Kochi-Muziris Biennale (KMB), South Asia’s longest-running continuously organized contemporary art biennale, is set to open its sixth edition, ‘For the Time Being’. Now under the management of the Kochi Biennale Foundation (KBF), the highly anticipated event will be open for 110 days from December 12, 2025, to March 31, 2026, offering a huge and thrilling experience to art lovers as well as the general public.
The new iteration will reinterpret the experience of the biennale, moving beyond the traditional model of an exhibition to provoke a more networked and activated discursive practice among artists. With emphasis on process and mutual “friendship economies,” Kochi-Muziris Biennale ’25 will create a living space where art, artists, and publics interact intensively and deeply. Guests can be assured of an experience that brings together modern art and the Kochi high culture, in a city in which global and indigenous elements coexist in harmony.
Things to Know
Information
Event
Kochi-Muziris Biennale 2025 – 6th Edition
Theme
“For the Time Being”
Dates
December 12, 2025 – March 31, 2026 (110 days)
Location
ndian Chamber of Commerce Building Mattanchery, Kochi, Keraleeya-682002 India.
Organizer
Kochi Biennale Foundation (KBF)
Tickets
Students & Children: ₹50
Senior Citizen: ₹100
Adult: ₹150
Weekly Pass: ₹1,000
Monthly Pass: ₹4,000
Tickets available online & at Aspinwall House
This edition of the KMB will be guest-curated by prominent multi-disciplinary artist Nikhil Chopra, with HH Art Spaces, which is an artist group based in Goa. Rather than repetition of the same old biennale routine, something new is being experimented with by Chopra. He is building the concept of collaboration and exchange. His work is founded on the idea that art could grow when individuals share as well as assist one another.
The sixth edition is conceived as a “living ecosystem” where each component, ranging from performances to artworks, resides, shares space and time, and resources that increase by being in dialogue with each other. This approach seeks to move away from the idea of a singular, central exhibition event, fostering an evolving, responsive, and alive experience.
Embracing the Body and Embodied Histories
Chopra’s curatorial note emphasizes an inquiry that begins with the body – “chemical, tender, marked by memory and intimacy.” Here, the body is understood as a terrain of time, an organ of labour, pleasure, and grief. From these bodies, things get processed and become other extensions, meaningful and refiguring reality. This stance asks for more presence of being and attempts to plant seeds towards a more awakened and compassionate future.
Biennale will also explore histories transmitted by the previous generations of human beings. These histories reside within and concurrent with our bodies, in memory, and in our mode of living. It is a project of establishing a deep connection among individuals, places, and moments. It asks us to remember, listen to, and acknowledge each other more through experience.
Beyond the Exhibition: A Diverse Programme
Besides the international exhibition, the KMB ’25 will also feature a rich programme aimed at fostering a diverse cross-section of people. The main verticals are:
Initiative
Purpose
Students’ Biennale
Providing space for nascent artists.
Invitations
Joint collaborations and solo shows.
Children’s Art
Stimulating thought patterns in young minds.
Residency Programme
Facilitating artistic growth and exchange.
Collateral
A series of solo events and exhibitions held in Kochi.
The Biennale will also include a complete schedule of performances, screenings, lectures, workshops, and films that are going to be taking place at some of the Kochi locations, an ancient seaport with a history of confluence of local and universal cultures.
KBF Chairperson Dr. Venu V had anticipated that the planning and organizational changes incorporated would help the event turn out to be a success in this edition. In his opinion, the Biennale would enable the commoner as much as the connoisseur to have a “dynamic experience.”
Nikhil Chopra’s performance and durational exhibitions were the focal point, stated Bose Krishnamachari, President, Kochi-Muziris Biennale. The audience is going to experience an immersive journey with breathtaking works of art, site-specific interventions, and more than sufficient space to interact with artists and other art lovers.
Takeaway
The KMB ’25 situates itself to take up the contradictions and weaknesses of our times, assuming that although art in itself cannot alter the world, cultural collisions can perhaps initiate a conversation and shatter tough silences, if only momentarily. Amidst an era overburdened with digital knowledge and marked by global uncertainty, the Biennale longs to confirm the dominance of liveness, being-there, and communion.
Numerous live events, gestures, and debates will enliven the 110 days of the Biennale, engaging spectators in bodily, participatory experiences that confound a grid-based system of exhibition. The full list of artists for Kochi-Muziris Biennale’s sixth edition will be announced in October 2025.
FAQs on Kochi‑Muziris Biennale 2025
Question: When will the 2025 Biennale take place?
Answer: It runs from December 12, 2025 to March 31, 2026.
Question: What is the theme of Kochi Biennale 2025?
Answer: Titled “For the Time Being,” it envisions the Biennale as a living ecosystem.
Question: Who is curating this edition?
Answer: Multidisciplinary artist Nikhil Chopra with HH Art Spaces are the curators.
Question: What programs will the Biennale feature?
Answer: Expect exhibitions, talks, performances, workshops, film screenings, plus Students’, Children’s, Invitations, and Residency programmes.
Question: Is Aspinwall House confirmed as a venue?
Answer: The Kerala government is acquiring Aspinwall House to secure it as a heritage venue for the Biennale.
Hyderabad city holds a unique position in India as a melting pot of Hindu, Muslim, Andhra and Telangana cultures. Evidently, “Hyderabadi Hindi” gains its unique flavor from the amalgamation of Urdu, Hindi and Telugu. The best part about being a Hyderabadi is to experience a lifetime of hilarious hindi conversations. Over the years, the language has gained such significance that it becomes difficult to relate to the place without it. We have our own Johnny here, who is called ‘Haula’ (dumb-head or stupid). Anybody who reflects this ‘haula’ quotient in a conversation is believed to be suffering with ‘haulapan’! “Haulepane ki baatan mat karo yaaron!” (Don’t be stupid or don’t talk stupidly). Note, ‘yaaron’ can be applied for both singular and plural!
