacement, and power.

The Tapestry of Resistance and Memory

 

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The artist herself spent tears in decoding the history of Mumbai’s textile mills and discovered that while the city, in contemporary times, is known for its skyline, it was originally built on the “profundity of labor.” The exhibition pursues the “wandering stains” of industrialization. It critically set the lens against the marks left by sweat, dye, and the systemic obscuration of the artisanal prerogative and their creative agency.

Her signature can be seen in the act of attaching emotions to distinct geographies. She creatively depicts textile cities like Bombay, Bangalore, and others. She showcases these places as rostrums where livelihoods were both forged and lost, where craft lineages disappeared due to migration, and where labour remained largely “invisible.”

She highlights the streaks of migrant workers from the hinterland to “Girangaon” (the Village of Mills). Her depictions prolong the dichotomy of loss of habitat and the formation of a fractured urban culture. Archana carefully sheds light on the “secret” desires woven into the fabrics. This reflects the neglected aspirations of the workers that got lost within the grand narratives of economic history. In her artistic practice, fabric becomes both witness and archive.

Glimpses of the Exhibition

Aspects Details
Artist Archana Hande
Curator Tasneem Zakaria Mehta
Venue Dr. Bhau Daji Lad Museum, Mumbai
Duration 10th January – 1st March, 2026
Supporter Chemould Prescott Road
Primary Theme Labor, Textile History, and Colonial Identity
Focus cities Mumbai, Bangalore, and other textile centres
Core Concerns Craft invisibility, power relations, loss of habitat, desire, and memory

Key Highlights

  • A rare survey-format presentation mapping decades of Archana Hande’s research-based practice.
  • Deep engagement with Mumbai’s mill history and labour movements as aesthetic and political material.
  • Textile as an archival medium, fabric, stains, and fibres narrating histories of displacement and survival.
  • Curatorial framework by Tasneem Zakaria Mehta that situates the exhibition within broader postcolonial discourse.
  • Supported by Chemould Prescott Road, underlining its institutional and contemporary relevance.
  • Works that explore desire, memory, and intimate personal narratives embedded within textile traditions.
  • A comprehensive look at Archana’s career showcases her evolution from a student of traditional techniques to a critical commentator on global trade.
  • Incorporation of Mumbai’s labor movement histories, reflecting the strikes and struggles that defined the city’s 20th-century political landscape.
  • It offers an analysis of how British policies intentionally disrupted indigenous textile ecosystems to favor industrial mass production.
  • It focuses on the invisibility of the craftsman in the modern capitalist value chain, reclaiming the artisan as a central figure of civilization.

Beyond Fabric: A Dialogue with the Site

Under Tasneem Zakaria Mehta’s curation, the exhibition complements the museum’s permanent collection, creating a “living archive.” As Archana Hande’s work intersects the critical junctures of history and material explorations, her artworks earned the title of “material historiography.” 

Her installations frequently function as mnemonic devices, inviting viewers to read textiles as socio-political documents rather than decorative artefacts. In the context of Weaving Flowers, Wandering Stains, and Floating Silks, this approach expands into a museum-scale narrative. Through the distinct segment of “floating silks,” Archana explores how tradition is often carried by those who have been displaced. 

Archana challenges the romanticism of craft by emphasizing inequitable power structures that governed colonial and post-colonial modes of production. By drawing attention to unacknowledged artisans and disrupted communities, her art speaks not only to art history but to labour studies and migration discourse. 

Takeaway

Weaving Flowers, Wandering Stains, and Floating Silks is a historical discourse that is meant to be contemplated and felt. In an era of fast fashion, Archana Hande teleports the audience to the very core of what we now recognize as “vogue.”  Her practice insists that fabric remembers what societies try to forget: labour, displacement, aspiration, and loss. Today, Mumbai is known for its growing luxury real estate, which is growing at the cost of its rapidly diminishing industrial heritage. Thus, the artist’s work conscientiously nudges the audience to focus on and acknowledge the ghosts of the looms. This is a must-visit for anyone who wishes to understand the true cost of the modern city. It is, quite simply, one of the most intellectually and emotionally significant exhibitions Mumbai will host in 2026.

Suggested Story: ‘Warp and Weft’ – Weaving a Rustic Tale

Vadodara Literature Festival 4.0: A Celebration of Ideas, Books and Culture

By
Kriti Sen
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1

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Celebrating the Written Word

Vadodara, the cultural capital of Gujarat, was an ancient trading hub called Vadpatra (“in the heart of banyan trees”) or Virawati (land of warriors). The city earned the title “City of Arts” under the Gaekwads. This bustling city is poised to host one of the most anticipated intellectual gatherings of the year, the “Vadodara Literature Festival (VLF) 4.0.” This Lit Fest is scheduled for January 27, 28, and 29, 2026. This platform has crystallised as a melting pot of writers, thinkers, cultural ambassadors, students, and bibliophiles from across the country.

The aim of the festival is to develop and promote a love for reading, writing, and vibrant discussion within the literary community. This lit fest is orchestrated by Parul University in association with India’s International Movement to United Nations (I.I.M.U.N.). The festival involves dialogues on contemporary issues and creative expression. The upcoming edition promises a more immersive experience compared to its predecessors. 

Glimpses of The Lit Fest

Aspects Details
Event Name Vadodara Literature Festival (VLF) 4.0
Dates 27th, 28th, & 29th January 2026
Primary Partners Parul University and I.I.M.U.N.
Location Vadodara, Gujarat
Core Theme Illuminating Minds, Expanding Perspectives
Core Objective Celebrate literature, encourage reading habits, and provide a platform for writers and thinkers
Expected Activities Panel Discussions, Book Launches, Cultural Performances
Target Audience Students, authors, readers, cultural enthusiasts
Key Features Author sessions, workshops, panel discussions, book launches, literature tank
Accessibility Free for students and significant literature enthusiasts
Interactive Elements Literature Tank, author meet-and-greets, and interactive sessions

Evolution of The Fest

The Vadodara Literature Festival bridges academic scholarship and public engagement with literature. This fest has eventually evolved into a vital rostrum that presents a culturally rich environment where storytelling, critical thought, and creative pursuits sync. As the fest has grown, so has its ambition. VLF 4.0 is expected to expand on this legacy. The VLF believes that every writer deserves a stage, and they would collaborate with them to weave a better world together. 

The 2026 edition has a vibrant lineup of authors, innovators, and leaders from varied disciplines. They look forward to the belief that ideas thrive when they meet, and thus the forthcoming edition carves out a bustling space for both dialogues and disagreements. Apart from the literary engagements, there is music, poetry & storytelling, and Sufi sama, and more. Artists like Aditya Gadhvi, Manhar Seth, and Bismil are performing live. 

Core Components

There will be author sessions and Panel discussions that will explore the genres ranging from fiction and non-fiction to history, culture, psychology, business, and gender studies. They provide diverse perspectives on how literature interacts with real-world issues and intellectual exploration. There will be standalone sessions for authors like Kaajal Oza Vaidya, Pooja Dhingra, and Kaushik Mitra. Some entrepreneurs and businessmen also entered the literary corridor, such as A.V.Anoop, Apekshit Khare, etc. This year, regional literature figures like K. Srilata, Geet Chaturvedi, and Anita Gopalan will also be present. 

