Академический Документы
Профессиональный Документы
Культура Документы
Walter Spink
Conference at a glance
Conference schedule
Conference format
Conference speakers
But who are the Vakatakas? We all know about the imperial Guptas. But who are the
Vakatakas? At least until recently, most historians knew only one thing, for sure, about the
Vakatakas: that the powerful Gupta empress, Prabhavati Gupta, married a Vakataka prince,
Rudrasena II, in the early fifth century. But nothing much is said about him or about the
dynasty to which he belonged.
In the same way, we all know about India’s so-called “Golden Age”, the age when the
Guptas flourished and which embodied so many of the cultural transformations that they
wrought, not only within India itself, but upon the whole Indianizing world of greater Asia.
But what we do not know is that this Golden Age—the age of Kalidasa, Vatsyayan, and
Sudraka—came to its climax, and then to its sudden and tragic end, not under the Guptas
but under none other than the Vakatakas themselves; and more specifically under a single
ruler who—as we trust our Conference will prove—may well have been the most
successful and productive ruler in the whole world during the all-too-brief period of his rule
during the 460s and the 470s.
This amazing ruler—and this amazing period of rule—is the most remarkable because its
sponsor, the emperor Harisena, has by and large eluded the attention of historians, as if he
did not even exist. Search for him, for instance, in the famed Early History of India by
Romila Thapar, and you will not find even a single reference. And yet, as we shall try to
show in the course of our conference, more is known about him—at least about his
accomplishments and the world that he dominated—than perhaps is true of any other of
India’s major early rulers. In fact, when we think of the religious and the material culture of
the Golden Age—indeed, when we think of the character of Gupta culture—the images that
come to mind are most likely the images from the Ajanta caves, and these are Vakataka—
not Gupta—productions, even though they are often spoken of either as representative of
the Gupta style, or even as the work of the Guptas themselves. In point of fact, the Ajanta
caves, and the closely related excavations at Bagh, Aurangabad, Ghatotkacha, Banoti, and
perhaps even Dharasiva all reflect the rising power of the great Vakataka emperor
Harisena, who rose to eminence at the very point in history when the Gupta power was
already starting its long decline.
Therefore, one goal of our conference is to describe the splendors of the caves at Ajanta—
arguably the most amazing and informative monument in India’s long history—and at the
same time to restore emperor Harisena to the place that he deserves in that history. But
we shall also explore and explain both the monuments and the forces in Ajanta’s past that
contributed to its emergent splendor, as well the many future monuments to which it in turn
contributed, after the whole of Central India, from sea to sea, that Harisena once controlled,
managed to recover from the shockwave of the emperor’s death and the political and
economic chaos that that dire event engendered.
Thus we will start with a review of the monuments that can be seen as the sources for the
Vakataka productions at Ajanta and its sister sites. This would include discussion of the
“Hinayana” phase of work at Ajanta itself and other early sites. The influence of the many
remarkable Gupta models as well as the earlier monuments of the Vakatakas at Ramtek,
Mandal, and elsewhere will provide insights into Ajanta’s own development. Then, after
describing not only Ajanta, but other sites sponsored by Harisena and his feudatory kings,
we shall review the impact of his death—probably an assassination—upon the tragically
brief flowering of Harisena’s world, so richly mirrored at Ajanta, that shattered his beautiful
world, but at the same time prepared it for a host of new related monuments that grew up
out of the rich ruins, as it were, in the late fifth and early sixth centuries. These were by and
large the productions of Harisena’s former feudatories, now perhaps glorying in their
independence. The list is long and impressive: the Traikutaka productions at Kanheri, the
Early Kalacuri caves at Jogeswari, Mandapeswar and Elephanta, and finally some of the
finest caves at Ellora; the Maitrika sculptures of Western India, the famous Ucchakalpa
monuments at Deogarh, Nachna Kuthara, etc., the Visnukundin images from Pavnar and
the temples such as Rajim, Sirpur, and Tala in Kosala.
Most of these many sixth century monuments have been called Post-Gupta. We shall try to
show that they are essentially reflections of a too-long neglected world. We would better
think of them as Post-Vakataka.
Conference at a glance
• Conference inauguration on April 18, 2009 at 10.00 a.m.
• Unveiling of the commissioned paintings
• Lunch at the beautiful sculpture garden
• Virtual Vihara
• Reception at Mfah lobby to honor the invited speakers
• Day 2 of the conference starts at 1:00 p.m.
• Display of books on Ajanta and Ellora
• Opportunity to buy newly created, original art work
• Meet these world class scholars
Virtual Vihara
Introduced for the first time in this conference, virtual vihara is an interactive, animated
computer program, which allows you to experience Ajanta’s paintings at your own pace.
This program will also open the door for in depth exploration of the cave paintings. This
program will take place immediately following lunch.
Conference schedule
April 18, 2009 inauguration at 10.00 a.m. Lectures from 10.30 a.m. to 5:30 p.m.
April 19, 2009 Conference starts at 1.00 p.m. and closes at 5:30 p.m.
Conference format
The conference will follow the pattern of a university seminar. The segment coordinator will
introduce the speaker briefly. Speakers are allotted 45 mts for their presentation, 10 mts for
Q&A followed by 5 mts to wrap up.
Registration fee for the Conference is $25 per person. This fee includes admission to
the conference on both the days, lunch on day 1 of the seminar. Registration fee does not
include admission to the banquet. No other discounts of any kind are available. Also, no
separate rates are offered for attending the conference for one day only.
Mode of Registration
Admission to the conference is by tickets and on-line registration. Please visit
www.tickets2events.com at any time. On-site registration is open to public on the days of
the seminar, on payment of cash or personal check only. NO credit cards. Registration
includes admission to the seminar, lunch on Saturday, conference program book, snacks
and soft drinks. Registered guests are invited to the reception to honor the presenters,
hosted by the museum.
Children under 12 will not be able to enjoy the seminar, due to the technical contents of the
seminar. It is therefore recommended that you do not bring them to the conference.
Refund Policy
Full refund of the registration fee will be made for cancellation on or before April 5, 2009.
Since many other activities will be planned during that time, due to administrative
constraints, no refunds will be made after this date.
Samskriti is a Sanskrit word meaning cultural tradition. Samskriti was established in 1994
with the vision of becoming an efficient cultural conduit between the East and the West, by
bringing the best of Indian fine arts from around the world to Houston audiences, and by
promoting cross-cultural programs involving Indian and American artists from different
ethnic backgrounds. In its 15 years of meaningful and successful operation in the greater
Houston and Sugarland area, Samskriti has more than amply fulfilled its mission. Samskriti
presents numerous major programs by artists who come from different parts of the world
throughout the year. For a detailed list of all the activities of Samskriti and to view its current
and past activities, please visit www.samskritihouston.org
Asia Society Texas Center has been another active partner, supporting our conferences
from the time we started organizing them in the museum in 2004. Thanks to Ms. Martha
Blackwelder and the members of her staff for providing helping us in many ways.
Houston Community College Drawing students from near and far, Houston Community
College mirrors the diversity, openness and opportunity of the world-class city that is
Houston. Since its opening in 1971, more than 1.3 million students have improved their
lives through education and training obtained from HCCS. As an active supporter of our
conferences, HCCS has been our proud partner since our first conference held in 2004.
Display of books on Indian Art Scholars around the world have visited India to get a
firsthand experience of its art forms, culture, civilization, food and other facets. Many books
on these topics are available online at www.amazon.com and other book stores. At the
conference, a limited number of books on Indian art will be displayed. These books are
from private collections, only for viewing and NOT for Sale. Please take a few minutes to
review these books during breaks.
Program book
A colorful program book will be released at the time of inauguration of the conference,
which will be provided FREE of all costs to the registered attendees. The program book
contains conference details, programs and schedules, invited articles and pictures. Limited
number of advertisements and messages from dignitaries are included in the program
book. To advertise in the program book, please contact Mr. Vatsa Kumar
Every year since 2003, to coincide with the Art conference / seminar held at the museum,
local artists have been invited to create new art works. This is done to encourage these
artists and also to see that the creation of new works would support the theme of the
conference.
16 artists have come forward to create new art works in various styles of painting traditions
employing a wide range of media, to interpret and reflect the theme of this year’s
conference, in their own original works. These new art works will be on display during the
conference and at the conclusion of the conference; they will be available to the public for
purchase. If you are interested in owning any of these art works, you are requested to
please contact Mr. Vatsa Kumar phone (979)240-9496 or e mail vatsakumar@att.net.
Conference badges
To identify the registered attendees at the conference, badges will be issued at the
registration desk. Please pick up your name badges and wear them during the conference.
This will also help us in recognizing the conference attendees easily. You may want to keep
these badges as mementos.
Dr. John J. Antel
Conference Chair
Dr.Walter Spink
Invited scholar
In the following pages, you will be able to review the full length Cvs of all the invited
scholars. The Cvs also list the papers, articles and books published by these
scholars. If you would like to know more about these scholars, please visit their web
sites or you are welcome to contact them directly.
Samskriti is immensely thankful to these scholars who have taken the time off from
their busy schedule, to attend the Houston conference and present their experience
with Ajanta.