Understanding the Hyderabadi Slang
The concept of singular-plural is completely different in Hyderabad. Here there is no need to put an ‘s’ suffix at the end of the word to make it a plural. The conventional ‘s’ is replaced by ‘aan’, for example – bottlaan, phoneaan or logaan. “Uno pani ke bottlaan leke araa!” Ironic part is, once you stay here for a few days, you feel out of place if you have to refer to plurals with an ‘s’ especially when you are talking in Hindi.
If you go to a store in Hyderabad, you would be addressed with a blunt, “Kya Hona?” meaning, what do you want? Here ‘chahiye’ is conveniently replaced with ‘hona’; a hyderabadi invention used invariably in all sorts of conversations. A yes or a no here, cannot be expressed in a simple ‘haan’ or ‘naa’, it has to be conveyed through a ‘hau’ or a ‘nakko’ with a typical accent!
What Makes Hyderabadi Slang Special?
The universal time continuum does not apply to you when you are in Hyderabad; if you hear a Hyderabadi saying, ‘Haan main parson vahaan gaya tha’ (I went there, day before yesterday). Don’t be surprised to know that the same sentence can either mean he had been there the day before yesterday or probably a decade ago! Never believe a Hyderabadi if he says that he’ll be there by sharp 9, he will not leave for his destination until it is 9:15. However this attitude is changing, as people finally have to!
How Hyderabadis use the Slang
Hyderabadis don’t possess a great sense of direction either. According to them, all places are either situated on a straight road or involve a million gullys to turn into. If you have lost your way in the city, it’s not a bright idea to ask for the route, all you would come across is ‘seedha jayo ekich road hai’ irrespective of the fact that your destination is completely in the opposite direction! I remember a conversation with a passerby, he directed me by saying, “Aap sidha jayo, left mein do turna aathi, wo nakko lo, uske baad ka right maro!” (Go straight, you’ll come across two left turns, don’t take them, take the right turn after that!)
Asking a question in Hyderabadi Hindi is not as simple as saying a ‘kyun?’; the right terminology is ‘kaiku?’ Most of the people here possess a take it easy attitude. If you forget to do a certain thing, you would be consoled by your friends with a “lite le yaaron!”. If you remember, there was a Govinda song which went, “Mein poti pataunga magar hallu hallu”. It is a famous slang used for slow in Hyderabad.
How Non-Hyderabadis Cherish the Slang?
Despite its absurdity, this dialect is cherished by people of all walks living in Hyderabad. It gained immense prominence after the release of the comedy film, ‘The Angrez’ where all the characters spoke in a Hyderabadi dialect. It was followed by numerous other films like, ‘Hyderabad Nawabs’, ‘Hungama in Dubai’, ‘Well Done Abba’ etc. Once you get acquainted with this unique Hindi dialect, you would stand to realize that it is humorous in it’s own way. However, the dialect is dying due to the establishment of various corporate offices around the city. It is being influenced by American culture to a large extent. Yet, Hyderabadis always have and always will enjoy a conversation in Hyderabadi Hindi over any other language!
Words and phrases that you need to know to survive in Hyderabad:
List of Famous Hyderabadi Slang
Hyderabad Slang
Meaning in English
Hau
Yes
Nakko
No
Kaiku?
Why?
Mereku
Me
Tereku
You
Potti
Girl
Potta
Boy
Mama
Dude/Bro
Zara Hallu chalo
Go slow
Hona bolke
On purpose
Uno kya kathe?
What did he say?
Kya hona?
What do you want?
Kya mein haula dikrhoon tereku?
Do I look like a fool to you?
Khali Peeli
Simply / just
Dimakh Kharab mat karo!
Don’t irritate me
Lite lo yaaron!
Take it easy
Bawa ki road samjhe?
Have you lost control?
Chindi chor
Small-time thief/cheapskate
Over kar dere
Acting too smart
Takeaway
Hyderabadi slangs are not just words it’s the emotion of the people in the form of verbal expression, the language pokes a pinch of humour in its accent and kindles a funny emotion within. Though the language has its roots in Urdu, Telugu and Marati it have created its own blend that reflect the deep culture of Hydrabadies. Learning some words from the list will empower you with readymade punch to your chit-chat with friend and family.
Sweet dishes are an integral part of Indian culture. Sweets are used to celebrate and commemorate every occasion in an Indian household- from birth to death. Besides, in a country as diverse as India, every region has its diverse array of sweet dishes. Karnataka, one of India’s most cosmopolitan states with its booming IT industry and industries has produced a number of unique sweet dishes- with regional as well as distant origins.
The Mysore Pak is one of the most iconic sweet dishes of Karnataka. It was made by the royal chef of the Wadiyar royal family at the time, Madappa, when he was experimenting with ingredients to create a new dish for the erstwhile Maharaja of Mysore, Krishna Wadiyar IV, who had a sweet tooth. The Maharaja, impressed, granted him a sweet shop and since then, the dish has been a hit. The rich, heavy sweet dish is made of gram flour, tons of sugar and ghee, water and nothing else. The ingredients are cooked together meticulously for a long time, requiring a lot of patience and skill. It is most popularly made in the city of Mysuru and is well known across India and the world.
The Dharwad Peda is also amongst Karnataka’s most well known sweet dishes. However, this GI tagged dish was not made by a Kannadiga, but a Thakur from Uttar Pradesh who migrated to Dharwad during a plague. The procedure to make it appears to be that of a standard Peda, but the special ingredient is Dharwadi Buffalo milk, with its unique characteristics. Besides, there seems to be something special about the procedure in which it is made- it is a trade secret passed from generations to generations within the Thakur family. The Dharwad Peda has a nearly 200 year old history and heritage which has been preserved for generations.
Kai Obbattu or Kayi Holige is a variation of the obbattu/ olige/ bobbattu/ Boli/ Puran Poli, as it is called in different regions of India. The Kai Obbattu is made mainly in Karnataka, and has grated coconut added to the standard stuffing of Chana dal, ghee and jaggery inside the thin outer covering of maida. It is best enjoyed hot and slathered in ghee and is a great end to a meal.
Hayagreeva Maddi is a simple Udipi dessert made during festivals and celebration as an offering to the Gods. It is easy to make and is somewhat similar to the filling of obbattu. The dish is made of Channa dal, water, jaggery, nuts and spices which can be customized to one’s taste and preference. The ingredients are cooked for a decent while till everything is soft and well-incorporated. This is a simple and easy dessert and can be conjured quickly on any special occasion.