A special segment also entails delving into a special perspective on the “Bangladesh context.” There will be journalists and diplomats such as Deep Halder, Jaideep Mazumder, and Shahidul Hassan Khokon to take the people through the evolving discourse of Bangladesh. Special sessions will be conducted by Journalists Jyoti Yadav and Kaunein Sheriff M., Entrepreneur Saurav Nigam, and others will spearhead sessions on empowering minds to lead and transform. Dimple Jangda and Dr. Manjari Chandra will conduct “fitness” sessions by imparting their knowledge on the “science and spirit of staying fit.” 

One of the core highlights of the lit fest is the presence of decorated army officers, including Lieutenant General Dr. M. Kantikar Mitra, Lieutenant Colonel Sanjeev Mallik, and others, who will impart stories from the frontline of service. Another highlight is the session titled “Samvidhan pe charcha,” which will be spearheaded by Law practitioners like Ramanuj Mukherjee and others. There will be a dedicated culinary session conducted by Hina Gujral and others. 

Important Keynote Speakers include personalities, like Ankur Warikoo (Entrepreneur, author, content creator & Co-Founder, Nearbuy), 50th CJI Dhananya.Y. Chandrachud, novelist Shobhaa De, General Manoj Mukund Naravane, and others. 

Other Engagements

VLF 4.O has interactive workshops that aim to enhance the creative skills of participants. Hitherto, previous editions encouraged creative writing, storytelling techniques, and engagement with literary arts. In 2025, participants also had the opportunity to experience specialised workshops on graphology and caricature. Similar enriching opportunities are anticipated in the 2026 festival’s schedule.

The 2026 edition introduced the “Literature Tank.” It is an innovative initiative where budding authors present manuscript ideas to an audience, including publishers and literary experts, to receive real-time feedback on publication potential. This initiative will empower emerging writers to gain visibility. 

The festival conveys its commitment to “Vocal for Local.” While the platform has a global outlook, it also remains firmly planted in the rich soil of Gujarati heritage. From the royal legacies of the Gaekwads to the modern industrial spirit of the city, VLF 4.0 aims to weave a narrative that bridges the gap between tradition and modernity.

Key Highlights

  • Three-day immersive celebration centred on literature, ideas, and creativity.
  • Free entry and special provisions to encourage widespread student participation.
  • Diverse participation from authors with expertise across multiple genres.
  • Workshops, cultural activities, and interactive sessions designed to elevate literary engagement.
  • Literature Tank initiative aimed at supporting emerging voices in writing.
  • VLF 4.0 is set to feature a mix of best-selling novelists, screenplay writers, regional poets, and digital content creators, providing a 360-degree view of the modern media landscape.
  • Beyond listening to speeches, attendees can participate in creative writing workshops, storytelling sessions for children, and workshops on “The Art of Publishing.”
  • Each day typically concludes with musical performances or theatrical plays that bring the literature discussed during the day to life through performance art.
  •  Special sessions dedicated to international relations and global literature, encouraging students to view books as a tool for international empathy and diplomacy.
  • A significant portion of the festival is dedicated to Gujarati literature, ensuring that the local language and its contemporary evolution receive national attention.

The Broader Significance of Literary Festivals in India

Parul University’s involvement catalyzes educational reform. By hosting such large-scale events, the university is moving ahead of rote learning and offering students direct access to the brightest minds in the humanities. This event plays a crucial role in promoting reading, conversation, and cultural exchange in a rapidly globalising world. Also, it attracts global audiences and thought leaders. For Vadodara, it boosts cultural tourism during the three-day event. It also focuses on youth engagement and creating accessible platforms for literary exploration.

Takeaway

The VLF 4.0 is a meaningful intersection of community engagement, academic scholarship, and cultural celebration. What sets VLF apart from other major lit-fests in India is its lack of pretension; it feels inclusive rather than elitist. By involving organizations like I.I.M.U.N., the organizers are successfully rebranding “literature” not as a dusty relic of the past, but as a vibrant, breathing tool for future leaders.VLF 4.0 will not only illuminate minds but will also serve as a blueprint for how regional cities can lead the way in India’s soft-power projection through culture and education.

Suggested Story: 10 Best Literary Festivals of India that Every Book Lover Must Attend

MAP Launches 2026 with ‘Bouquet of Hope’, One of the Largest Public Art Initiatives

By
Kriti Sen
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0

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A Million Petals of Resilience

The Museum of Art & Photography (MAP), Bangalore, has recently unveiled one of the world’s largest art initiatives to date. This cultural milestone is titled “Bouquet of Hope.” This exhibition defies the traditional “white cube” encumbrances of enclosed gallery spaces. It aims to bring world-class Indian modernism directly into the homes of one million citizens. 

Interestingly, Hindustan Times has partnered with MAP to make this experiment accessible to the masses by distributing a limited-edition, individually numbered collector’s art print to one million readers through a special New Year’s Day edition of the paper. This initiative shows a growing tendency of museums as they act as civic catalysts rather than just an abode of antiques. This initiative is conceived as an “exercise in accessibility rather than exclusivity.” In the opinion of Abhishek Poddar, the founder of MAP, “Art should belong to everyone, not just galleries or collectors.” Therefore, this initiative contests the presumed hierarchies of cultural custodianship. 

Taking Art Beyond the Museum Walls

The Bouquet of Hope is also extended into the digital realm through a dedicated microsite. The core of the exhibition revolves around a singular, composite artwork featuring 25 Indian artists. The sequencing of the exhibition bridges the gap between established masters and contemporary voices. 

Audiences will explore floral detailings and personalised digital bouquets, and share them with others, metamorphosing the viewers into co-creators. The prime showcases include the representation of Indian modernism through the paintings of M.F. Husain and K.G. Subramanyan. Alongside, Arpita Singh and Anjolie Ela Menon bring their unique figurative and symbolic languages. Ram Kumar, Bhupen Khakhar, and Manjit Bawa, whose works offer varied perspectives on color and form.

Glimpses of Bouquet of Hope 2026

Aspects Details
Primary Initiative Bouquet of Hope Public Art Project
Key Partners Museum of Art & Photography (MAP) & Hindustan Times
Media Partner Hindustan Times
Reach 1,000,000 individually numbered collector’s prints
Artist Count 25 Indian Modern and Contemporary Artists
Digital Components Interactive Microsite and Short Film by Naveed Mulki
Launch Date January 1st, 2026
Featured Artists M.F. Husain, K.G. Subramanyan, Arpita Singh, Ram Kumar, Bhupen Khakhar, Manjit Bawa, Anjolie Ela Menon, among others
Digital Engagement Dedicated microsite with interactive features and a documentary film
Core Objective Democratisation and mass accessibility of art

The Layers of Engagement

Each flower in the “bouquet” was either chosen or created to resemble the themes of renewal, resilience, and hope. These themes offer a visual representation of a nation stepping into a new era with new aspirations. This showcases MAP’s long-lasting commitment to online engagement, which began with the launch of its digital museum in 2020 and has since evolved into a significant platform for global audiences. The exhibition also hosts a short documentary by filmmaker Naveed Mulki, which documents the conceptualisation and making of the project. 