Cvs of the invited scholars
Education
Amherst College, B.A., (summa cum laude) 1949. Harvard University,
M.A. 1950 Art History (Indian Art), Ph.D., 1954
Dissertation: "Rock-cut Monuments of the Andhra Period: Style and Chronology”
Teaching Experience:
1961-2000: Dept History of Art, Univ. of Michigan (Assoc.Prof.1961-70; Prof.1970-2000)
1956-1961: Dept of Fine Arts, Brandeis Univ, (Instr: 56-58; Asst.Prof.58-61; Chair: 59-60
1960: Dept. of Art, Brown University (Visiting lecturer)
1972: Dept. of South Asian Studies University of Chicago (summer)
Organizations:
Association for Asian Studies, The Asia Society, Bharata Itihasa Samshodhaka Mandala,
Poona (Life Member), Bhandarkar Oriental Research Institute, Poona (Life Member),
American Council for Southern Asian Art, Indian Association of Art Historians, Indian
Archaeology Society (Life Member), College Art Association, Association of University
Professors, Indian National Trust for Art and Cultural Heritage (Life Member)
List of publications:
Books:
Ajanta: History and Development. 6 Volumes (Handbook of Oriental Studies), Leiden 2005
1: The End of the Golden Age. Leiden 2005 2: Arguments about Ajanta. Leiden
2006
3: The Arrival of the Uninvited. Leiden 2006 4: Painting, Sculpture, Architecture: Ajanta:
Year by Year (Leiden 2008) 5 Cave by Cave Leiden 2006 6: Shrines, Cells, Solstices
Leiden 2008
Ajanta, A Brief History and Guide. Ann Arbor: Asian Art Archives, University of Michigan,
1994.
The Axis of Eros. New York: Schocken Books, 1973. (reprinted: Penguin)
The Quest for Krishna: Paintings and Poetry of the Krishna Legend. Ann Arbor
(Bangladesh relief), 1972.
Krishnamandala: A Devotional Theme in Indian Art. Exhibition catalogue. Ann Arbor: Center
for South and Southeast Asian Studies, University of Michigan, 1971.
Ajanta to Ellora. Ann Arbor: Center for South and Southeast Asian Studies, University of
Michigan, and Bombay: Marg Publications, 1967.
“To Keep One’s Memory Green” for Prof. Dr. Deiter Schlingloff festschrift (2008?)
“The Ajanta Caves”, for Encyclopedia of India, ed S. Wolpert, Scribner’s, NYC 2005 (in
press)
“A New Vakataka Chronology”. In The Ananda-Vana of Indian Art (Dr. Ananda Krishna
Felicitation Volume) edited N. Krishna and M. Krishna, New Delhi, 2004
“The Quest for Krishna”. In H. Dehejia, A Celebration of Love, pp. 30-37, New Delhi, 2004
“Ajanta: A Brief Resume” Card prepared for Maharashtra Tourist Development Corp.
20,000 copies made in English, Marathi and Hindi for distribution at the site. 2004
“The Innocent Evolution of Ajanta’s Technology”. In The Vakatakas: Indian Culture at the
Crossroads, edited by H. Bakker, Groningen, 2004 (in the press)
“Ajanta” and “Ellora”: short articles for Encyclopedia of Britannica’s Art of India, ed. F.
Asher, 03
“Cave 17’s Ceiling: Could it really fly?” paper for International Seminar on Science and
Technology, Delhi 2002. In the press.
Report of Ajanta Site Conference for Indian National Trust for Art and Cultural Heritage,
Feb 99. Distributed by committee to govt officials, participants, and interested scholars.
“Ajanta’s History: A Resume” For ASI: Sarkar Felicitation Volume. Submitted 1999
“Wall Painting [at Ajanta].” In The Dictionary of Art, vol. 15, pp. 553-58. Edited by J. Turner.
New York: Grove Dictionaries, 1996.
“The Earliest Vakataka Cave Shrine: an Anomalous Stupa in the Ghatotkacha Vihara,” vol.
1, pp. 171-80. In Sri Nagabhinandanam: Dr. M. S. Nagaraja Rao Festschrift. Bangalore:
Dr. M. S. Nagaraja Rao Felicitation Committee, 1995.
“Topics for Study and Discussion in the Vakataka Caves at Ajanta and Aurangabad.” In
Indian Painting: Essays in honor of Karl J. Khandalavala, pp. 436-49. Edited by B.N.
Goswamy and U. Bhatia . New Delhi, Lalit Kala Akademi, 1995
“To Keep one’s Memory Green”. Requested by J. of the Siam Society. 1995. Pub. pending.
“A Letter from Ajanta”, paper for The Future of Asia’s Past for Asia Society’s Conference in
Cheng Mai. Distributed at conference. Still unpublished. (1993)
Entries of Ajanta, and Ellora. In Enciclopedia Italiana. Submitted 1993. Publ.?
“The End of Imagery at Ajanta.” In New Trends in Indian Art and Archaeology: S. R. Rao’s
70th Birthday Felicitation Volume, vol. 2, pp. 337-48. Edited by B.U. Nayak and N.C.
Ghosh. New Delhi: Aditya Prakashan, 1992.
“The Vakataka Caves at Ajanta and their Successors.” In Reappraising Gupta History:
Festschrift honoring Srirama Goyala, pp. 248-62. Ed B. C. Chhabral. New Delhi:
Aditya Prakashan, 92.
“The Caves at Ajanta.” Archaeology 45:6 (November-December 1992): 52-60.
“The Warlis.” (With A. Rane) Pathik 3:3 (April 1992): 8-10.
“Ajanta in a Historical and Political Context (Continued): Reply to K. Khandalavala, A.
Jamkhedkar, B. Deshpande,” Pathik 3:4 (July 1992): 16-25.
“Before the Fall: Pride and Piety at Ajanta.” In The Powers of Art: Patronage in Indian
Culture, pp. 65-77. Edited by B.S. Miller. New Delhi: Oxford University Press, 1992.
“The Achievement of Ajanta.” In The Age of the Vakatakas, pp. 177-202. Edited by A.M.
Shastri. New Delhi: Harman Publishing House, 1992.
“The Vakatakas’ Flowering and Fall.” In Proceedings of International Seminar on The Art of
Ajanta, pp. 213-42. Edited by R. Parimoo. 1991; and in The Art of Ajanta: New
Perspectives, pp. 71-99. Edited by R. Parimoo, et al. New Delhi: Books & Books, 1991.
“The Archaeology of Ajanta.” Ars Orientalis 21 (1991): 67-94.
“Notes on Buddha Images.” In The Art of Ajanta: New Perspectives, pp. 213-41. Edited by
R. Parimoo, et al. New Delhi: Books & Books, 1991.
“Ajanta in a Historical and Political Context.” Pathik 2:1 (September 1990): 5-17.
“A Recently Discovered Buddha Image at Aurangabad,” In Ratna-Chandrika: Panorama of
Oriental Studies (Shri R.C. Agrawala Festschrift), pp. 189-96. Edited by. D. Handa & A.
Agrawal. New Delhi: Harman Publishing House, 1989.
“Maurya Figural Sculpture Reconsidered.” (With Frederick Asher), Ars Orientalis 19
(1989):1-25.
“Making Ajanta.” In Making Things in South Asia: The Role of Artist and Craftsman
(Proceedings of the South Asia Seminar), pp. 34-51. Edited by M. W. Meister.
Philadelphia: Department of South Asia Regional Studies, University of Pennsylvania,
1988.
“Ajanta’s Paintings: A Checklist for their Dating.” In Felicitation Volume in Honour of Srimati
Pupul Jayakar, pp. 457-68. Edited by L. Chandra. Delhi: Agam Kala Prakashan, 1987.
“A Reconstruction of Events Related to the Development of Vakataka Caves.” In
Kusumanjali: New Interpretation of Indian Art and Culture; Sh. C. Sivaramamurthi
Commemoration Volume, vol. 1, pp. 185-90. Edited by M. S. Nagaraja Rao. Delhi: Agam
Kala Prakashan, 1987.
“Flaws in Buddhist Iconology.” In Facets of Indian Art: A symposium held at the Victoria and
Albert Museum, 26, 27, 28 April and 1 May 1982, pp. 3-8. Edited by R. Skelton, et al.
London: Victoria and Albert Museum, 1986.
“Ajanta’s Chronology: Solstitial Evidence.” Ars Orientalis 15 (1985): 97-119.
“Ajanta’s Chronology: Cave 7’s Twice-born Buddha.” In Studies in Buddhist Art of South
Asia, pp. 103-16. Edited by A. K. Narain. New Delhi: Kanak Publications, 1985.
“The Great Cave at Elephanta: a Study of Sources.” In Essays on Gupta Culture, pp. 235-
82. Edited by B. L. Smith. Delhi: Motilal Banarsidass, 1983.
“The Elaboration of the Myth.” In Krishna the Divine Lover: Myth and Legend through Indian
Art, pp. 102-21. Edited by E. Isaaco. London: Serindia Publications, 1982.
“Ajanta’s Chronology: Politics and Patronage.” In Kaladarsana: American Studies in the Art
of India, pp.109-26. Edited by J.G. Williams. New Delhi: Oxford and IBH Publishing in
collaboration with the American Institute of Indian Studies, 1981.