Karjikai is a sweet dish similar to gujiya or kajjikaya as it is called in other states. Karjikai is what it is called in Kannada, and is customised according to regional tastes. In Karntaka, Karjikai is usually filled with a mixture made primarily of Dal, coconut and jaggery, with spices added as per one’s taste. The mixture is encapsulated in a thin outer covering made of all purpose flour and is then deep fried in ghee, making a lip smacking dessert. Several variations of Karjikai exist, but this is the most popular version in Karnataka.
The cycle Khova of Bellary has a very interesting name. The ‘cycle Khova’ gets its name from the several vendors who go from house to house on their bicycles, selling freshly made Khova from large containers strapped onto their cycles. Khova is made by cooking milk for a long time on heat, till it thickens and develops a caramelly brown colour, after which sugar is added for taste. The sellers of the cycle Khova of Bellary serve it fresh off the stove, in a simple yet ingenious serving plate of Sal leaves. The Khova of Bellary is not just a sweet dish, but an experience- standing under the shade of a large tree, scooping the moist, decadent Khova off of the Sal leaves is happiness at its simplest.
Kesari Bath of Karnataka is a sweet dish widely made across Karnataka on special occasions. The dish is simple and is made of Rava, water, sugar, ghee and saffron, resembling Rawa halwa. However, the dish looks distinct as a natural yellow/orange colouring agent of some kind is definitely added- like saffron or turmeric. The dish is easy to make and is smooth, simple and delicious. While Kesari bath need not have a specific flavour, fruits and other spices like coconut can be incorporated. It is usually served with Khara bath, a savoury dish made of Rava, as breakfast in Karnataka, making up a breakfast combination called Chow Chow Bath.
The unique Gasagase Payasa is made in Karnataka for special occasions as a dessert. It is made without dairy, with a base of ground poppy seeds, nuts and coconut. Base is then cooked along with jaggery or sugar and is topped with dry fruits and nuts roasted in ghee. Gasagasa Payasa has a soupy consistency and can be had as a refreshing dessert after a meal.
Chiroti is a popular sweet snack made in Karnataka, Telangana and Maharashtra. This delicious snack is made by rolling ribbons of maida into a pinwheel, after which it is deep fried in ghee. Afterwards, it is sprinkled with sugar and enjoyed. Chiroti is a very popular and simple sweet snack, enjoyed by millions of people in the southern states and has a special place amongst Kannadigas.
Conclusion
Karnataka boasts a delectable array of sweet dishes that reflect its rich culinary heritage. From the iconic Mysore Pak, a melt-in-your-mouth fudge, to the fragrant and aromatic Obbattu, a sweet stuffed flatbread, and the delightful Kesari Bath, a saffron-infused semolina dessert, Karnataka’s sweet treats are a testament to the state’s diverse flavors and traditions. These sweets offer a perfect balance of sweetness and cultural richness, leaving a lasting impression on taste buds and hearts alike. If you have a sweet tooth, visit Karnataka to be surprised and fascinated at every corner!
FAQs on Sweet Dishes of Karnataka
Question: What are the famous sweet dishes of Karnataka?
Answer: Top sweet dishes of Karnataka are Mysore Pak, Dharwad Peda, Kai Obbattu, Hayagreeva Maddi, Karjikai, Cycle Khova of Bellary, Kesari Bath, Gasagase Payasa and Chiroti.
Question: Which sweet is named after a city in Karnataka?
Answer: Mysore Pak is named after the city of Mysore, which was once the seat of the Wadiyar-ruled Kingdom of Mysore.
Question: Which sweet is famous in Bangalore?
Answer: Mysorepak is the famous sweet in Bangalore you can get it from Nandini shops.
Question: What are the top 5 sweets in Karnataka?
Answer: Kesari Bath, Mysore Pak, Dharwad Peda, Kai Obbattu and Karjikai are the top five sweets of Karnataka
Question: Which place is famous for peda?
Answer: Dharwad, Karnataka – Renowned for the rich and grainy Dharwad Peda.
Poetry is not just read—it is seen, heard, and experienced. It transcends form and language, converging into a deeper field of meaning.
Drukkavya is the first of its kind—a book that blurs the boundaries between language and visual art. Created by artist and poet Hemant Joshi, Drukkavya invites readers to enter a space where words, images, and idioms converge. It is poetry not just meant to be read, but to be seen and experienced.
The juxtaposition of Marathi and English, the use of fragmented phrases, and abstract symbolism explore themes of cultural hybridity, perception, and the search for meaning. Joshi urges us to set aside our assumptions about what is seen and what is imagined.
As surrealist René Magritte once said: “An object is not so attached to its name that we cannot find another that would suit it better.” That philosophy is central to Drukkavya’s poetic language.
Hemant Joshi, a former creative director whose professional work spans sectors from finance to travel and international tech brands like Panasonic, brings decades of experience across media. A published Marathi poet—his previous book launched at Granthali, Bandra in 2023—he is also a visual artist whose work has been showcased in solo and group exhibitions at venues including Jehangir Art Gallery (Mumbai), Lalit Kala Akademi (Delhi), and other cities across India.
Drukkavya reflects his lifelong engagement with the intersections of language, image, and philosophical inquiry.
Within its pages, words bend, break, and reassemble, detached from fixed meaning and reimagined anew. It offers a rare dialogue between poetry and image—image as poem, poem as image—drawing from surrealist lineage while carving its own visual language. Inspired in part by Guillaume Apollinaire’s calligram: “Every image is a poem, and every poem is an image,” Joshi builds on a tradition that traces back to 1918, when Apollinaire first coined the term “surrealism”, influenced by Chagall and de Chirico.
If art history laid the groundwork, Drukkavya stands uniquely at the crossroads of visual poetics and Marathi language experimentation. In the way Geeta Vadhera brought Devanagari calligrams to the fore in the 1990s, Drukkavya suggests a new possibility: a Marathi visual poetry renaissance.