The aim with which this initiative is put into place is diverse. Firstly, the institution believes in extracting art from the elite spaces and incorporating it into everyday life. Secondly, MAP has an inherent institutional will to surpass the physical and conceptual boundaries of what it means to be a museum and hold exhibitions in physical spaces. Thirdly, this initiative aligns MAP with its track of becoming a long-term cultural institution. Last but not least, MAP is willing to collaborate across disciplines and platforms to expand the reach and relevance of art. 

Key Highlights

  • Largest known mass distribution of art prints in global cultural history
  • Integration of India’s modern masters with contemporary museum outreach strategies
  • Individually numbered prints that blend collectibility with accessibility
  • Interactive digital microsite for personalised engagement
  • Documentary film by Naveed Mulki providing behind-the-scenes insights
  •  Moving art from institutional spaces into the “everyday public life” of a million individuals.
  • Each print is uniquely numbered, granting the owner a sense of exclusivity and “my edition” provenance within a mass-produced medium.
  • A dedicated microsite (bouquetofhope.in) allows users to create their own digital bouquets, fostering a living archive of community interaction.
  • This project serves as a cornerstone for MAP’s broader 2026 calendar, which includes the upcoming permanent exhibition Beneath the Turning Sky on January 17th.

Situating “Bouquet of Hope” within MAP’s Institutional Vision

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The physical museum of MAP was opened to the public in 2023. Since its conception, it has emerged as a promising institution in the socio-cultural aspect and defied being a mere enclosure. MAP, with its seven-storey building, houses galleries, learning centres, research, and conservation facilities, and a digital museum platform. MAP has judiciously constructed a model that prioritizes education, accessibility, and community engagement. With the initiation of the Bouquet of Hope, it has extended its philosophy and entailed art within quotidian routines. Moreover, with this meaningful collaboration, MAP and Hindustan Times have expanded the definition of “public art” itself. The project aligns with global museum discourses that advocate for participatory culture, yet it surpasses many such efforts in sheer demographic breadth.

Why “Bouquet of Hope” Matters 

The significance of this initiative lies in its psychological core. Traditionally, the museum experience has been restricted by geography and social capital. This kind of experience is an ad nauseam in contemporary times. Thus, with this initiative in place, MAP has bypassed these barriers. This initiative proves that art does not lose its “aura” through reproduction; rather, it gains new meaning through shared ownership. 

Currently, MAP houses a dynamic collection of over 100,000 artworks that represent India’s creative journey of its salient art and culture. MAP’s digital Museum was launched in 2020, and ever since its inception, it has curated online exhibitions, along with programming like artist talks, panel discussions, workshops for children, masterclasses, and more. This reflects MAP’s continued reliance and display of qualitative content that actively works at reaching and captivating new audiences, especially those who have had no previous exposure to the arts.

Takeaway

The Bouquet of Hope is more than a celebratory New Year gesture. It offered hope to millions by meeting the people exactly where they are. This initiative democratized the experience of viewing art and enhanced the ambit of relevance, inclusion, and audience diversity.MAP’s initiative offers a compelling blueprint. By collapsing the distance between gallery walls and breakfast tables, Bouquet of Hope restores art to its foundational role as a shared civic resource.  If sustained and emulated, this model has the potential to transform not only how art is distributed, but also how cultural capital itself is imagined in contemporary India.

Hampi Utsav 2026: Tracing Culture, Heritage and Legacy of the Vijayanagara Empire

By
Kriti Sen
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1

Hampi-Utsav-2026

The Cultural Renaissance of the Vijayanagara

Hampi, the august capital city of the quondam Vijayanagar Empire, is anew and prepared to transport people to a dimension shift and teleport them to the “Golden Age” of Indian History. The Government of Karnataka has averred about the long-awaited Hampi Utsav 2026. The utsav will span three days and is scheduled to be on air from February 13-15, 2026. The three-day grandiose spectacle is traditionally known as the Vijaya Utsava. This utsava is a resplendent acknowledgement of the grandeur, art, and architectural brilliance of a city that Abdur Razzaq Samarqandi once mentioned- “a city the eye had never seen the like of, with immense grandeur and population.” Interestingly, the cessation on February 15 coincides with the Mahashivratri. This is utterly significant as lord Virupaksha (Shiva, worshipped as the consort of Pampa Devi) is Hampi’s presiding deity. Even the rulers of Vijayanagara ruled in the name of Shri Virupaksha. 

A slight glance at history reveals that the region of Hampi resembled ‘Kishkindha,’ the monkey kingdom mentioned in Ramayana. The term Hampi is an anglicized form of the Kannada word “Hampe.” Hampe is derived from the word “Pampa,” an ancient name of the Tungabhadra river and the local river goddess of the region. According to the Sthala Purana, Pampa was the daughter of Brahma, who later became a manifestation of the goddess Parvati. Thus, the region came to be known as “Pampa-Kshetra.” With the passage of time, the “pa” sound got transformed in the local dialect and became Hampa, then Hampe, and eventually anglicized as Hampi. 

This utsav is supposed to reinvigorate a spark of life into the ruins of Hampi, a UNESCO World Heritage site. It is a vibrant tribute to South India’s artistic legacy, where history, music, dance, and folklore converge against the backdrop of magnificent temple architecture and monumental landscapes. The 2026 edition is expected to draw record-breaking crowds to the banks of the Tungabhadra River.

The Essence of Hampi Utsav

The Hampi Utsava is not just another seasonal fest; it is a grand cultural peregrination into India’s medieval setup. The polity of Vijayanagara thrived during the 14th-16th centuries, and this festival resembles the artistic heyday of the empire. It is a colossal exposition orchestrated by the state government to promote tourism and keep the legacy of the “city of Victory” alive. The fest is a convention of  “Nada Kacheri” (folk music), classical dance performances like Bharatanatyam and Kathak, etc. 

The state government reimagines the trail of the Vasantotsava of the empire in a contemporary perspective that amalgamates heritage commemoration and public celebration. The “Janapada Kalavahini” is one of the most spectacular vignettes of the utsav. It encompasses a grand procession of folk troupes, decorated elephants, and local artists showcasing the diverse martial arts and dance forms of Karnataka. Once the dusk arises, the ruins of Hampi are illuminated with thousands of lights. It creates a phantasmagoric ambience that truly resembles what medieval travellers opined about the place. 

Glimpses of The Festival

Aspects Details
Title Hampi Utsav 2026
Official Dates February 13th, 14th, and 15th, 2026
Primary Location Hampi (Vijayanagara District), Karnataka
Organisers Government of Karnataka and the district administration
Historical Context Celebrates the cultural zeitgeist of the Vijayanagara Empire
Major Highlight Confluence with Mahashivratri (Feb 15)
Entry Fee Generally free for the public (selected shows may require passes)
Key Attraction Sound and Light Show (Vaibhav) & Shobha Yatra
Venue Highlights Historic sites, including Virupaksha Temple and other ancient monuments
Cultural Elements Dance, folk music, processions, puppet shows, and illumination shows
Participation Artists, troupes from Karnataka and beyond; applicants required
Public Participation Deadline Artists and troupes to apply by January 20, 2026

Activities & Attractions

The Hampi Utsav aims to showcase a wide variety of cultural activities that engage visitors of all ages and interests. People can expect traditional music, folk songs, and dance forms that reiterate the heterogeneous cultural fabric of Karnataka. There will be large-scale processions, traditional puppetry, and theatrical representations of mythic & historic narratives that offer a sneak peek into the folk arts of the region. Alongside, local artisans will also display their hand-crafted wares. Visitors will also get to delve into the regional cuisines and other cultural endeavours. 