“Ajanta’s Chronology: Cave 1’s Patronage and Related Problems” In Chhavi-2: Rai
Krishnadasa Felicitation Volume, pp. 144-57. Edited by A. Krishna. Banaras: Bharat Kala
Bhavan, 1981.
“The Ecology of Art: India and the West.” In Symposium on Mass Culture, Language, and
Arts in India, Duke University, Durham, NC, 1970, pp.72-97. Ed M. L. Apte . Bombay:
Popular Prakashan, 1978.
“Jogeswari.” Journal of Indian Society of Oriental Art. Dr. Moti Chandra Commemoration
Volume. “Special Number” (1978): 1-35.
“Bagh: A Study.” Archives of Asian Art 30 (1976-77): 53-84.
“Ajanta’s Chronology: The Crucial Cave.” Ars Orientalis 10 (1975): 143-69.
“The Splendours of Indra’s Crown: A Study of Mahayana Developments at Ajanta.” The Sir
George Birdwood Memorial Lecture, 23 May 1974. Journal of the Royal Society for the
Encouragement of Arts, Manufactures and Commerce CXXII: 5219 (1974): 743-67.
“The Cage of Form.” In Structural Approaches to South India Studies, pp. 17-42. Edited by
H. M. Buck and G. E.Yocum. Chambersburg, PA: Wilson Books, 1974.
Review of Phillippe Stern, “Les Colonnes Indiennes d’Ajanta et d’Ellora.” Journal of the
American Oriental Society 94:4 (1974): 483-87.
“Vijayanagar: City of Victory.” Journal of Indian History 51:1 (1973): 122-40.
“Ajanta: A Brief History. ”In Aspects of Indian Art, pp. 49-59. Ed P. Pal. Leiden: E. J. Brill,
1972.
“A Temple with Four Uchchakalpa (?) Doorways at Nachna Kuthara.” In Chhavi: Golden
Jubilee Volume, pp. 161-72. Banaras: Bharat Kala Bhavan, 1971.
“Ajanta’s Chronology: The Problem of Cave Eleven.” Ars Orientals 7 (1968): 155-68.
“Monuments of the Early Kalachuri Period.” Journal of Indian History 46:2:137 (‘68):263-70.
“Ellora’s Earliest Phase.” Bulletin of the American Academy of Benares 1 (1967): 11-22.
“History from Art History: Monuments of the Deccan.” In Summaries of Papers, Organising
Committee [of the] 26th International Congress of Orientalists, New Delhi, India, pp. 242-43.
Edited by R. N. Dandekar. 2 vols. New Delhi: A. K. Ghosh, 1964.
“Ajanta and Ghatotkacha: A Preliminary Analysis.” Ars Orientalis 6 (1966): 135-55.
“The J.M. Plumer Collection of Oriental Art.” Ars Orientalis 5 (1963): 337-39.
“India and Art History.” The Fulbright Newsletter 9:4 (1962): 1-2
“Indian Art in the Teaching of Indian Civilization.” In Introducing India in Liberal Education,
pp. 165-78. Chicago: University of Chicago Press, 1959.
“On the Development of Early Buddhist Art in India.” The Art Bulletin 40:2 (1958): 95-104.
“Rock-Cut Monuments of the Andhra Period: Their Style and Chronology.” Ph.D.
Dissertation. Harvard University, 1954.
“Indian Folk Art: Orissan Painting.” Inst. of International Ed. News Bull.(Dec 1953)15-19; 36.
Education
1995: Ph.D. in Archaeology - Interactions between East and West, Universita’degli Studi di
Napoli ‘L’Orientale’, Napoli, Italy. Advisor: Professor Maurizio Taddei.
1989: Laurea, summa cum laude (110/110 with honors) in Indian Art and Archaeology,
Universita’degli Studi di Napoli ‘L’Orientale’, Napoli, Italy.
1983: Maturita' Classica, full marks (60/60). Liceo Classico A. Genovesi, Napoli, Italy.
Professional Experience
Assistant Professor. Department of Art and Art History, Drexel University, Philadelphia.
2000-2003: Assistant Professor. Art Department, The College of New Jersey, Ewing.
1999-2000: Research Associate. Dept of Indian and Himalayan Art, Philadelphia Museum.
of Art.
1998: Collections Assistant. Museo Nazionale di Arte Orientale, Rome, Italy.
1997: Research Associate. Getty Research Institute, Los Angeles.
1995-1996: Whitney Research Fellow. Dept of Asian Art, Metropolitan Museum of Art, N,Y.
Publications:
Books: Sources of Gandharan Buddhism: Archaeology, Art and Texts, edited by Pia
Brancaccio and Kurt Behrendt. University of British Columbia Press. (2006)
Repertorio Terminologico per la Schedatura delle Sculture dell’Arte Gandharica sulla base
dei Materiali Provenienti dagli Scavi della Missione Archeologica Italiana dell’IsIAO nello
Swat, Pakistan/Repertory of Terms for Cataloguing Gandharan Sculptures, with Domenico
Faccenna and Anna Filigenzi. Rome, IsIAO (2006)
Articles and book chapters:
“Cave 3 at Aurangabad: continuity and change in Buddhist art at the threshold of the 7th
Century.” South Asian Archaeology 2007, ed. by Maurizio Tosi.
British Archaeological Review. (forthcoming).
“Molding the West: Terracottas, molds and the circulation of western models on the Deccan
Plateau.” South Asian Archaeology 2005, ed. by Roberta Tomber and Lucy Blue. The
British Academy for South Asian Studies. (forthcoming)
“The Buddha’s Biography at Bharhut: Words and Images.” The Life of the Buddha, ed.
Sonya Rhie Quintanilla. University of British Columbia Press. (forthcoming)
“Close Encounters: Multicultural Systems in Ancient India.” On the Cusp of an Era: Art in
the Pre-Kusana World, ed. Doris Srinivasan. Brill Academic Publishers. (2007)
“The making of a life: Re-Reading Bharhut Sculptures.” South Asian Studies 21 (2006)
“More on the Buddha and the Naked Ascetics.” East and West 44 (1994)
“The Buddha and the Naked Ascetics.” East and West 41 (1991)
Review of Oxus. I Tesori dell'Asia Centrale. Catalogo della Mostra, Roma, Palazzo
Venezia, ottobre 1993 - gennaio 1994. Annali dell'Istituto Universitario Orientale di Napoli
55 (1995).
Conference papers and invited lectures:
2008 October: “The pottery from Bajaur: A window into the late Gandharan tradition.”
Invited lecture presented at the ‘Afghanistan Meeting 2008,' Institute for Research In
Humanities, Kyoto University, Japan.
2008 May: “Repositioning the caityagrha: a fresh look into the early Buddhist rock-cut
tradition of the Western Deccan.” Invited lecture presented at Seoul National University,
Korea.
2008 January: “ Dionysiac Traditions, Drama, and the Development of a Buddhist Culture in
Gandhara.” Poster presented in collaboration with Professor Xinru Liu from The College of
New Jersey at the Annual Mtg of the American Association of Historian, Washington DC.
2007 September: “Art and Religious Identities in the Early Buddhist Communities of South
Asia.” Invited lecture presented at The College of New Jersey, Ewing.
2007 July: “The rock cut complex of Aurangabad: continuity and change in Buddhist art at
the threshold of the 7th century." Paper presented at 18th International Conference of the
European Association for South Asian Archaeology, Universita’ degli Studi di Ravenna,
Italy.
2007 Feb “Living Rock.” Session chaired at the Annual College Art Association Conf. N.Y.
2006 December: “Trade, religion and politics: The multicultural matrix of Ancient
Gandhara.” Public lecture at The Metropolitan Museum of Art, New York.
2006 April: “The genesis of Buddhist visual narratives in South Asia.” Invited lecture at The
New School, New York.
2005 August: “The construction of a visual biography of Sakyamuni: evidence from early
Buddhist sites.” Paper presented at the 19th Conference of the International Association of
Buddhist Studies, School of Oriental and African Studies, London.
2005 July: “Molding the West: Terracottas, molds and the circulation of western models on
the Deccan Plateau.” Paper presented at the 17th International Conference of the European
Association of South Asian Archaeology, British Museum, London.
2005 June: “Il Buddha a Bharhut fra darsanas e jatakas.” Invited lecture at the Univesita’
degli Studi di Napoli ‘L’Orientale’, Italy.
2004 May: “The Making of a Life: Re-reading Bharhut Sculpture.” Paper presented at the
10th American Committee for South Asian Art) Conference, Peabody Essex Museum,
Salem.
2003 October: “The Construction of a Visual Biography of the Buddha: The Beginnings at
Bharhut.” Paper presented at the International Conference “The Life of the Buddha: New
Directions in Research,” Mc Master University and University of Toronto Mississauga,
Canada.
2002 July: “Indian Ocean Trade: Archaeological evidence from the Satavahana period.”
Lecture presented at the NEH Summer Seminar on the Indian Ocean, University of
Pennsylvania, Philadelphia.
2001 July: “Perceptions of the “West” and “Westerners” in Satavahana Times: The
Archaeological Evidence.” Paper presented at 16th International Conference of the
European Association of South Asian Archaeology, Collège de France, Paris.