Drukkavya is more than a poetry collection—it is a quiet yet radical act of hybridisation. It reflects a maturing literary-visual consciousness in Marathi, while joining a global continuum of visual poetics. It deserves recognition not only as a literary work but as a significant artefact of contemporary art, design, and linguistic experimentation.
With its launch at NCPA and growing interest across art and literary circles, Drukkavya marks not just a milestone in visual poetics, but a beginning—a lens into how language might look, and how imagery might speak.
Situated high in the Nilgiri Hills, Ooty is a hill station that’s equally known for its stunning views and aromatic tea estates. With cool mountain air, mist-covered plantations, and rolling green slopes, it’s a haven for tea lovers and curious travellers alike.
If you’re a connoisseur chasing rare brews or just want to sip something warm with a view, Ooty’s tea trails promise an unforgettable experience. So, if you’re ready to swap city noise for rustling leaves and the scent of fresh tea, this guide is just for you.
The Charm of Ooty’s Tea Culture
Rooted in the region’s colonial history, tea cultivation was introduced during British rule and has since become an essential part of the Nilgiris’ identity. The region’s high altitude, cool climate, and fertile soil create perfect conditions for growing some of India’s finest teas.
As you stroll through the beautiful step plantations, you’re surrounded by a centuries-old tradition. Watch how delicate leaves are handpicked, carefully processed, and transformed into the brews we love.
Visiting these scenic plantations becomes even more enjoyable when you have the comfort of an Ooty car rentalto explore at your own pace.
Must-Visit Tea Estates in Ooty
If you’re new to Ooty or even a returning traveller, these tea estates are definitely worth adding to your itinerary.
The Tea Factory & The Tea Museum
Just 5 km from Ooty town, The Tea Factory & The Tea Museum is a must-visit stop for anyone curious about the tea-making process. The factory offers an interactive walkthrough of each step, from plucking to packaging, making it both educational and fascinating.
The museum adds an extra layer of depth, showcasing vintage tools and detailing the tea heritage of the Nilgiris. At the end of the tour, you get to taste a selection of local teas, allowing you to enjoy the region’s rich diversity of flavours.
If you’re looking to pre-book a cab to visit tea estates, downloading the Savaari taxi service appwill help you have a smooth experience.
Glenmorgan Tea Estate
Located away from the usual tourist crowds, Glenmorgan Tea Estate is an idyllic, serene spot surrounded by green forests and offering breathtaking views of a shimmering reservoir. One of the oldest estates in the Nilgiris, Glenmorgan takes you back in time with its heritage tea practices.
The scenic journey to this estate makes it an adventure on its own, and hiring a reliable cab service in Ooty ensures a smooth ride while you take in the surrounding beauty.
Highfield Tea Factory
Set amidst eucalyptus groves, Highfield Tea Factory blends heritage with hands-on experiences. Dating back to the British colonial era, this estate offers guided tours through its factory, where you can see the full tea-making process.
The climate and altitude contribute to bold, aromatic brews, especially their orthodox black tea and spiced blends. If you’re here to learn, sip, or just stroll through the misty fields, Highfield delivers both authenticity and atmosphere in one scenic visit.
Getting here is part of the charm, especially with the ease of an Ooty car rental to take you through those dreamy, winding hills.
Brooklands Tea Estate
Brooklands Tea Estate is all about staying close to the roots—literally. It uses time-tested, minimal-intervention farming techniques that allow the natural character of the leaves to shine through.
The estate’s Nilgiri black tea is smooth, slightly brisk, and has subtle floral hints, while their green tea offers a clean, earthy finish. Less commercial and more local in vibe, it’s perfect if you’re looking for authenticity.
Just you, the gardens, and the soft crunch of gravel underfoot. It’s the perfect escape, made even smoother with a dependable cab service in Ooty to get you there without a fuss.
Stanes Tea Factory Welbeck Estate
Part of the historic Stanes Amalgamated Estates group, Welbeck Estate sits just outside Ooty and offers an authentic taste of the Nilgiris’ tea legacy. The estate follows traditional manufacturing methods, producing high-quality orthodox teas that are both rich and aromatic.
Known for its sustainable farming and eco-conscious approach, Welbeck also crafts organic blends that appeal to modern tea drinkers. Its proximity to Ooty makes it a convenient yet enriching stop for anyone looking to explore a working estate with deep roots in South India’s tea culture.
Just tap into your favourite taxi service app and you’ll be there before your tea even cools.
Wrapping Up
Tea trails in Ooty are more than a tourist activity—they’re a deep dive into the culture and craft that defines the Nilgiris. Whether you’re a tea geek or someone just looking to try something new, these trails are refreshing, educational, and truly calming.
If you’re planning a smooth, scenic trip around the town and its outskirts, Savaari Car Rentals offers reliable chauffeur-driven rides that ensure you explore every tea estate at your own pace and comfort.
AstaGuru’s recently concluded ‘Collectors’ Choice’ auction witnessed remarkable results for two rare and historically significant offerings by Nobel Laureate Rabindranath Tagore, reaffirming his enduring legacy and cultural resonance.
Lot no 5, an extraordinary archival lot of 35 handwritten letters with 14 envelopes that Tagore penned to sociologist Dhurjati Prasad Mukerji, sold for ₹5,90,00,000. Written between 1927 and 1936, the letters offered deep insight into the poet’s creative evolution, philosophical reflections, and transition from literary to visual expression.
Dhurjati Prasad Mukerji was a leading intellectual of his time and a pioneering figure in Indian sociology, associated with the Lucknow School of Thought. His academic work was deeply rooted in Indian cultural traditions, and his long-standing relationship with Tagore was based on a shared commitment to education, philosophy, and nation-building. The letters exchanged between the two are more than personal correspondence—they serve as rare historical documents capturing the exchange of ideas between two of India’s greatest minds during a transformative period in the country’s history.
The Heart – Rabindranath Tagore
The result is especially significant considering the lot was not a visual artwork but a manuscript-based archive and yet became the second-highest price ever achieved for a Rabindranath Tagore creation at auction. The collection’s emotional candour, combined with its scholarly value and provenance, captivated collectors and institutions alike.