The Cultural Impact: A Broader Context

The Hampi Utsav is a major propagation of “Heritage Conservation through Awareness.” This three-day festival single-handedly brings in funds for the upkeep of the 1,600 surviving monuments. Beyond the music and dance, the festival includes “Hampi By Sky” initiatives and photography contests that document the changing landscape of the ruins. The 2026 edition also emphasizes “Sustainable Tourism.” Unlike urban festivals, Hampi Utsav integrates performance spaces into archaeological landscapes, making the festival a living museum rather than a staged recreation. 

Key Highlights

  • Celebrated annually as a tribute to the artistic legacy of the Vijayanagara Empire
  • Scheduled for February 13–15, 2026, by the Karnataka Government
  • Folk music, dance, and Janapada Kalavahini form the festival’s heart
  • Processional spectacles with costumed performers and decorated elephants accentuate visual impact
  • Historic temples like Virupaksha serve as evocative venues for performances and lighting displays
  • The festival typically hosts three to four main stages (including the Gayathri Peetha and Hampi Vasanta Madapa), where renowned national and international artists perform
  • In recent years, the district administration has introduced helicopter rides for an aerial view of the ruins, along with rural sports like wrestling and kabaddi
  • A dedicated ‘Shilpa Kala’ section allows local craftsmen to showcase terracotta, wood carvings, and the famous Lambani embroidery, providing a boost to the local economy
  • A high-tech “Son et Lumière” show narrating the rise and fall of the Vijayanagara Empire against the backdrop of the monoliths
  • The Shobha Yatra features various tableaus representing the historical triumphs of Krishnadevaraya

Takeaway

The Hampi Utsav stands as a riveting model of how cultural heritage can be promulgated through a creative approach and community engagement. Hampi Utsav’s immersive enactment of music, dance, and procession reasserts the communicative power of tradition. While the crowds can be overwhelming, the sight of a Bharatanatyam dancer performing under a full moon amidst the stone chariot is an experience that transcends time. For any traveler or history buff, Hampi Utsav 2026 is not just an event to visit but a legacy to experience. By bridging past and present, this festival operates not merely as a commemorative spectacle but as a testament to living culture.

Shakuntala in Paintings – Revisiting the Famous Play by Kalidasa

By
Soma Ghosh
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0

Shakuntala-in-paintings-revisiting-the-famous-play-by-Kalidasa

Who is Shakuntala?

Shakuntala is a heroine in ancient Indian literature, best known for her portrayal in the ancient Sanskrit play Abhijnanashakuntalam which means ‘recognition of Shakuntala’, written by the classical poet Kalidasa in the 4th or 5th century AD in Sanskrit and some use of Prakrit. Her story, however, originates in the Hindu epic, the Mahabharata, where she appears in the Adi Parva. Shakuntala is the daughter of the sage Vishwamitra and the celestial nymph Menaka. Abandoned at birth, she is raised by the sage Kanva in a forest hermitage. She later falls in love with King Dushyanta and becomes the mother of Bharata, a celebrated emperor of India who is the ancestor of Pandavas and Kuru kingdom in Mahabharata. Let us see some depictions of her life through the lens of India’s celebrated artist Raja Ravi Varma (1848 – 1906) and others including a medieval depiction.

Sage-Vishwamitra-refuses-to-accept-Shakuntala-after-her-birth-by-Menaka
Sage Vishwamitra refuses to accept Shakuntala after her birth by Menaka, chromolithograph of painting by Raja Ravi Varma, 19th century, Wikimedia

The Kalidasa Version

Kalidasa’s play presents a version of the story in which Shakuntala is cursed by Rishi Durvasa, causing King Dushyanta to forget her entirely. His memory is later restored when he discovers a golden ring of his own inside the stomach of a fish. Another version of this tale appears in the Adi Parva of the Mahabharata, traditionally attributed to Veda Vyasa.

Although Kalidasa’s work is an adaptation of the original narrative found in the Mahabharata, it has become far more popular over time. Many readers and audiences now regard it as a complete and independent story in its own right. Further details of the narrative are elaborated in the following account.

The storyline 

Long, long ago, during a hunting expedition, King Dushyanta of the Puru dynasty encountered Shakuntala, a young maiden living in a hermitage. The two are instantly drawn to each other and soon fall deeply in love.

1940s_Vintage_Hindu_Print_Dushyant_&_Shakuntala
Dushyanta meets Shakuntala, Vintage Hindu Print, 1940s. Wikimedia

In the absence of her father, they get married through a ‘Gandharva’ marriage—a union based on mutual consent, with nature itself as their witness. When it was time for Dushyanta to return to his palace, he promises to send messengers to escort Shakuntala to the royal court. As a token of his love, he gives her his signet ring.

Shakuntala and Dushyanta marry in the Gandharva way, chromolithograph of painting, by Raja Ravi Varma,19th century, Wellcome Collection Gallery. London, U. K.
Shakuntala and Dushyanta marry in the Gandharva way, chromolithograph of painting, by Raja Ravi Varma,19th century, Wellcome Collection Gallery. London, U. K. Wikimedia

One day, the sage Durvasa arrives at Shakuntala’s hut seeking hospitality. Lost in thoughts of her beloved, she fails to notice or respond to his calls. 

“Hey girl, you are the one causing disrespect to a guest. You are engrossed in whose thoughts. You are not paying heed to a hermit like me. The person you are trying to remember would forget you in spite of immense efforts of recollection in the same way as an insane person forgets his past”.

Shakuntala lost in thoughts of Dushyanta, painting by Raja Ravi Varma,19th century.
Shakuntala lost in thoughts of Dushyanta, painting by Raja Ravi Varma,19th century. Wikimedia

Offended by this neglect, the quick-tempered sage thus curses her, declaring that the man occupying her thoughts would forget her completely.

Her companions exclaim –

“Alas, alas! Something very unfortunate has happened. It seems as if Shakuntala, under the state of delirium due to infatuation for her husband, the king, has offended a sage. She has not offended an ordinary man. She has hurt maharshi Durvasa who, after invoking curse on our beloved confidante, is going back from the ashram at a fast pace”. 

At the request of her companions, Durvasa softens his curse, adding that the king would regain his memory only upon seeing a meaningful token.

Durvasa_Shakuntala
Sage Durvasa curses Shakuntala, Chore Bagan Art Studio, lithograph,19th century, British Museum, UK. Wikimedia

Time passes, but no one comes from the palace to fetch Shakuntala. She spends time with her friends Anusuya and Priyamvada and is lost in grief.