1999 May: “Devotion to the Buddha: A Reinterpretation of the Evidence from Votive
Stupas.” Paper presented at the International Conference on “Gandharan Buddhism: An
Interdisciplinary Approach,” McMaster University, Hamilton, Canada.
1999 February: “The Archaeology of Occidentalism” Paper presented at the Annual CAA
Conference, Los Angeles.
1997 June: “India and Rome.” Lecture presented at the Getty Research Institute, LA
1996 May: “The Caves at Aurangabad: A Forgotten Buddhist Sanctuary.” Paper presented
at the 7th ACSAA (American Comm for South Asian Art) Conference, Univ of Minnesota.
1995 October: “The Caves at Aurangabad: The Impact of the Laity.” Paper presented at
the 24th Annual Conference on South Asian Studies, University of Madison, Wisconsin.
1994: Dissertation Fellowship, Istituto Universitario Orientale, Napoli, Italy, for research
conducted at the University of Michigan in Ann Arbor. Advisor: Prof. W. Spink.
1993: Dissertation Fellowship, I.U.O. Napoli, Italy, for research conducted at the Institut
d'Indologie du Collège de France and Musée Guimet, Paris, France. Advisor: Prof. G.
Fussmann.
1992: University of Michigan Fellowship to attend the Ajanta Summer Seminar in India.
1990-91: Indian Government and Is.M.E.O. Fellowship for research conducted at the
Deccan College Postgraduate and Research Institute, Pune, India.
Professional Associations
Affiliated Faculty Member of the South Asia Center, University of Pennsylvania
American Committee for South Asian Art, Member
International Association for Buddhist Studies, Member
European Association for South Asian Archaeology, Member
College Art Association, Member
American Association for Asian Studies, Member
American Institute for Pakistan Studies, Member
Archaeological excavations
1997 to present: Team Member. Italian Archaeological Mission in Pakistan (Is.I.A.O.)
Director: Prof. P. Callieri.
1991: Excavations at Baghi Mahari, India sponsored by the Deccan College Postgraduate
and Research Institute, Pune. Director: Prof. G.B. Deglurkar.
1989: Excavations and drawings of material from the site of Gyoma-Endrod, Hungary
sponsored by the I.U.O. Napoli, Italy. Director: Prof. B. Genito.
Languages
Modern: (speaking and reading fluency): Italian, French, German, Chinese, colloquial Hindi.
Ancient (reading fluency): Sanskrit, Classical Chinese, Latin, Greek.
Education
Ph.D., History of Art (South Asia), June 2008.The Ohio State University, Columbus, Ohio
Title of Dissertation: Early Buddhist Caves of Western India ca. Second Century BCE
through the Third Century CE: Core Elements, Functions, and Buddhist Practices
M.A., Art History (South Asia ), May 1999. University of Georgia,Athens, Georgia
Title of thesis: Early Iconography of the Indian Sun-god Sūrya
“Patronage, Community, and the Form of Early Buddhist Caves,” Huntington Symposium,
October 2008.
“The Appropriation and Reuse of Early Buddhist Cave Sites in Maharashtra,” American
Council for Southern Asian Art Symposium XII, October 2005.
“Trade and Occupation: Cultural Interactions and the Resulting Artistic Production in the
Indian Deccan,” Association of Ancient Historians Annual Conference, May 2005.
“Cave Monasteries of Early Buddhism,” Melāvo: Mid-Year Conference for U.S. Fulbrighters
in South Asia, Goa , February 2004.
Panel Chairman,“‘Reading’ the Art of Buddhism,” Midwest Conf on Asian Affairs, 2002.
“The Long Arm of the Law: The Body of the Buddha and Anthropometry in Gandharan Art,”
Midwest Conference on Asian Affairs, 2002.
Publications
“Jacopo d’Arcangelo del Sellaio’s Christ with Instruments of the Passion,” in Jeannine
O'Grody, ed., The Kress Collection at the Birmingham Museum of Art, ( New York :
Hudson Hills, forthcoming 2009).
“Reassessing the Distribution of Caitya Halls among Buddhist Rock-Cut Sites in Western
Maharashtra , India ,” in Cathryn Baack, ed., 2005 Edward F. Hayes Graduate Research
Forum Proceedings, Volume 5 ( Columbus , Ohio : Council of Graduate Students at The
Ohio State University , 2005), 23-40.
“Mahasiddha Luipa,” in John Huntington, Dina Bangdel, et al., Circle of Bliss: Buddhist
Meditational Art ( Chicago : Serindia Publications, 2003), 139-140.
“Mahasiddha Virupa,” in John Huntington, Dina Bangdel, et al., Circle of Bliss: Buddhist
Meditational Art ( Chicago : Serindia Publications, 2003), 141-142.
Teaching appointments
Visiting Assistant Professor, Department of Art History, Skidmore College, 2008-2009.
Instructor, History of Art 213: Visual Cultures of Asia, The Ohio State
University, Winter 2008 and Summer 2003.
Co-instructor, History of Art 213: Visual Cultures of Asia, The Ohio State University,
Spring 2008, Winter 2006, Autumn 2005, Summer 2005, Spring 2005, Win 2003, and Win
2002.
Co-instructor, History of Art 211:Medieval and Renaissance Art, The Ohio State University,
Winter 2005.
Graduate Teaching Associate, History of Art Department, The OSU 2004-2006; 2000-2003.
Instructor, Art History 2100: Monuments of World Art, University of Georgia, Spring 1999.
University Graduate Fellow, the Ohio State University Graduate School, 1999-2000.
India
Ajanta Site Seminar, conducted by Dr. Walter Spink at the Buddhist caves of Ajanta,
Aurangabad, Ellora, and Pitalkhora, Summer 1999.
Korea
Visits to sites in Kyongju, including rock-cut sculptures on Mt. Namsan , the Sokkuram
cave, and Buddhist Monastery Pulguksa, December 2001- January 2002.
Education
2006 : Ph.D., Art History, The University of Texas at Austin
Dissertation: “Beyond Buddhist and Brahmanical Activity: The Place of the Jain Rock-Cut
Excavations at Ellora.” Advisor: Janice Leoshko; Committee: Patrick Olivelle, Michael
Charlesworth, Penelope Davies, Oliver Freiberger
1997: M.A., Art History, The University of Texas at Austin
Thesis: “Locating the Buddha: Ajanta’s Place in Western India’s Rock-Cut Excavations.”
Advisor: Janice Leoshko; Second Reader: Gregory Schopen
1991 : B.A., Art History, California State University at Long Beach
1988 : A.S., Mt. San Antonio College, Walnut, CA
Publications
Forthcoming : “Kings or Ascetics? Evidence of Patronage in Ellora’s Jain Caves.” Artibus
Asiae (2010-11)
Forthcoming “Absence and Presence: Worshipping the Jina at Ellora,” in Himanshu Prabha
Ray, ed., Archaeology and Text: The Temple in South Asia, Oxford: Oxford Centre for
Hindu Studies (2009)
1994 Owen, Lisa and Nina Roy, “The Peaceful Liberators: Jain Art from India,” Minerva:
The International Review of Ancient Art & Archaeology 5/6 (Nov/Dec 1994): 33-48
2008 “Demarcating Sacred Space: The Jina Images at Kalugumalai,” 10th Jaina Studies
Workshop, Centre of Jaina Studies, School of Oriental and African Studies (SOAS),
University of London, England, March 2008
2007 “Absence and Presence: Worshipping the Jina at Ellora,” Shivdasani Conference on
Archaeology and Text: The Temple in South Asia, Oxford Centre for Hindu Studies,
University of Oxford, England, October 2007
2007 “Kings or Ascetics? Evidence of Patronage in Ellora’s Jain Caves,” annual Sri Roop
Lal Jain Lecture, Centre for South Asian Studies, University of Toronto, Canada, April 2007
2007 “Who Pays for Art? The Case of Ellora’s Jain Caves,” Chander Mohan Jain Memorial
Lecture Series, Huron University College, Canada, April 2007
2005 “Excavating a Multi-Religious Site: Ellora in the Eighth and Ninth Centuries,”
Association for Asian Studies Annual Meeting, April 2005
2004 “Carving Devotion at Ellora,” Concordia University, Montreal, QC, Shastri Indo-
Canadian Institute lecture series, March 2004
2002 “In Perpetual Homage: Images of Devotees in Ellora’s Jain Excavations,” University
of Virginia, Center for South Asian Studies, February 2002
1998 “Locating the Buddha: Ajanta’s Place in Western India’s Rock-Cut Excavations,”
American Council for Southern Asian Art, Symposium VIII, Charleston, SC, October 1998
2009 “Seeing the Goddess in Motion: A Processional Image of Parvati,” Kimbell Art
Museum, Ft. Worth, TX. Invited lecture as part of the museum’s Art in Context series,
January 2009
2008 Texas Collects Asia: Indian and Southeast Asian Art, Trammell and Margaret Crow
Collection of Asian Art, Dallas, TX. Invited participant in the scholar’s panel for this
symposium, April 2008
2007 “Articulating Space and Time in Indian Painting,” Dallas Museum of Art, Dallas, TX.