Lot no. 2, ‘The Heart’, the only sculpture ever executed by Rabindranath Tagore sold for ₹1,04,52,210. This emotionally charged and deeply personal object not only expands the understanding of Tagore’s artistic practice but also offers a rare glimpse into his inner world during a formative period.
Commenting on the results, Sneha Gautam, Director at AstaGuru said,
“We are deeply honoured to have presented these rare and intimate creations by Rabindranath Tagore. The overwhelming response to both lots—particularly the extraordinary result achieved by the letters—reinforces the growing recognition of archival and manuscript-based material as valuable cultural artefacts. These works offer not just collectible value, but living, breathing connections to India’s intellectual and artistic heritage.”
With these historic sales, AstaGuru once again affirms its position as a leading platform for culturally significant treasures and continues its commitment to preserving and presenting India’s artistic legacy to a global audience.
India’s groundbreaking pan-India hotel art fair, Artix, is making a much-anticipated return to its home turf—the national capital, New Delhi. With its fourth edition, Artix 4.0, the event promises to elevate the artistic landscape through a visionary blend of indigenous traditions and global creativity.
A Revolutionary Format for Art Lovers
Taking place on August 2 and 3, 2025, at the elegant Claridges Hotel, this year’s edition reimagines how we engage with art. Instead of traditional gallery settings, hotel rooms are transformed into private, immersive art spaces—inviting viewers to experience artworks in a more intimate and narrative-driven environment.
This unique setup fosters deeper connections between art and audience, as every room becomes a curated vignette of innovation, heritage, and luxury.
A Fusion of Textiles, Talent, and Timeless Aesthetics
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Artix 4.0 is not just an exhibition—it’s a cultural conversation. From ancient textile crafts like Chikankari and Jamdani to modern-day expressions of luxury in jewelry, fashion, and accessories, the event highlights the convergence of handcrafted heritage and contemporary design.
Curated over two days of vibrant sessions, Artix 4.0 showcases emerging artists, noted galleries, and craft-focused collectives. This season features names such as:
Ashvita’s, Arushi Arts, 108 Art Projects, Art Nouveau
Solo talents like Shruti Kasna Gupta, Prarthana Modi, Parnika Mittal, and Akansha Chaturvedi
Textile and luxury brands including House of Tarina, Aadyam Handwoven, Dharki Handwoven, Baroque by Samiksha Chowdhary, and Lotus Art De Vivre
Together, they offer a richly textured display of India’s evolving artistic identity.
Powered by Visionaries
Artix 4.0 is spearheaded by a dynamic trio—Payal Kapoor, Malvika Poddar, and Sethu Vaidyanathan—who collectively bring vision, style, and substance to the platform. Describing this edition, they note:
“Artix 4.0 is more than just an exhibition; it’s a unique, more intimate and immersive idea in the art world. This season, we’re infusing new energy and fresh appeal to brighten the artistic tapestry and cultivate a new generation of art enthusiasts and collectors.”
Their mission: to break traditional boundaries and establish Artix as a dynamic bridge between artists, collectors, and the curious.
✨ Event Details
Event Details Open to all: 2nd August and 3rd August, 2025 Time: 11 :30 AM – 8:30 PM Venue: The Claridges Hotel, Motilal Nehru Marg, New Delhi
Whether you’re a seasoned connoisseur or a curious newcomer, Artix 4.0 invites you to step into a world where art lives, breathes, and surrounds you. Join this one-of-a-kind celebration and witness the future of Indian art unfold—room by room.
About Artix: Driven by boundless artistic ability and commitment, Artix serves as a platform for expressive artistic endeavours and unlimited vision that transcends all boundaries and offers an exceptional journey that enables art enthusiasts, connoisseurs, and collectors to navigate the depths of art and its verticals.
“Manzil milegi, bhatak kar hi sahi, Gumarah to wo hain, jo ghar se nikle hi nahin” – Mirza Ghalib
Shayari is one of the most loved forms of poetry, not only in India but also worldwide. A sher is essentially a poem written in Urdu, Persian or Hindi. And the poet who pens the sher is called a shayar. India has been fortunate to be the home of some of the most gifted and talented shayars, who have with their words, couplets, shers left an impact for generations to come.
What Makes Shayari so Magical?
There is almost a magical quality that shers possess. The rhythm and play of words, along with the sweetness of the language itself, have made shers a popular medium to express several emotions. From love to betrayal, to socially important ideas to a state of mind, this form of poetry has been adapted in different ways. Shayars quote their shers in ‘mehfils’ and some of the most poignant shayaris have been converted into songs and musicals.
Each word is steeped in meaning, and very often the listeners instantly exclaim, ‘Wah Wah,’ on the completion of the sher. The poetry is further elevated in style either in the form of soulful songs or ‘mushaira’, where stalwarts like Jagjit Singh have lent their voices or the shayars themselves have mesmerized the audiences with their diction and conviction.
The Great Shayars of India
When a sher itself is so powerful, how can one not admire the pen and person who composes them? There are some poets, all over the world, whose writings and poetry have survived the tides of time and remain lessons till eternity. Shayars have used the medium of language to bring forth umpteen human desires and emotions, be it love, sadness, happiness, hope, despair, longing and much more. Here is a look at the famous shayars of India.
Born in the 13th century, Amir Khusrau is perhaps one of the earliest shayars in the world. He was a poet, scholar, composer who served the Delhi Sultanate. Though his works are mainly in Persian, he also wrote in Hindavi. His love poetry transcends into the divine and mystical, making him a pioneer of shayari in the country.
A list of best shayars of India has to start with none other than Mirza Ghalib. One of the most famous shayars, Ghalib wrote in Persian and Urdu. He started writing at a young age of 11 and his poetry is the hallmark of deep thought coupled with beautiful word play. However, sadly Ghalib in his lifetime hardly saw the fame or influence that his shayari would have for ages to comes. An orphan he changed his pen name from Mirza Asadullah Baig Khan to Mirza Ghalib and moved from Agra to Delhi. He passed away in 1869, but his poetry still lives on.