Shakuntala writing on a lotus leaf, painting by Raja Ravi Varma,19th century, Kowdiar Palace, Thiruvananthapuram, Kerala.
Shakuntala writing on a lotus leaf, painting by Raja Ravi Varma,19th century, Kowdiar Palace, Thiruvananthapuram, Kerala.
Shakuntala looking backwards for Dushyanta as she removes a thorn, painting by Raja Ravi Varma,19th century, Sree Chitra Art Gallery, Thiruvananthapuram.
Shakuntala looking backwards for Dushyanta as she removes a thorn, painting by Raja Ravi Varma,19th century, Sree Chitra Art Gallery, Thiruvananthapuram. Wikimedia
Shakuntala with her companions, Anusuya and Priyamvada, oleographic print of painting by Raja Ravi Varma,19th century.  
Shakuntala with her companions, Anusuya and Priyamvada, oleographic print of painting by Raja Ravi Varma,19th century. Wikimedia  

Eventually, her father decides to send her to Dushyanta himself, as she is carrying the king’s child. 

Priyamvada says to Sage Kanva –

“As the fire dwells inside the tree of Shamee, similarly O brahmarshi! The ambience of Puru king Dushyant, dwells inside your daughter. Arrange to send her to her place”.

As Shakuntala prepares to leave, sage Kanva says –

“O the trees of the tapovan that is replete with forest gods! She never used to drink water without watering you. She never touched your delicate leaves, despite the fact that she loves ornaments. She was always delighted upon seeing your new buds. The same Shakuntala is going home. You see her off her love”

A sound from the skies comes –

‘May the journey of Shakuntala be fruitful. Ponds teeming with blue lotus on her way! May there be trees planted intermittently with dense shadow to save her from sunshine. May the dust have the delicacy of the lotus pollen and may the breeze, offering succour, keep blowing on the way to her home”.

Shakuntala leaving for King Dushyanta's palace
Shakuntala leaving for King Dushyanta’s palace, painting by Bamapada Banerjee, 1925, Indian Museum, Kolkata. Wikimedia

During the journey, however, Shakuntala accidentally drops the signet ring into a river, losing the very object that could have saved her. When she reaches the royal court and presents herself before Dushyanta, the curse takes full effect. The king fails to recognize her as his wife and rejects her claims.

King Dushyanta says –

“I have tried to recall repeatedly but cannot recall anything… I have ever married this ‘devi’ is not striking my memory”.

Shakuntala thinks –

“When the king is not prepared to recall anything, what would be the use of reminding him of the love that he had expressed at that time? Now my misfortune alone has remained in my life”.

Heartbroken and helpless, Shakuntalaprayes to the gods for justice. Meanwhile, fate intervenes when a fishermandiscoveres the lost signet ring inside the stomach of a fish.Upon seeing the ring, Dushyanta’s memory returns and he is overwhelmed with guilt and remorse for the wrong he has done.

Shakuntala says –

“Aryaputra! But tell me how did you remember this petty, agonized woman? 

King Dushyanta –

“Let me remove my thorn-like agony first. I shall tell you everything. O beauty! On that day your tear drops were flowing down your cheeks and hurting your lips. I had inadvertently insulted those precious tears on that day. The same tear drops are visible in your eyes even today. Until I wipe them with my own hands my mind will not find peace”. 

Shakuntala says – 

“Aryaputra, this is your ring”.

King Dushyanta says – “Yes, I was able to recollect all those incidents after getting this ring”. 

Shakuntala says – 

“It had really done a vicious act. When I was going to show it as proof to you, it had disappeared at the very moment. I don’t know where it had fallen”.

King Dushyanta says – 

“No, no. Now, I have no faith in it. Let Aryaputra wear it”. 

Shakuntala forgives him, and the couple are joyfully reunited. In time, she gives birth to a son who is named Bharata, after whom the land of India came to be known as ‘Bharat’.

The Version in Mahabharata

In the Adi-parva of Mahabharata, Sage Kanva who finds the abandoned baby left near his hermitage by Menaka and is protected by the ‘sakunta’ birds says thus –

She was surrounded in the solitude of the wilderness by sakuntas,

therefore, hath she been named by me Shakuntala.

In the Mahabharata version of Abhijnanashakuntalam, though there is a lot of similarity in the storyline, Shakuntala is separated from her husband, King Duṣhyanta, for a long time. Their reunion comes only after the birth of their son, Bharata.

Dushyanta meets Shakuntala, folio from Razmnama
Dushyanta meets Shakuntala, folio from Razmnama (Persian translation of Mahabharata), Mughal school, 16th century. Wikimedia

One day, Duṣyanta comes upon a young boy in the forest fearlessly playing with lion cubs, prying open their mouths with his bare hands to count their teeth. Astonished by the child’s courage and strength, the king questions him about his parents.

King Dushyanta says –

“Hey, who is this courageous boy”? 

Two female hermits are coming behind him. The cubs have not adequately fed themselves with milk from their mother’s teats. That boy is pulling the cubs apart and forcing them to play with him. 

Child says – “O lion! Open your mouth; I will count your teeth”.

First lady hermit says – “O prankster! Why do you harass those who we have reared as our children? Hai! Your pranks are growing day by day. The rishis have named you Sarvadaman. Plausibly, they would have given you this name after thorough deliberation”.

Second lady hermit says – 

“Look, if you did not spare these cubs, the lioness, their mother, will attack you”.

Bharat_playing_with_Lion_cubs
Bharata playing with a lion cub, painting by Raja Ravi Varma, 19th century. Wikimedia

The boy leads Duṣhyanta to the hermitage of Sage Kaṇva, where the king meets Shakuntala. At that moment, Dushyanta’s lost memories return, filling his heart with warmth and joy. Reunited at last with his wife and son, he takes them back to Hastinapur, restoring his family and his happiness.

This tale from India’s ancient literature is of immense interest and very popular Even today it is enacted before appreciative audiences. The storyline still captivates even though centuries have passed since its initial narration.

References –

  1. Ashok Kaushik (tr.) (2020) Kalidas’ Abhignan Shakuntalam, New Delhi: Diamond Pocket Books (P) Ltd.
  2. https://rsmraiganj.in/wp-content/uploads/2020/04/Untitled-document-2-10.pdf (accessed on 26.12.2025)
  3. https://mahabore.wordpress.com/2014/03/12/shakuntala-and-dushyanta-the-mahabharata-version/ (accessed on 26.12.2025)
  4. The translations are by Ashok Kaushik.
  5. http://www.sacred-texts.com/hin/m01/m01073.htm (accessed  02.01.2026)

Divine Manifestation: Exhibition by Meena Sansanwal at Black Cube Gallery

By
Kriti Sen
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0

Divine-Manifestation-Exhibition-by-Meena-Sansanwal-at-Black-Cube-Gallery-01

India’s au courant artscape is about to be illuminated by a solo exhibition by Meena Sansanwal, titled “Divine Manifestation.” This exhibition is set to open at the Black Cube Gallery in Hauz Khas, New Delhi. The exhibition seamlessly amalgamates sacred symbolism, mythology, and contemporary visuals. The preview of this exhibition is scheduled on January 7, 2026, and will be on view until January 22. The core of the exhibits circumnavigate the themes of feminine divinity, cosmology, and metaphysical elements. This show sheds a spotlight on a significant point in her career. Meena’s paintings carefully protract the viewer’s eyes into an “inner universe.”