Invited gallery talk for the exhibition Domains of Wonder: Selected Masterworks of Indian
Painting, December 2007
1998 “Other Worldly Visions: Persian and Indian Paintings from the Arthur M. Sackler
Gallery at the Smithsonian Institution,” Jack S. Blanton Museum of Art, UT Austin, March
1998
1997 “Heaven on Earth: Art and Experience at Ajanta,” Amarillo Museum of Art, Amarillo,
TX. Invited lecture for the exhibition Boundaries and Transformations: Masterworks of
Indian and Southeast Asian Sculpture from the Collection of Dr. and Mrs. William T. Price,
September 1997
2006-07 Faculty Research Grant (RIG), UNT, for fieldwork in India during summer 2007
1998-99 Foreign Language Area Studies Scholarship (FLAS) for Hindi, UT Austin
1998 American Institute of Indian Studies Language Program (funded by FLAS) for 3
months of intensive language work in Udaipur, India
1997-98 Foreign Language Area Studies Scholarship (FLAS) for Hindi, UT Austin
Professional service
2005-present Newsletter Editor for the American Council for Southern Asian Art
Teaching experience
2006-present: Assistant Professor of Art History, University of North Texas, College of
Visual Arts and Design, Denton TX
2005: Adjunct Instructor, Concordia Univ, Department of Religion, Montreal, QC, Canada
2002-03: Assistant Instructor, UT Austin, Department of Art & Art History, Austin, TX
1995-2002: Teaching Assistant, UT Austin, Department of Art & Art History, Austin, TX
1994: Curatorial Assistant, Los Angeles County Museum of Art, Indian and Southeast
Asian Art Department, Los Angeles, CA, 03/94-08/94
1993-94: Curatorial Intern, Los Angeles County Museum of Art, Indian and Southeast Asian
Art Department, Los Angeles, CA
1992-93: Curatorial Intern, Huntington Library and Art Collections, San Marino, CA, 06/92-
06/93
Professional memberships
American Council for Southern Asian Art, College Art Association, Association for Asian
Studies, India Association of North Texas, Dallas Museum of Art, Trammell and Margaret
Crow Collection of Asian Art, Indian Classical Music Circle of Dallas
Languages
Sanskrit (reading), Hindi (reading and limited speaking), and German (reading)
Dr. Chedha Tingsanchali
Qualification: B.A. (History of Art) Silpakorn University , Bangkok Thailand
M.A. (History of Art) Silpakorn University , Bangkok Thailand
Ph.D. (History of Art) National Museum Institute of History of Art, Conservation and
Museology, New Delhi , India
M.A. Thesis: Analysis of Two-Hand Vitarka Mudrā Buddha Images in Dvāravatī Art
Ph.D.Thesis: Saptamahāsthāna: Concepts and the modes of depiction in Indian and
Southeast Asian Art
Profession & Office Lecturer of Department of History of Art, Faculty of Archaeology,
Silpakorn University, Na Pralan Road, Pra Nakorn District, Bangkok Thailand
Subjects: Indian and Southeast Asian Arts
Honors :
The Ohio State University Distinguished Research Award for 1981 (Included an
undesignated research award of $9,000.00 and an honorarium of $1,500.00). Research
resulted in publications V: 23 and V:17.
Bluett Centenary Award [1884-1984] for the paper contributing the most to Chinese Art
Historical Studies, First Prize of $1,500 for publication V:23.
Named the "Bliss M. and Mildred A. Wiant Designated Professor in Chinese Literature and
Culture" for the term 1 October 1988 through 30 September 1992.
Summer 2007 India, New high resolution digital photos of previously photographed
monuments
Bibliography:
Books and catalogs
I:1. Oceanic Art, exhibition catalog, Fullerton , California,1966.
I:2. The Phur-pa: Tibetan Ritual Daggers, Artibus Asiae Supplementum, vol. XXXIII,
Ascona, 1975
I:3. Co-author (with Susan L, Huntington) Leaves from the Bodhi Tree: The Art of Påla India
(8th - 12th Centuries) and its International Legacy, Dayton Art Institute, Dayton Ohio, 1990.
I:4 Co-curator and co-author (with Dina Bangdel), The Circle of Bliss, Buddhist Meditational
Art, Chicago, Serindia and Columbus, The Columbus Museum of Art, 2003
II: 1. The Art of the Indian Subcontinent, exhibition catalog, edited by J. Le Roy Davidson,
Los Angeles, 1968.
II:2. The Art of Ancient India: Buddhist Hindu and Jain, (principal author, Susan L.
Huntington), Tokyo: John Weather hill, 1985.
II:3 Mirrors of the Heart Mind: The Rezk Collection of Tibetan Art from the Permanent
collection of the Southern Alleghenies Museum of Art, Loretto (Pennsylvania), The
Southern Alleghenies Museum of Art, 1998 Co-edited entire catalogue
Prepared essays:
"Introduction", "Popular Buddhism in Tibet" , "Tantric or Yogic Buddhism: the Inner Being
and the Methodology of Salvation", "Vajrasattva, the Practitioner as Adamantine Being",
"Adi Buddha: The Definition of "Highest" Buddha-Nature"
W07. (With Dina Bangdel) The Circle of Bliss: Buddhist Meditational Art. At:
http://kaladarshan.arts.ohio-state.edu/exhib/circleofbliss/index.html
V. Articles :
(Note: for purposes of this "short Vitae" only the eight most recent articles are listed and no
forthcoming articles are listed)
V33. "The Lomas Risi Visualization Project," in anon. The Processing of Perception,
Columbus, The Ohio State University Presses, 1995, pp. 18-19.
V:34. "Rebirth in Amitåbha's Sukhåvatª," to be in The Pure Land Tradition: History and
Development, edited by James Foard and Michael Solomon, and Richard K. Payne
Berkeley Buddhist Studies Series, 1996, pp. 43-105.
V:35 With Dina Bangdel, "Recreating an Almost-Lost Subject in Newar Buddhist Art: The
Svayambh¥ Jyotir¥pa," in Orientations, vol. 27:7 July/august 1996, pp. 45-50.
V: 36. "The Study and Teaching of Buddhist Art and Iconography using Computer
Technology." (Invited article) to appear in a special issue of The Pacific World: Journal of
the institute of Buddhist Studies. March 1997
V: 37. Four Articles in: William M. Johnston, ed., Encyclopedia of Monasticism: two vols.,
Chicago and London, Fitzroy and Dearborn publishers, 2000.
“Buddhist Monasteries in Southern Asia,” I:55-66; (With Chaya Chandrasekhar)
“Mandala,” II: 808-815,“Mount Meru,” II: 895-901 “Stupa,” II: 1204-1212
V: 38. The Buddhas of Bamiyan” In Archaeological Odyssey July August 2001 pp. 35-39,
58
V: 41. “A Broken Date In Paris, A Review of the Catalogue Art of the Ganges Delta”
Orientations, October 2008. Lead article.
Through supplying photographs to various publications, to various authors for use in their
articles and books and through the archival publications listed above (section III), I have
published more than 20,000 photographs. Due to its potential size, no separate list of
published photographs is maintained in the usual manner.
Exhibitions
Education
M.A. l972 University of Michigan, Ann Arbor (Department of Art History - Asian Art)
Ph.D. 1976 University of California, Berkeley (Department of Art History – Indian art)
Professional employment
1976 - 82 Assistant Professor, University of Texas, Austin, Department of Art
1982 - 91 Associate Professor, University of Texas, Austin, Department of Art
1992 - 97 University of London, SOAS (Sotheby’s Education Institute; part-time appointment)
1997 - now Stadtner & Associates (research firm, Indian & Southeast Asian Art)
Books
Art of Southeast Asia, Abrams, New York, l998, Albert Le Bonheur, (gen. ed.)
Contributed : “The Art of Burma”
The Art of Burma : New Studies. Editor and Contributor, Marg Publications, Bombay, l999
Ancient Pagan, River Books, 2005
Sacred Sites of Burma, River Books (2008, forthcoming)
Articles
“A Fifteenth-Century Buddhist Monument and the Seven Stations in Buddhist Art”,
The Art Bulletin, LXXIII, 2 (1991)
“New Approaches in South Asian Art” The Art Journal, Guest Editor, Special number on Indian
Art, Winter, l990
“The Little Clay Cart in Early Mathura”, Orientations, February, l996
“Revisiting the Shahi Sculpture of Afghanistan”, Orientations, October, l999
“Sharing the Load of the Lord : Crossing the Yamuna”, Ars Orientalis, Supplement I, 2000
“An ‘Extraordinary folly’?”, Archaeology, May-June, 2000
“Two Fifth-Century Bodhisattvas from Afghanistan”, South Asian Studies, XVI, 2000
“Burma on the Eve of the Modern Era”, Orientations, April, 2001
“The Mon of Lower Burma”, Journal of the Siam Society, 2008
Education
1995: Masters Degree: UCLA Department of Art History, major emphasis on the Art of
South and Southeast Asia with minor focuses on Classical Greco-Roman and Chinese art.