Another poet who hails from the bygone eras, Mir Taqi Mir was a leading poet of the 18th century. Often called the best Urdu poet of all times who also helped in shaping the Urdu language. His shayaris on compassion and love are popular till date. He belonged to the Delhi School of ghazals in Urdu and one can learn more about him in his autobiography, Zikr-e-Mir.
Born in 1777, Khwaja Haider Ali Atish moved to Lucknow from Faizabad which happened to be the literary hub of poetry and poets. He lived on his own terms, not affiliated to any school or court. He wrote in Persian and Urdu and interestingly, he was the contemporary of another legendary poet, Imam Baksh Nasikh.
Imam Baksh Nasikh
Imam Baksh Nasikh was born in 1776 and his rivalry with Khwaja Haider Ali Atish is well known. Both the poets had several followers and this era is often referred to as the golden period for Urdu poetry. Both are known for their amazing and thought provoking ghazals.
Muhammad Iqbal was born in 1877 and passed away before Independence. He is also known as Allama Iqbal, a title that means ‘learned’. Most of his works are written in Persian followed by Urdu. He has also been called the ‘Poet of the East’, and though he has a large repository of work, he is most well remembered for writing ‘Saare Jahan Se Achha Hindustan Hamara’.
Raghupati Sahay was the real name of the renowned poet Firaq Gorakhpuri. His father Munshi Gorakh Prasad was also a poet and played an important role in shaping his son’s literary and creative genius. Firaq was an English professor who went on to write about 40,000 couplets. He has been awarded the Padma Bhushan.
Rahat Indori or Raht Qureshi was born in 1950 was an Urdu professor and a poet. He is also a well known lyricist who has penned lyrics for popular Bollywood songs. Besides, Rahat Indori was invited for mushairas all over the world.
Sahir or Sahil Ludhianvi has been an influential song writer for Hindi cinema. He has written in Urdu, Hindi and English. The range of his poems and songs include romance, futility of war, materialism, social change and more.
The real name of Majrooh Sultanpuri was Asrar-ul Hassan Khan. Another popular lyricist, he has written a number of melodious songs that we continue to hum even today. From ghazals to songs, his command over the language was the fundamental on which his thoughts were conveyed.
A well known poet and lyricist, Nida Fazli is another common name that is often associated with the Hindi film industry. Awarded the Padma Shri, his poetry touches upon relationships, search for purpose and more.
Kaifi Azmi
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Known as someone who paved the way for Urdu literature in Indian cinema, Kaifi Azmi is popular name in the world of shayari. Along with his contemporaries, Juan Elia and Pirzada Qasim he participated in various mushairas.
Gulzar is one of the stalwarts of Hindi cinema. However, his writings, shers and poetry talk about various aspects and emotions of life. Undoubtedly, one of the best shayars of our times, he dons multiple roles in the form of a novelist, poets, lyricist, dialogue writer, play writer and more. However, his work is not just limited to the entertainment industry, for he is also renowned as a poet respected by the literary world.
Javed Akhtar is an Urdu poet, lyricist, script writer, dialogue writer of this generation. Along with Gulzar, he has popularized shayari and shers for the current modern generation and thus contributed in keeping the love and respect for it alive.
Shayars from The Subcontinent
India gained Independence in 1947, however, there have been stalwarts poets who were born in India during the British rule, but became citizens of Pakistan after Independence. Though strictly speaking, they may not be counted as shayars of India, however, their poetry is well acknowledged by the people of both the countries. We cannot forget their contribution in shaping the future generations of Indian poets. Here is a look at some of them:
One of the modern shayars, Faiz Ahmad Faiz was born in 1911. He wrote in Urdu and Punjabi (Pakistan) and also wrote for the Pakistan Times after independence. Although Faiz Ahmad Faiz is a Pakistani, he was born during the British era and his poetry is thus acknowledged and loved by both the countries of the subcontinent. His life’s later works were dedicated to improving the social status of his country.
Born in 1924, Ada Jafri is known as the ‘First Lady of Urdu Poetry’. She has won many awards and accolades given by the Pakistan government and she is popular for her romantic shayari and ghazals.
Ahmed Faraz’s real name was Syed Ahmad Shah. Born in 1931 he was an Urdu poet and also a scriptwriter. He often criticized the military and its rule in Pakistan but was awarded posthumously the title Hilal-e-Pakistan for its unwavering contribution to Urdu poetry.
Jaun Elia was a popular shayar and poet known for his unconventional writings. Born as Syed Sibt-e-Asghar Naqvi he began writing at the age of 8. But his first published works called Shayad came out only when he was 60 years old. He was a communist and staunchly opposed the partition of India. However, he migrated to Karachi and eventually lived there. He stressed on the correct use of language and his poems often touched upon sadness and idealism.
List of Famous Shayars
Famous Shayars
Era / Region
Specialty / Andaaz
Amir Khusrau
13th Century / Delhi Sultanate
Sufi mystic and pioneer of Hindavi-Urdu poetry; blended Persian, Arabic, and local culture into verse.
Mir Taqi Mir
18th Century / Delhi School
Father of the Urdu ghazal; known for emotional intensity and humanistic themes.
Khwaja Haider Ali Aatish
Late 18th – Early 19th Century / Lucknow
Fearless and passionate poet exploring dignity, resilience, and spiritual intensity.
Imam Baksh Nasikh
19th Century / Lucknow School
Refined poetic structure and grace; a pillar of classical Urdu expression.
Mirza Ghalib
19th Century / Mughal Era
Philosophical master weaving love, loss, and existential themes with brilliance.
Allama Iqbal
Late 19th – Early 20th Century / British India
Philosopher-poet of selfhood, revival, and Islamic consciousness in Urdu and Persian.
Firaq Gorakhpuri
20th Century / Modern Urdu
Romantic voice who reshaped modern Urdu poetry with secular appeal.
Faiz Ahmad Faiz
20th Century / Pakistan
Blended romance with revolution; iconic voice of protest poetry in South Asia.
Sahir Ludhianvi
Mid 20th Century / India
Poet of social realism; impactful lyricist known for bold and progressive thought.