Artistic Exploration

 Her representation of this intimate space becomes the syncretic plane where physical and metaphysical forms form a horizon. Meena’s artwork is associated with a group of contemporary artists who reimagine the sacred mythos beyond traditional religious boundaries. The figures etched by her represent the cosmic forms of Shakti, Durga, and Ardhanarishvara. They are structured through a surreal, ornamental geometry that echoes postmodern mythic abstracts. Meena possesses this distinct skill to elevate her craft through a more surrealist lens. She employs geometric patterns and a distinct colour palette comprising golden yellows and earthy browns.  

The Root of The Art

 

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The broader thematic line of her artwork unveils a corpus of art that presents a consistent engagement with the “Shakti” or the primal energy. In “Divine Manifestation,” Meena elongates this concept by coalescing symbols such as horses (power and transcendence) and celestial beings that become the thread linking the viewer with the divine. The artwork represents the “female” form as an argosy of anima mundi and cosmic creation. She is often noted for her ingenuity in melding the “sacred and the surreal.” This technique makes her artwork feel more immediate and intimate. 

She employs the concept of the “cosmic eye,” resonating with the “third eye.” This represents a higher consciousness and omniscient perception. Globally, artists such as Hilma af Klint, Alex Grey, and Indian contemporary masters like Anjolie Ela Menon and Baiju Parthan have explored similar metaphysical iconographies. Meena also emphasizes the hybrid divine conformations by associating them with puranic mythologies, where “divinity” is fluid. In her canvas, the divine is multi-form and is in a state of anthropogenic novelty. 

Glimpses of The Exhibition

Aspects Details
Exhibition Title Divine Manifestation
Artist Meena Sansanwal
Venue Black Cube Gallery (G12A, Hauz Khas, New Delhi)
Preview Date January 7, 2026 (5:00 PM – 8:00 PM)
Duration On view until January 22, 2026
Core Themes The Female Form, Spiritual Energy, Celestial Beings
Cultural Context Indic metaphysics, tantric symbolism, Puranic references

Key Highlights

  • Reinterpretation of the divine feminine through surreal sacred geometry
  • Mandala-inspired symmetrical compositions for meditative contemplation
  • Fusion of mythological symbolism with contemporary abstraction
  • Emphasis on the cosmic eye as a metaphor for higher consciousness
  • Strong visual alignment with tantric, yogic, and metaphysical philosophies
  • Revival of spiritual narrative art within contemporary gallery culture
  • Positioning of feminine divinity as both creative and cosmic authority
  • She utilizes a meticulous layering technique that gives her flat surfaces a sense of three-dimensional depth and spiritual weight
  • The location of the gallery in the historic Hauz Khas village adds a layer of architectural heritage to the viewing experience
  • The exhibition is structured as a “journey,” leading the viewer from earthly representations to increasingly abstract manifestations of the divine
  • By reimagining traditional deities, she contributes to a new visual language for 21st-century spirituality in India

The Path of Discovering The Artworks

Meena’s art stands at a critical counterpoint against the pure market-driven commercial abstracts. Her paintings revivify spirituality, symbolism, and mythic philosophy in the gallery space. Her imagery nudges the viewers to engage with it existentially. She actively invites introspection and contemplation. This exhibition promises an immersive cosmological experience that is crafted through carefully etched mandalas that also behave like a portal, teleporting the spectator to a new world. By making the feminine the core of her art, she quietly conveys her stand on women as cosmic creators. She resonates and hallows the notions embedded in Indic Philosophy. As the modern art world subscribes to cynicism over reverence, her paintings emerge as a mediator that shows the “other side.”

Takeaway

The artist does not cling to the inertia of choosing between the traditional and the Outré.  Instead, she finds a “middle path” that honors the craftsmanship of the past while addressing the spiritual voids of the present. Her paintings radiate a rarity amidst the digitally dominated world. Her paintings are visually “dense” and aesthetically place the female figure at the core of the cosmos. She doesn’t just paint “about” divinity; she manifests a space where the viewer can experience the sublime. It is a bold, beautiful, and deeply soulful celebration of what it means to see the sacred in the self. This show is a must-visit for anyone looking to see how ancient symbols can be reclaimed to tell a story of modern empowerment and cosmic unity.

Kerala Literature Festival 2026 Brings Global Voices to Kozhikode

By
Kriti Sen
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0

Kerala-Literature-Festival-2026

KLF 2026: Where the World Reads Together

The Kerala Literature Festival (KLF) 2026 will be held on the golden sun-washed beaches of Kozhikode from January 22 to 25, 2026. This Literature Fest is recognized as Asia’s largest and most attended literary conclave. This year, the KLF is hosting its 9th edition and will celebrate Kozhikode’s status as India’s first UNESCO City of Literature. This colloquium tertulia, organized by DC Books, has evolved into a literal literary carnival. 

It is now a major public platform featuring an amalgamation of literature with cinema, economics, art, heritage studies, children’s education, wellness, community history, and international cultural diplomacy. The 9th edition will host 400+ speakers from 17 countries. Organizers have expressed an expectation of about half a million footfall this year. This is one of those extraordinary extravaganzas that was conceived as a local gathering into a global movement of ideas, culture, and social discourse.

A Confluence of Global Thought and Local Heritage

The 2026 edition of KLF has invited Germany as this year’s guest nation. This partnership, facilitated by the Goethe Institute, will feature a German Pavilion, writing residencies in Vagamon, and a specialized Creative Writing Workshop for young Malayalam writers. The oceanfront will house a mammoth light installation by the German artist Philipp Geist. 

One of the most buzzed-about awaited sessions would be the one featuring Japanese bestseller Satoshi Yagisawa. Among the best highlights is the presence of Sunita Williams, the legendary NASA astronaut, as the guest of Honour. Her presence introduces an eccentric STEM-humanities interface. The major Indian Economist, Nobel Laureate Abhijit Banerjee, will also grace the venue, as he judges the society through the lens of food. Other Indian stalwarts such as Shashi Tharoor, Devdutt Pattanaik, Anand Neelakantan, Sarnath Banerjee, Peggy Mohan, and many more will be present. Globally celebrated intellectual Pico Iyer will speak on mindfulness and global belonging. Alongside, there will be filmmaker Pa. Ranjith, whose cinema focuses on marginalised narratives and caste realities. 

A Festival for Young Minds: CKLF

The KLF aims to situate itself as an inclusive body, and thus, they have also arranged a dedicated segment called the Children’s Kerala Literature Festival (CKLF). This literary segment is focused on meaningfully investing in early literary formation. Through storytelling sessions, creative writing workshops, art-based learning, and author interactions, CKLF nurtures imagination, empathy, and curiosity among children. This ensures that literature becomes a lived experience rather than an academic subject. 