1992: Bachelor of Arts Degree: Loyola Marymount University summa cum laude in with a
major in English and with minors in Asian Studies and Art History (valedictorian)
Teaching Experience
Publications:
Books
Haunting the Buddha: Indian Popular Religions and the Formation of Buddhism. New York:
Oxford University Press USA, September 2004
In progress: Image Problems: Art, Text and the Development of the Buddha Image in Early
South Asia. (working title)
“Shedding Skins: Naga Imagery and Layers of Meaning in South Asian Buddhist
Contexts”in Stupas. A. Shimada and J. Hawkes eds. Oxford University Press, India. (In
Press)
“Text and Image: Physical Evidence and the Recovery of Buddhist History” in Belief in the
Past: Theoretical Approaches to the Archaeology of Religion. David Whitley ed.
Archaeology of Religion series, Alta Mira Press. 2008.
“From the Living Rock: Understanding Images in Early South Asia” in What’s the Use of
Art?: Asian Visual and Material Culture in Context. J Mrazek and M Pitelka eds. University
of Hawaii Press. 2008.
“Reading Bhaja: A Non-Narrative Interpretation of the Vihara 19 Reliefs.” East and West.
vol. 50. 2000.
“Fertile Images: An Exploration of the Social and Supernatural Functions of Betel in India.”
In the Catalogue of the Fowler Museum’s Chewing Culture: The Art of Betel in Asia and the
Pacific. (pending).
Bibliography of South and Southeast Asian Art and Archaeology 1992-1993. vol. 8. Austin:
American Council for Southern Asian Art. Kurt Behrendt ed. 1998. contributing author.
“Laukika or Folk Religion as an Iconographic Link Between the Indus Culture and Jainism.”
Jinamanjari: International Journal of Contemporary Jaina Reflections. vol. 13. no. 1. April
1996.
“An Analysis of Dandin’s Dasakumaracarita and its Implications for Both the Vakataka and
Pallava Courts.” Journal of the American Oriental Society. vol. 115. no. 4. October 1995.
“Cosmic Geography: An Analysis of Programmatic Decoration in the Buddhist Stupa-Pillar
Caves of Kuca.” Journal of Asian Culture. vol. 17. 1994-95.
Selected Presentations
Shedding Skins: Naga Imagery and Layers of Meaning in South Asian Buddhist Contexts.
15th Conference of the International Association of Buddhist Studies. Atlanta, June 2008.
Image Problems: Exploring the Origin of the Buddha Image in South Asia. Invited Lecture at
George Washington Univ Colloquium on "Bringing Buddhism to Varied Lands". April 14,
2008.
Early Buddhist Practices. Invited Lec Mary Washington Univ Fredricksburg, Virginia, Oct.
2007
Picturing the Buddha: Text, Image, and Innovation. Invited Lec UCLA Los Angeles, March
07.
Seeking the Buddha’s Body: Art, Text, and the Crisis of Innovation in 2nd c. CE South Asia.
Invited Lecture at the Getty Center, Los Angeles. Getty Scholar Seminar. March 2007.
Haunting the Buddha: Indian Popular Religions and the Formation of Buddhism. Invited
Lecture at the University of Virginia Museum of Art, Weedon Lecture Series. March 2006.
Portraits and Presence: Understanding Imagery in Early Indian Buddhism. 14th Conference
of the International Association of Buddhist Studies. Panel Organizer and Chair. London,
England. August 2005
Haunting the Buddha. Invited lecture and book signing at the Sackler and Freer Galleries of
the Smithsonian Institution. March 2005.
Text and Image: Physical Evidence and the Recovery of Buddhist History. Society of
American Archaeology, Montreal, Canada. March 2004
Instructing the Gods: Visual Culture and Buddhist Success in Southeast Asia. 13th
Conference of the International Association of Buddhist Studies, Bangkok, Thailand.
December 2002
Getting to Know the Neighbors: Buddhist Art and Expansion in Southeast Asia: Invited
Lecture at the Univ of Colorado at Boulder. South and Southeast Asian Art Sympo April 17-
19 2002.
Pilgrimage, Patronage and the Past: Great Buddhist Centers of India: Invited Lecture at the
Smithsonian Institution. Part of the “Places of Piety: Sacred Sites and Cities of India” series.
October 2001.
Local Gods and Foreign Ideas: Visual Culture as a Mechanism for Buddhist Expansion in
India and Burma. Invited lecture at University of Virginia South Asia Seminar Series.
October 2001.
Monks and Ghosts: the Intersection of Buddhism and Spirit Religion in India. George
Washington University South Asia Seminar. February 2001
Conviction Carved in Stone: the Rock-Cut Temples of Ajanta, Ellora and Mahabalipuram.
Invited lecture at the Smithsonian Institution. October 2000.
Policing the Monastery: The Iconic Presence of Minor Deities at Buddhist Sites
and the Regulation of Monastic Behavior. the American Council of Southern Asian Art
Conference. Philadelphia, Pennsylvania. May 14, 2000.
Pious Ghosts and Troublesome Monks: The Dynamics of Patronage in Early Indian
Buddhism. The Center for Asia Pacific Economic Cooperation. George Mason University.
Fairfax, Virginia. March 2000.
Ghost Stories: Buddhist Appropriation of Sanctity from Popular Indian Funerary Practice.
American Academy of Religion in New Orleans, Louisiana. November 25, 1996
Painting Traditions of the Pahari Hills. Invited Lec at Loyola Marymount University. June
1996.
Patrons, Monks and Yaksas: The Role of Minor Deities in the Formation of Buddhism. at
the American Council of Southern Asian Art Conference in Minneapolis, Minnesota. May
1996.
Converting the Dead: Local Deities, Ancestor Worship and the Emergence of Buddhist
Monasticism in India. 11th Annual South Asia Conference. Berkeley, California. Feb 1996.
The Role of Local Deities in Early Buddhist Patronage. part of the Works in Progress
Lecture Series. University of California, Los Angeles. February 1996.
The Perfect Gift: An Exploration of the Social and Supernatural Uses of Betel in India. 23rd
Annual Conference of South Asian Studies. Madison, Wisconsin. November 1994
An Analysis of Dandin’s Dasakumaracarita and its Implications for Both the Vakataka and
Pallava Courts. 22nd Annual Conference of South Asian Studies. Madison, Wi Nov 93.
Education:
Ph.D., History of Art, Fall 2005, University of Michigan, Ann Arbor
Dissertation: “The Buddha and the shape of belief: Indic visual jātakamālās.
M.A., History of Art, Winter 1993, University of Michigan, Ann Arbor
Thesis: More, more on, and less of Mahājanaka: A study of a painted jātaka in Ajanta's
Cave 1.
Ph.D. Candidate (ABD): English Literature (Field: English Novel), Winter 1977,
University of Chicago, B.A., English in the School of English and American Studies,
June 1969, University of Sussex, Brighton, England
Professional experience
Visiting Assistant Professor, Dept of Liberal Arts, College for Creative Studies, Detroit, MI
Research assistant to Professor Luis Gomez, Charles O. Hucker Professor of Buddhist
Studies, Dept. of Asian Languages and Cultures, Adjunct Professor of Psychology, Dept. of
Psychology, University of Michigan. November 2007-August 2008.
Editorial and web work for “China Mirror” (On-line Web Project: www.chinamirror.org),
Professor Martin Powers, History of Art, University of Michigan, Sep. 2006-June 2007.
Adjunct Lecturer, History of Art, Wayne State University, Detroit, Fall 2006
Prof. Martin Powers “Painting and Poetry in China” English Composition Board Course 05
Prof. Sussan Babaie “Introduction to the Art and Architecture of the Islamic World,” Fall
2003
Guest Lecturer for Professor Walter Spink’s Site seminar at the Ajanta caves in India,
July 2000, July 1999, July 1997
Guest Lecturer for Professor Walter Spink, History of Art, University of Michigan,
Graduate Seminar: The Ajanta Caves, Fall 1998.
Conference on the Conservation of the Ajanta Caves, February 23-25, 1999, World
Monuments Fund, New York and the Indian National Trust for Art and Cultural Heritage
(INTACH), Aurangabad Branch, at the Ajanta Caves, Maharashtra, India. “Conference
Report”: Authored sections on the conservation of the murals and co-authored the
whole report with Professor Walter Spink and Michael Corfield.
GSI, Asian Languages and Cultures, University of Michigan, Professor Luis Gomez,
Introduction to Buddhism, Fall 1995
GSI, History of Art, University of Michigan, “Little Buddha” and Other Stories: Visual
Narrative in Asia,” Spring 1995. (I had sole responsibility for creating this course,
designing the curriculum, teaching and grading it.)
Assistant Archivist, Archives of the California Institute of Technology, Pasadena, CA, ‘85-86
Teacher, English Department, Loyola High School, Los Angeles, CA, 1983-84
Teaching Assistant, “British Literature from the Restoration to the Romantics,” Winter 1970
Teaching Assistant, American Literature Survey, Fall 1969
Publications
“Replicating the Buddha: The Great Miracle of Śrāvastī, the Divyāvadāna and Ajanta’s
Cave 26.” 96th Annual CAA Conference, Dallas-Fort Worth, 20–23 February 2008. To
be published along with other papers on this panel.