Majrooh Sultanpuri
Mid 20th Century / India
Blended classical Urdu with mainstream appeal through memorable film lyrics.
Ada Jafri
20th Century / Pakistan
First major female voice in Urdu poetry; explored womanhood and identity.
Ahmed Faraz
20th Century / Pakistan
Romantic rebel poet known for accessible language and rich emotional imagery.
Kaifi Azmi
20th Century / India
Activist-poet whose work championed equality, justice, and the working class.
Nida Fazli
Late 20th Century / India
Explored everyday emotions with philosophical depth and lyrical simplicity.
Jaun Elia
Late 20th Century / Pakistan
Cult icon known for rebellion, sarcasm, and raw poetic honesty.
Gulzar
Contemporary / India
Minimalist master of metaphor; blends poetic expression with cinematic beauty.
Rahat Indori
Contemporary / India
Stage sensation; powerful orator blending protest, identity, and romance.
Javed Akhtar
Contemporary / India
Modern voice of reason and introspection; scriptwriter and poetic visionary.
Key Takeaways
There are several other shayars whose works are deep and mesmerizing. Be it from the past, such as Hasrat Mohani, Daagh Delvi, Mirza Mohammad Rafi Sauda or Momin Khan Momin. Or from the later and more modern times, such as Nasir Kazmi, Munawwar Rana, Amrita Pritam, Wasim Barelvi, Juan Elia, Parveen Shakir, Bashir Badr and more. The history and present of India has some of the finest shayars and we cannot be more grateful for it.
FAQs about Best Shayars of India
Question: Who is the most famous Shayar?
Answer: Mirza Ghalib is the most famous and celebrated shayar in word of Urdu, Persian and Hind poetry.
Question: Who is the No.1 Shayar in India?
Answer: Well, it will be unfair to name a single shayar as no.1 but many believe that Mirza Ghalib is considered as No. 1 shayar in India.
Question: Which country is famous for shayari?
Answer: Shayari culture is famous in India and Pakistan hence both the countries are famous for shayari.
Question: Are there Shayars who are loved by both people in India and Pakistan?
Answer:Yes, There are well Known poets in both India and Pakistan. Some of them are Faiz Ahmad Faiz, Jaun Elia and Ahmed Faraz.
Question: Who is considered the pioneer of Shayari in India?
Answer: There is evidence that Shayari began in India within the 13th century, and the founder of this tradition can be called a poet and scientist Amir Khusrau, who created works in Persian and Hindavi.
Nestled amidst lush landscapes near Pune, Abhay Prabhavana Museum and Knowledge Centre is a first-of-its-kind institution which stands as a luminous tribute to India’s spiritual, ethical, and philosophical legacy. Conceptualized by visionary leader Shri Abhay Firodia, this groundbreaking institution is not merely a museum – it is a sanctuary of curiosity and thought, a canvas of cultural enrichment and a beacon for future generations.
Conceptualized with deep reverence for India’s civilizational roots, the museum blends the ancient with the avant-garde. Through immersive storytelling, state-of-the-art design, and thought-provoking exhibits, Abhay Prabhavana brings to life the profound tenets of Jain philosophy, Indian heritage, and the message of compassionate and conscious living.
In order to extend this message beyond walls and into the hearts of young learners, the Abhay Prabhavana Museum and Knowledge Centre has launched immersive educational initiatives. This initiative seeks to ignite and instill pride in India’s value system, encouraging students to explore and embody the civilizational wisdom encoded in ethics, thought and in art.
Tailored for school and college students across disciplines – from humanities to design – the programme features thoughtfully created group tours led by academicians. These guided journeys unveil 30 state-of-the-art galleries, each a portal into themes such as philosophy, traditions, artistic expressions and social practices.
The experience is both panoramic and personal. Set amid 20 acres of landscaped gardens, highlights include the towering 100 feet Manstambh, symbolizing spiritual elevation, the resplendent 43 feet sculpture of Rishabhdev: the first Tirthankar who introduced civilizational markers, and the Plaza of Equanimity, designed to inspire inner reflection. These architectural marvels are not just monumental, they are living metaphors of India’s inclusive and enduring ethos.
Through immersive experiences, digital installations, and aesthetic design, students encounter India’s heritage not as a static relic, but as a dynamic, lived experience. They are then invited to reflected and respond – through articles, speeches, sketches, and creative expressions – fostering a personal connection with the values they witness.
This initiative marks a significant stride in cultural education. It creates a space where heritage meets imagination, and where tradition inspires innovation. In nurturing this dialogue between the past and the future, Abhay Prabhavana is cultivating a generation of conscious citizens, thoughtful artists and value-driven designers.
Reflecting on vision behind the project, Shri Abhay Firodia, Founder of Abhay Prabhavana Museum and Chairman of the Amar Prerana Trust, shared, “Design, creativity, and knowledge must be rooted in meaning. Through this initiative, we hope to encourage young minds to understand and carry forward the spirit of our civilizational ethos – one where values are not merely remembered, but lived and reimagined through new forms.”
In a world often consumed by challenges, Abhay Prabhavana emerges as a timeless guidepost – a place where wisdom is not just preserved, but awakened, embodied, and set in motion for generations to come.
Monsoon in Kolkata are an enticing flashback to all of our childhood. As the sky turns from clear bright to a grey, overcast with a thick layer of clouds, one is compelled to be transported back to the childhood years. It reminds us of the days when one used to get drenched in the rain while cycling back home from school or tuition. Young couples would ride bicycles and seek refuge at roadside tea houses, and sip steaming hot masala tea and fritters waiting for the rain to stop. And the old at home will breathe a sigh of relief as the scorching humid climate dwindles to comfort. Thunderstorms roll in like background drums, wrapping Kolkata in a cocoon of sound and silence.
After weeks of blistering sun and suffocating humidity, the first real downpour in Kolkata is like a community-wide breath of fresh air. Usually sweeping in around mid-June, the rain cools the city almost at once and wraps everything in a brisk, promising hug. The dry earth soaks up eagerly, and the air is heavy with the wet, earthy smell of petrichor – a smell firmly implanted in the shared memory of the city. While traffic snarls and waterlogging are inevitable companions, Kolkatans generally embrace the rain. The storm signals relief from summer’s grip, a guarantee of vibrant new leaves, stocked ponds, and milder evenings that ease the daily commute.