Culture, Heritage and Living Histories

KLF 2026 is an abode of public history and community heritage. The scale and grandeur of this conclave are visible in its lavish institutional backing, including Goethe-Institut, Curating for Culture, and others. These institutes engage in tracing Kozhikode’s intercultural trade histories and synthesize them with narratives woven from printing, tile manufacturing, weaving communities, and migrant livelihoods. This repositions KLF not merely as a literary fair, but as a curator of regional identity and cultural memory.

Glimpses of The Literary Conclave

Aspects Details
Event Name Kerala Literature Festival (KLF) 2026
Edition Ninth Edition
Dates January 22 – 25, 2026
Venue Kozhikode Beach, Kerala
Guest Nation Germany
Guest of Honour Sunita Williams
Major International Voices Pico Iyer, Satoshi Yagisawa, and others
Key Attraction Children’s Kerala Literature Festival (CKLF)
Speaker Scale 400+ global speakers
Heritage & Public History Germany–India collaborative exhibitions

Key Highlights

  • Presence of a NASA astronaut as the Guest of Honour
  • Dedicated Children’s Literature Festival (CKLF)
  • Germany–India cultural heritage collaborations
  • Interactive quizzes, runs, and youth engagement formats
  • Kozhikode’s identity strengthened as India’s City of Literature
  • The festival will host a constellation of stars, including Nobel Laureates Abdulrazak Gurnah, Olga Tokarczuk, and Abhijit Banerjee. Other headliners include astronaut Sunita Williams, business icon Indra Nooyi, and literary stalwarts like Pico Iyer, Shashi Tharoor, and Shobhaa De
  • Interactive sessions are spread across seven parallel tracks covering everything from science and cyber security to folklore, feminism, and sustainability

Takeaway: Why KLF Matters

Kerala Literature Festival 2026 exemplifies what a 21st-century literary festival should become. The KLF appears like a civic conglomerate with a syncretic living archive of heritage, and a cultural bridge that moulds a future-building platform. KLF redefines literature as a public good rather than a niche pursuit. It makes literature a “people’s festival.” The organizers acknowledge that literature does not exist in a vacuum; it is the fabric that connects all human endeavors. Kozhikode is not merely hosting a literature festival; it is curating a worldview.

Suggested Story:10 Best Literary Festivals of India that Every Book Lover Must Attend

‘Art N Art’ Annual Exhibition 2026: A Premier Platform for Indian Artists

By
Kriti Sen
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0

‘Art-N-Art’-Annual-Exhibition-2026

Celebrating Creativity in ‘art N art’ 

India’s artscape is getting a vibrant makeover this year, with the orchestration of art events that work to mitigating the hiatus between traditional craftsmanship and contemporary expression. One such forum is the “art N art” Annual Art Exhibition, organized by the Nav Shri Art & Culture Organisation (NSACO). It will be on air on January 16, 2026. It is a meaningful space offering a nation-level rostrum for artists and enthusiasts to showcase their art before a multifarious crowd. NASCO is a registered Delhi-based cultural NGO, and this upcoming art exhibition will be their 9th recapitulation of a growing annual tradition designed to edify artistic cachet. 

The 2026 edition has been planned with a pellucid roadmap for the artists across the nation to showcase their artworks in a refined mise-en-scène. This exhibition is a judiciously laid journey that handpicks the artists after a scrupulous digital screening and finds its final expression in the exhibition. 

Delving Into The Artistic Crescendo

The All India Art N Art Annual Art Exhibition 2026 is presenting itself with a broader motto. It aims to provide an alternative to the emerging practitioner beyond the urban metropolitan marketspace. This exhibition unfolds with a distinct and panoramic approach. It invites participation from artistic practice encompass cross-disciplinary and exploratory route. Events like “Art N Art” cater to the domestic art infrastructure that sustains talent and encourages artistic eclecticism. One of the most distinctive features of the exhibition is that it facilitates direct contact between the artists and the visitors. This week-long display facilitates an immersive engagement of the visitors with artworks across a plethora of genres. 

About Participation

The registration process for becoming an exhibitor is meticulously structured. Once an artist uploads their artwork, they will know their status in the selection cohort within three days. This scale of efficiency is seldom noticed in large-scale exhibitions. Following the approval, a nominal fee of Rs. 500 is to be paid for registration in order to reserve a spot. Furthermore, the art N art has very transparent regulations regarding the size of artwork and submission timelines. Through this, the organize are erecting a fresh corpus of artworks with a contemporary touch. They have also included distinct segments of “Arts & Crafts” and “printmaking” to diversify their means of engagement. 

The eligibility criteria require artists to be at least 18 years old with a mandatory online registration. These proceedings ensure that the quality of the exhibition is maintained and the desired standard is continued. Initiatives like these often act as launchpads or stepping stones for artists to network and showcase their artworks. 

Glimpses of The Exhibition

Aspects Details
Event Name All India ‘Art N Art’ Annual Exhibition 2026
Organizer Nav Shri Art & Culture Organisation (NSAC)
Edition 9th National Level Art Exhibition
Venue Artizen Art Gallery, Pearey Lal Bhawan, New Delhi
Eligibility Minimum age of 18 years; open to Indian and foreign nationals
Registration Deadline December 28, 2025 (Sunday)
Exhibition Dates January 16 – January 22, 2026
Categories Accepted Drawing, Painting, Digital Art, Sculpture, Photography, Illustration, Installation, Printmaking, Art & Crafts
Initial Registration Fee ₹500 (payable after digital artwork approval)
Fee Conditions Non-refundable; special discounts available for NSAC members
Standard Artwork Size Up to 24 × 36 inches (60.96 × 91.44 cm)
Oversize Submission 24 × 36 to 36 × 48 inches (additional 25% fee applicable)
Artwork Submission Window January 5 – January 12, 2026
Membership Benefit 10% discount on fees for NSAC members

Key Highlights

  • The exhibition includes multiple art categories, embracing traditional and modern media, such as drawing, painting, digital art, sculpture, printmaking, photography, installation art, and arts & crafts.
  • Artists from across India are invited to participate, enabling a confluence of regional styles, thematic concerns, and formal approaches under one roof.
  • A structured registration and approval workflow ensures that participants submit clear images of their works for pre-approval; approvals are issued within three days of registration. 
  • To maintain quality, artists must upload high-resolution images of their work for initial approval. Only approved artists proceed to the payment and physical submission stages.
  • Original works must adhere to size regulations, and all framed paintings must conform to specified dimensions; oversized works are permitted but subject to additional fees.
  • The exhibition is held at Artizen Art Gallery on Bhadurshah Zafar Marg in New Delhi, providing visibility in one of the country’s major cultural hubs.
  • Participants are accountable for shipping costs and the safety of artworks during transit to the venue. 
  • To ensure professional gallery aesthetics, all paintings must be properly framed before submission.
  • The event traditionally culminates in a public showcase and award presentation, positioning emerging talent alongside seasoned practitioners.
  • As an “All India” exhibition, it draws talent from various states, providing a networking hub for regional artists to meet urban collectors and critics.