“The Ajanta Cave 17 inscription as a preface to the monastery donated by the local
king: History, Religious Story and Homology.” In The Vākāṭakas: Indian culture at the
Crossroads. Groningen: Egbert Forsten, 2004. (Invited)
“Ajanta,” “Bodh Gayā,” “Jātaka, Illustrations of,” “The Mahābodhi Temple” and “Sāñcī”
Dissertation Grant, University of Michigan, History of Art, winter and summer 1996
Henry Tappan Teaching Award, University of Michigan, History of Art, Fall 1995
American Institute of Indian Studies Junior Fellowship for field research in India, 1992-3
The Exchange Scholarship in American Studies at Smith College, Northampton, MA, 67-68
“Replicating the Buddha: The Great Miracle of Śrāvastī, the Divyāvadāna and Ajanta’s
Cave 26.” 96th Annual CAA Conference, Dallas-Fort Worth, 20–23 February 2008.
“Inscription as preface in Ajanta’s Cave 17: History, historical legend and religious narrative
homologised.” The Groningen Oriental Studies Colloquium on “The Vākāṭakas: Indian
Culture at the Crossroads,” Groningen, The Netherlands, June 6-8, 2002
“Relics and the living presence of the Buddha after the Mahāparinirvāṇa: Icon, index and
image.” CAA Conference, Chicago, IL, February 28-March 3, 2001
“Narrating pūjā (worship) and dāna (giving) in Ajanta’s Cave 17, with especial attention to
the Viśvantara Jātaka.” American Committee for Southern Asian Art Symposium VIII,
Charleston, SC, October 1998
“Narrative frames and narrational modes in monumental texts: Ajanta’s Cave 17.” Lecture,
UCLA April 1998
“Accessing time through space in the Indic tradition: Does Bakhtin’s “chronotope” apply to
Ajanta’s Cave 17?” CAA Conference, Toronto, Ontario, Canada, February 1998
“Monkey as hero and villain: Point of view in the Monkey and Buffalo Jatakas in Ajanta's
Cave 17.” 23rd Annual Conference on South Asia, Madison WI, November 1994
“The absent presence of the Buddha: Looking at ‘aniconism’ from a different perspective.”
23rd Annual Conference on South Asia, Madison WI, November 1994
“The narrative structure of the Mahājanaka Jātaka and its place in the architecture and
painting of Cave 1.” History of Art Graduate Colloquium, University of Michigan, January 28,
1993
“More on and less of Mahājanaka.” 21st Annual Conference on South Asia, Madison WI,
November 1992
“Narrative structure and strategy in Ajanta's Cave 1.” Brown bag lecture at the Centre for
South and Southeast Asia Studies, University of Michigan, January 10 1992
“Departures and returns: Kingship in the nāga jātakas of Ajanta's Cave 1.” American
Committee for South Asian Art Symposium, Washington DC April 19-21, 1991
Professional Activities
Steering Committee member of the Tappan Association, the graduate student association
of the History of Art, University of Michigan, Winter 1993-Winter 1990
Photography: My slides of the Ajanta paintings in Caves 1, 2, and 17 form one of the
most comprehensive and detailed photographic collections and archival record on that
subject, especially given the fact that the Archaeological Survey of India’s (ASI) pre-
2000 photo documentation is either non-existent or scant
i) Collaboration with ASI Chemical Branch: My photographs and an art historical training
session I gave for ASI conservators in 1979 have helped convince them of problems with
their conservation practices, their documentation of the paintings and their conservation.
ii) The Huntington Archives of Buddhist Art at Ohio State University has digitized my slides
of Caves 1 and 2. Digitizing Images: Proficiency in Photoshop CS3
Participant, Dunhuang Art and Society International Seminar held at the Mogao Caves,
Dunhuang, Qizil and other sites on the “Silk Route” in Xinjiang Province, China (PRC),
2001 Travelled widely in India, Asia, Europe, USA visiting museums and art historical
sites
Languages
Sanskrit: Proficiency in reading and translating ,Hindi:Fluency in speaking, proficiency in
reading Gujarati: Some proficiency in speaking , French: Fluency in reading, proficiency in
speaking
Education
January, 1963 Bachelor’s. University of Michigan
1963-1964 University of California, Berkeley. Art History.
1964-1966 M.A. With distinction. University of Hawaii, East-West Center. Art History (Asia).
Advisor: Prithwish Neogy. Thesis: Landscape Elements in the Ajanta Paintings
June 1972 Ph.D. University of California, Los Angeles. Art History (India). Advisor: J. Leroy
Davidson. Dissertation: Stone and Bronze Sculpture of Bihar and Bengal, 8th - 12th
Centuries
Employment history
2005 Fall: . Mary Jane Crowe Visiting Professor of Art History. Northwestern University.
1998 Fall (Michaelmas) term. Numata Distinguished Visitor in Buddhist Studies. Balliol
College, University of Oxford, Oxford, England.
1995-2005 Dean of the Graduate School, Vice Provost for Graduate Education, The Ohio
State University (Interim Vice Provost and Dean, The Graduate School (1995-1996)
1990-present Distinguished University Professor. The Ohio State University.
1972- present Assistant, Associate, Full Professor. History of Art. The Ohio State
University.
Teaching honors
1976 Distinguished Teaching Award finalist (Arts and Sciences, The Ohio State University)
1979 Outstanding Teacher Award (The Ohio State University)
1988 Distinguished Teaching Award finalist (The Ohio State University)
1992 Distinguished Teaching Award, Multicultural Teaching (The Ohio State University)
Research honors
1985 Distinguished Scholar Award, The Ohio State University
1990-present Distinguished University Professorship, The Ohio State University
PUBLICATIONS:
Books
The "Pala-Sena" Schools of Sculpture. Studies in South Asian Culture, X. Leiden: E.J. Bril l,
1984. 296 pp., 282 photos, 3 maps.
The Art of Ancient India: Buddhist, Hindu, Jain. Tokyo: John Weatherhi l, 1985. With
Contributions by John C. Huntington. 786 pp., 775 illus., 10 maps.
Leaves from the Bodhi Tree: The Art of Pala India and Its International Legacy.
Co-authored with John C. Huntington. Dayton and Seattle: Dayton Art Institute and
University of Washington Press, 1990. 615 pp., 165 plates, 81 text figs.
Art of Asian Cultures. Laurence King, London and Prentice-Hal l/Abrams, U.S.A. [2008].
Edited archival works
Archive of Mathura Art. Kusana Period. Leiden: Inter Documentation Company, 1975.
Archive of Gupta Art. Leiden: Inter Documentation Company, 1975.
Archive of Gandhara Art. With Janice L. Dundon. Leiden: Inter Doc Company, 1979.
Islamic Monuments of Eastern India and Bangladesh. Author, Catherine B. Asher. Leiden:
Inter Documentation Company, 1991.
Buddhist and Hindu Monuments of Eastern India and Bangladesh. Leiden: Inter Doc Co
1995.
Selected articles
Contributor to Art of the Indian Subcontinent. Ed. J. Leroy Davidson. Los Angeles: Ward
Ritchie Press, 1968.
"Some Aspects of Bengal Stone Sculpture." Bangladesh Lalit Kala (Jan.1975): 19-28.
"Coomaraswamy's Legacy." Darshana. Colombo, 1977.
"Some Bronzes from Fatehpur, Gaya. " Oriental Art XXV, 2 (Summer 1979): 240-247.
"The Buddhist Stupa at Gyaraspur." In Chhavi-2. Ed. Anand Krishna. Varanasi:
Bharat Kala Bhavan, 1981, pp. 54-58.
"Some Iconographic Reflect ions on the Arjuna Ratha at Mamllapuram." In Kaladarßana.
Ed. Joanna G. Williams. New Delhi: American Institute of Indian Studies and Oxford
Book House, 1981, pp. 57-67.
"Pre- Pala and Pala Period Sculptures in the Mr. and Mrs. John D. Rockfeller 3rd
Collection, The Asia Society. " Apollo (Nov. 1983), pp. 370-78.
"The Pala -Chedi Style of Sculpture." In A.B.M. Habibullah Commemoration Volume.
Dhaka. [n.d. 1983?]
"Epigraphy from Art History: The Pala Period." In Indian Epigraphy: Its Bearing on the
History of Art. Ed. Frederick M. Asher and G.S. Gai. New Delhi: American Institute of
Indian Studies, 1984, pp. 177-184.
"A Metal Image of Visnu Dated in the Reign of Surapala I." In Dinesa-Vandana: D.C.
Sircar Comm Volume (Journal of Ancient Indian History XV, 1-2 [1985-86]):111-119.
Various entries for Macmillan Dictionary of Art. 1996.
"An Unusual Image of the Pala Period Showing the Buddha Converting the Robber
Angulimala. " With John C. Huntington. Shri Krishna Deva commemoration volume.
[n.d. 1996 ?]
"A Pala Image of the Sage Agastya. " In Studies in Art and Archaeology of Bihar and
Bengal, Dr. N. K. Bhattasali Centenary Volume, eds. Debala Mitra and Gouriswar
Bhattacharya. Delhi: Sri Satguru Publications, 1989: 239-242.
"Some Connections Between Metal Images of Northeast India and Indonesia. " Ancient
Indonesian Sculpture Ed. Marijke Klokke and Pauline Lunsingh Scheurleer. Leiden:
KITLV Press, 1994, pp. 57-75.