With the skies grey and the air thick, the season’s arrival also reshapes what people feel like eating. As humidity grows higher, cravings for crisp, light fritters-and any other warm bite that offers comfort-surge almost instantly.
Pakoras and Telebhaja: When clouds start to pour, stalls burst with crisp pakoras and telebhaja. You’ll find aloo chop, beguni, mocha’r chop, and fish cutlets, each one bubbling in hot oil and begging to nestle beside a brimming cup of fresh cha. The duet of rain drumming on rooftops and these snacks shattering between your teeth sums up a true Calcutta monsoon.
Khichuri: On a soggy afternoon, nothing hits the spot quite like khichuri, a cozy mix of rice, lentils, and whatever vegetables are handy. Pile on some ilish bhaja, dim bhaja, or another beguni, and the steaming bowl wraps the whole family in a warm, edible hug.
Ilish (Hilsa) Season: Monsoon also brings the single most awaited window for ilish, that linchpin fish of Bengal. Cooks leap at the chance to make sorshe ilish, bhapa ilish, and countless other classics, turning every arrival of the silvery catch into a small household festival.
Monsoon and Art, Literature, Music
The monsoon has deeply impacted Bengali art, literature and music so that it has been used as a strong muse through the centuries.
Poetry and Prose: Rabindranath Tagore, the winner of the Nobel Prize, celebrated the monsoon in his numerous poems and songs, expressing all the moods of this storm of a nature: he wrote about its tender rains and violent rains. His prose is given to infusing the romance, sentiment and wistfulness of the rainy days. There are other Bengali writers and poets too who have been overwhelmed by the grandeur of the monsoon by writing tales and composing poetry.
Visual Arts: Rainy streets become the subject of painters who portray droplets of rain and shining trams under the streetlights and contrasting umbrellas with the grey sky. Not only does monsoon provide a different palette and mood that artists in Kolkata often use, the city has an emotional attachment to rain.
Music: Indian classical and folk music use ragas and tunes which remind of the monsoon season as well. An example is the Malhar raga, which historically has a connection with rain and numerous compositions seek to represent the sound and effect of rain.
Monsoon and Festivals
Celebrations at Rath Yatra
Though Durga Puja, the city’s biggest celebration, usually lands at the monsoon end, the wet months still hum with smaller, daily rituals that give the rain a festive feel.
Jhulan Yatra: This festival, mainly celebrated in the month of August, is one in which the idols of Radha and Krishna are swung on beautifully ornamented swings. It is a festive event usually with devotional songs and the slow swings indicate the calm beat of the rain.
Ratha Yatra: Ratha Yatra is normally celebrated during the early monsoon (June-July), but the preparations made and the following celebrations especially of the Ulto Rath (return journey) are usually done in full swing of the monsoon months giving it a special flavour in the rain drenched streets.
Outdoor Activities and Leisure: Kolkatians find a way of enjoying the season despite the rains. Many find the chance in making a slow-moving boating trip on the Hooghly river and enjoy the rain splashing on its surface. A leisurely stroll in the green lung of the city Maidan, which is a sprawling tract of park lands in Kolkata, proves to be a cool experience. Kids play in fields of muddy football and many find it nostalgic.
Although romanticized, the Kolkata monsoon is also a problematic experience. Waterlogging is an enduring issue that causes traffic and daily mobility to be affected. More humidity is not only a health issue but also an infrastructure-related issue. Yet Kolkatans are quite resilient and managing. The essence of the city has been such that these adversities are mostly settled with pragmatic acceptance and individuals learn to adjust to the freight by its own special mixture of humor and determination.
Conclusion
The monsoon of Kolkata is more than a state of the atmosphere. It is rooted strongly in the culture of the city and closely integrated in the food culture, art, and creative activities, festival schedule, and daily life of the city. It arouses a set of emotions, from excited elation of relief to the reflective atmosphere of analysis and it makes the City of Joy come alive in its own unique and rain-washed beauty.
FAQs about Monsoon in Kolkata
Question: When does monsoon usually occur in Kolkata during the year?
Answer: Monsoon normally arrives in Kolkata during mid-June and provides relief from heat during summer.
Question: In what ways does monsoon affect cultural life in Kolkata?
Answer: The monsoon brings life to Kolkata’s cultural landscape. Rabindra Sangeet becomes a backdrop in homes, Adda (informal conversation) bloom in coffee shops, and literary centers like College Street ring with gossip and tales.
Question: What are popular monsoon foods in Kolkata?
Answer: Locals yearn for telebhaja (deep-fried fritters) during rains, beguni khichuri, hot jhalmuri, and steaming masala chai. The comfort foods are a rage throughout the season and relished by people of all ages.
Question: Are there some festivals or events at Kolkata during the monsoon?
Answer: Yes, monsoon more or less coincides with initial preparations of Durga Puja. Also, in vogue at that time are some cultural events, plays, and poetry recitals, mostly indoors because of the climatic conditions.
Question: Where are the best places to admire Kolkata’s monsoon beauty?
Answer: Some of the mythical spots are Victoria Memorial, Princep Ghat on Hooghly, bookstalls on College Street, Kumartuli’s terracotta icon factory, street stalls and tea stalls where the true monsoon magic unfolds.
Seven Lines About Kolkata Monsoons
The first downpour paints Kolkata in fresh green and makes the pavements gleam like wet glass.
Every rain brings back that earthy petrichor, reminding everyone the season’s wheel has finally clicked into place.
No shower feels complete without crunchy telebhaja and steaming cups of sweet masala chai.
The arrival of the monsoon also marks hilsa season, a fish lovers’ cherished reason to celebrate the clouds.
Tagore songs and poems echo the storm’s mood, turning every balcony into an impromptu reading room.
Kolkatans wade through flooded lanes armed with laughter, improvised bamboo sticks, and a healthy dash of patience.
Beyond soggy shoes and delayed trains, the rains drip new life and rhythm into the city’s vibrant culture.
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