About NSAC

The Nav Shri Art & Culture Organisation has historically been a non-profit entity dedicated to promoting art. Hitherto, they have showcased exhibitions in reputed venues like the Artizen Art Gallery in New Delhi. This platform is dedicated to offering significant exposure to the media and art cognoscenti. The 2026 edition is also supposed to tread the same path. It offers equitable opportunities for both the debutant sculptor and the veteran painter alike.

It represents one of the most systematized and structured platforms that is tailored to be artist-friendly. While many national level artexhibitions might feel like they are gatekeeping their representative circuit to an elite circle, this one stands in an opposite position. NASCO’s digitally permeable entry ensures that talent is the only ticket to entry, making it highly meritocratic. For any serious artist looking to build their CV or gain national visibility, the NSAC lifetime membership is a strategic investment that pays for itself through waived entry fees in subsequent years. 

Takeaway: A Final Retrospection

The Art N Art exhibition is a vital space that promotes contemporary Indian art. It emphasizes accessibility, diversity, and inclusivity. Art N Art contributes meaningfully to cultural democratization and reflects a growing dynamism within India’s creative industries. Consistent support for such initiatives can nurture a more inclusive art scene that balances local authenticity with broader artistic innovation. Ultimately, this exhibition is a testament to the thriving, multifaceted nature of Indian creativity, and it remains a “must-apply” event for the upcoming 2026 season.

Thinai Exhibition at Muziris Contemporary Explores Sangam Ecology

By
Kriti Sen
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0

Thinai-Exhibition-at-Muziris-1

Reimagining Ancient Worlds Through Contemporary Eyes

During the Tamil Sangam era, the “Thinai” (திணை) was an ecosophical and poetic scaffolding that classified the Tamizhagam (meaning the home of Tamil) into five distinctive tableaus (Ainthinai). The five places represented cultural life, occupations, deities, flora, and fauna. It also conjoined human emotions with the natural environment. This systematic classification dates back over two millennia to the Sangam period. 

As Kochi metamorphoses into a global hub for art with the onset of the 6th Kochi-Muziris Biennale 2025-26, it showcased a beguiling and contemplative exhibition titled “Thinai.” Housed in Fort Kochi, this exhibition is an aesthetic foray into the ancient Tamil idea that attests to sustainability even when it was not a globally recognized phenomenon. This is the inaugural exhibition at the Muziris Contemporary, which offers a thoughtful purview into the ecological and emotional thought processes of human life.  This exhibition presents an immersive exploration of how place, emotion, and ecology can be read as interdependent systems of meaning.

Exploring the Landscapes of Memory

The conceptual philosophy of Thinai bridges the five classical landscapes with today’s socio-environmental realities. It brings in the masterful works of artistic stalwarts like CN Karunakaran, Senaka Senanayake, and KG Babu. The exhibition places the human body and the natural world as inseparable receptacles of memory. From a poetic perspective, the Thinai signifies a terrain that encompasses the Kurinji (mountains), Mullai (forests), Marutham (croplands), Neithal (seashore), and Palai (desert). These were never just geographical entities; they are psychic contours manifested in physical formats. 

The exhibition’s curatorial vision reflects dialogues between antiquity and the present. Thinai draws direct references and inspiration from the ancient Tamil Literature and creates the sense of a moving plane that is experiencing love, longing, conflict, patience, separation, and reunion. Muziris Contemporary has reimagined this essence into a perceptible body of artworks that are up for viewing at the biennale. It presents the works by nine pioneering artists from across the Indian subcontinent whose practices echo these ancient world-making systems.

The Confluence of The Artists

The canvases of Senaka Senanayake evoke the spirit of Mullai, focusing on the biodiversity of the rainforest. Santhi EN’s work mirrors the groundedness of Marutham. Kamala Das’s Akam (interior emotional world) sensibility resonates alongside Riyas Komu’s Puram (external, socio-political), confronting war, violence, and collective numbness. Smitha G.S.’s engagement with shola forests symbolizes Marutham’s fertile reciprocity between people and land. C.N. Karunakaran’s wetlands echo agrarian ecologies. The exhibition seamlessly aligns with the bigger motto of the Biennale, “For the Time Being,” curated by Nikhil Chopra, which focuses on the body as a site of “embodied knowledge.” In Thinai, the landscape is the body, and the body is the landscape. 

Artist Arieno Kera’s rhododendron-based art enhances the ambit of Thinai-like sensitivities into the Himalayan region. K.G. Babu’s portraits represent human figures as inseparable from the dense forests. The representational brilliance of this exhibition settles in with the positioning of diverse artworks under the umbrella theme of Thinai. The exhibition also pays homage to the local roots of the Muziris region, addressing the mythical past of the ancient port through modern installations that appear like “archaeological finds” of the future.

The Event At A Glance

Aspects Details
Exhibition Title Thinai
Venue Muziris Contemporary, Kochi
Dates 12 December 2025 – 25 January 2026
Conceptual Framework Sangam thinai (ecological-emotional landscapes)
Number of Artists 9 artists from the Indian subcontinent
Core Themes Ecology, emotion, memory, landscape, belonging
Artistic Forms Painting, works on paper, organic material-based works
Key Artists KG Babu, Senaka Senanayake, Kamala Das, C.N. Karunakaran, Santhi E.N., Smitha G.S.
Artistic Mediums From traditional oil on canvas to site-specific organic installations

Key Highlights

  • Inaugural exhibition at Muziris Contemporary, marking a new chapter in Kochi’s contemporary art scene.
  • The exhibition serves as a form of “eco-poetics,” using ancient classifications to highlight modern climate anxieties.
  • Rooted in the ancient Sangam literary system of thinai, bridging classical Tamil poetics with contemporary visual practice.
  • Many works draw direct inspiration from Sangam poems, translating the Ullurai (inner meaning) of the verses into visual metaphors.
  • Features nine prominent South Asian artists whose works are mapped to specific emotional-ecological landscapes.
  • By featuring both Sri Lankan masters like Senanayake and local Kerala icons like Karunakaran, the show emphasizes a shared “maritime cosmopolis.”
  • Large-scale immersive paintings dominate the exhibition, creating enveloping sensory environments.
  • The use of “found materials,” spices, and earth in several installations nods to the historical trade legacy of the Muziris port.
  • Strong ecological and emotional consciousness, foregrounding land as a living, emotional entity.
  • Offers a rare philosophical coherence between curatorial concept and artistic execution.
  • As part of the wider “People’s Biennale” ecosystem, the exhibition is designed to be accessible, moving art from elite galleries into the lived spaces of Fort Kochi.

Takeaway

The Thinai is a bigger philosophical fabric manifested through artworks. It is not another satellite event; it is a crucial, erudite segment of the biennale. Today, the climate crisis is no longer “tomorrow’s concern, ” it is an issue of the present, and this exhibition brings people one step closer to climate-based sensitization by experiencing it in avisual format. The artists do not merely “paint nature”; they inhabit it. The exhibition also treats Sangam literature as a living, breathing guide for survival. By resurrecting Sangam cosmologies within contemporary artistic practice, the exhibition does more than aestheticise ecology; it re-sacralises it. Thinai stands as a rare, intellectually rigorous, and emotionally resonant intervention that reminds us that the future of ecological consciousness might well lie in our oldest poetic systems of understanding the world.

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