"Leaves from the Bodhi Tree: The Art of Pala India and its International Legacy."
Orientations (October 1989): 26-46. Co-authored with John C. Huntington.
"Early Buddhist Art and the Theory of Aniconism." Art Journal 49, 4 (Winter 1990): 401-408.
Ten entries for Handbook. Seattle: Seattle Art Museum, 1991.
"Aniconism and the Multivalence of Emblems: Another Look." Ars Orientalis 22
(1992), 111-156.
"Kings as Gods, Gods as Kings: Temporality and Eternity in the Art of India. " Ars
Orientalis 24 (1994): 30-38.
Eight entries Indian Art Treasures: Suresh Neotia Collection. Varanasi: Jnana Pravaha,
Centre for Cultural Studies and Research. 2006.
"Ritual in the Early Buddhist Art of India.” (Forthcoming in conference papers from
Harvard University.)
Presentations (select and last ten years only):
"State of the Field." College Art Association meeting. February, 1995.
“Revising Indian Art History: The Theory of Aniconism and Early Buddhist Art.”
University of California, Berkley, October, 1995.
“Aniconism and Early Buddhist Art.” Mills College, October, 1995.
“Early Buddhist Art of India”. Asian Art Museum, San Francisco, Oct. 1995.
“Pilgrimage and Sacred Places in Early Buddhist Art.” Univ of Minnesota, Nov 95.
"Early Buddhists in the Early Buddhist Art of India." Harvard University. May, 1996.
Conference on the Religious Experience of Buddhist Ritual. Art.
"Buddhist Art and Electronic Media. " International Congress of Asian and North
African Scholars (ICANAS). Budapest, July, 1997.
"Kings as Gods." South Asia Conference, Madison, WI. October 1997.
"Electronic Projects in Art History." Kyoto, Japan, October, 1997.
“Asian Art and Electronic Media.” Heidelberg, Germany. Summer 1998.
"Buddhism and the Arts," Middlebury College. Winter, 1998.
“Electronic Projects in Art History,” Leiden. June, 1998.
“Aniconism and the Early Buddhist Art of India”. University of London, School of
Oriental and African Studies. Fall, 1998.
“Change and Continuity in the Early Buddhist Art of India.” University of London,
Archaeological Institute. Fall, 1998.
“Early Buddhist Art & the Theory of Aniconism”. University of Cambridge. Fall, 1998.
“Iconicity in the Early Buddhist Art of India.” ACSAA conference. Philadelphia, 2001.
“Art Under Attack: Terrorism, Modernization, and Other Threats to Art.” Michigan
State University. Spring, 2002.
“Research in Early Buddhist Art.” Vanderbilt University. Spring, 2002.
“Early Buddhist Art and the Emperor’s New Clothes.” Birmingham Museum of Art.
Spring, 2006.
“Art as Text, Art as Document: Understanding Buddhism through Art.” Harvard
University. Spring 2006.
“Confluence of Cultures, Art of India through the Ages” Minn Institute of Arts.Fall 06.
J. Gonda Lecture. Royal Netherlands Academy of Arts and Sciences, Amsterdam.
December 2007.
The Virtual Vihara is a digital simulation of Ajanta Cave # 1. It affords the viewer an
experience of being inside a virtual cave exploring and discovering its richness at a self-
selected pace /pattern.
Why do we need to create a digital Ajanta cave? How could we even presume that such a
thing can compare in any way with the real thing? The simple answer to this question is that
it cannot. Ajanta is a priceless legacy of
the past and a UNESCO world heritage
monument that must be experienced in
the flesh. Only by really being there can
the full impact of its history, sensuality
and spirituality be felt.
On entering the virtual cave, one is free to float about viewing the paintings high on the
walls, at eye level, without the distance and perspective distortion inevitable in the real
cave. One also has control of the lighting and proximity to the murals in a way that one
does not have in the physical space. Finally, a sonic environment with music & hints of
dialogue and narration make the walls even more eloquent but only teasingly so. The idea
is to kindle a passion that will lead the viewer eventually to Ajanta.
Multiple applications with varied purposes can be built atop the basic database of a virtual
cave – e.g. an explication of how the mural paintings have degenerated over the years and
how they could be restored in the digital realm or an analysis of how the composition of the
narrative paintings lead the viewer through a story as deliberately and as grippingly as a
graphic novel. While these kind of expositions can and have been done in documentaries
and multi-media presentations, this new immersive format opens new doors for combining
investigation, pedagogy and experiential learning.
We hope you will enjoy your tour of the Virtual Vihara and have many bright thoughts on
how this project can grow and become truly useful. We present it as a pilot project and are
honored to be able to showcase it at the “Ajanta: Miracle in the Mountains” conference,
Houston, 2009
Please feel free to contact us with your feedback and ideas: shriram.chitra@gmail.com
and binitardesai@gmail.com
The Virtual Vihara Team
Joo Eun Chi is a graduate of the Art & Technology program at the University of Texas,
Dallas, where she is currently teaching and consulting on projects.
Afternoon: join Bombay Heritage Walking Club (art & architecture students /professionals).
They organize a 2 hour walk through the old part of Bombay.
Today visit the Buddhist, Jain and Hindu caves at Ellora, noted for their sculptures, are
considered to be the finest in India and date between 600 and 1100 AD. The landmark of
this collection of rock-cut sculptures is the magnificent Kailasanatha Temple, the only
building that was begun from the top and is a tribute to the imagination and craftsmanship
of those who conceived and built this masterpiece. It is the most extraordinary free-
standing monolithic temple (there are only two of these in India), with unique carvings of the
Ramayana and Vishnupurana. You will spend the morning visiting the most outstanding of
the 34 cave temples in the area. We will also visit sites in Aurangabad, time permitting.
Suggest lunch on your own at the excellent and intimate Fateh Prakhash restaurant.
Afternoon independent to stroll the quaint city, take a walk through the colorful Bapu
Bazaar. It is easy to walk about independently just outside the city palace gates for a real
experience of the local culture beyond the tourist shops.
Lunch at Maharani Bagh (Mango Orchard of the Maharaja of Jodhpur) near the Temples.
Continue drive to Jodhpur. Overnight at Ajit Bhawan Palace.
In the morning visit the City Palace complex, the Hawa Mahal (Palace of Winds), Jal Mahal
(Water Palace). There will be opportunities to visit block printing factory, gem cutting,
carpet factory, and silk shops. Afternoon independent for shopping and relaxing.
Afterwards drive to Samode Village (40 min). Lunch at Samode Palace on your own. After
lunch visit Palace and walk to the charming village nearby. Evening return to Jaipur.
Sunrise visit to Taj Mahal, return to hotel for breakfast. Afterwards visit Itimad-ud-Daulah,
the first white marble inlaid grave in pure Indo-Persian style, built between 1622 and 1628.
Afterwards, we visit Agra Fort. If interested, also visit Oswald’s Shop, where you can see
the famous marble inlay technique of Agra, pietra dura, which is passed down through
generations within families.
Afterwards drive to airport to connect flight 9W3418 dep. 1845 / arr. 1930 or IC134 dep.
2010 / arr. 2040 to Indore. On arrival transfer to hotel President.
From here go to the unique Dilli Haat, an upgraded version of the traditional weekly market,
offering a delightful amalgam of craft, food and cultural activities. Spread over a spacious
six acre area, imaginative landscaping, and the traditional village architectural style have
combined to produce the perfect ambience for a Haat or market place. A wide variety of
skillfully crafted handicrafts, intrinsic to each part of the country are available in this exotic
bazaar. These range from intricate rosewood and sandalwood carvings, embellished camel
hide footwear, to sophisticated fabric and drapery. Gems, beads, brassware, metal crafts,
silk and woolens....the range is limitless. The handicraft stalls are allotted on a rotational
basis to craftsmen from all corners of the vast and varied land of India, thus ensuring that
different handicrafts are available to visitors at each visit, and also enabling them to buy
authentic wares at prices that have not been inflated by high maintenance costs. Shows
promoting handicrafts and handlooms are held at the exhibition hall in the complex. The
food plaza enables visitors to savor flavors from the various regions of India. The different
stalls offer a wide choice of ethnic food which is clean, hygienically prepared and
reasonably priced. .Evening transfer to International airport to connect flight to home.
Commissioned art works created exclusively for this conference
This is a three dimensional mixed media work of art, using polystyrene, paint, glue, paper and
print and some found materials. The 3D collage of the caves brings to life the paintings, pillars,
statues and other architectural details. It highlights jewelry and hair styles of Ajanta period
which are in vogue even to this day.
An ode to Ajanta – 24”x 28” This piece is a relief, based on the wall paintings from the caves
of Ajanta. It is done in the basso-relievo style on Carrera marble.- Cuauhtemoc Murphy
Apsaraas of Ajanta- 40” x 30” alkyd oils with a base coat of acrylic paint on canvas-
Sangeeta Pasrija
King Mahajanaka and Queen Sivali, 24" x 30”, a combination of two paintings using mixed media
on canvas - Bhavana Vaishnav
Kirthimukha carved on a pillar: 18”x15”, 50/50 clay – Rachelle Gomez
Nandi Vardhan, 24" x 30" (framed) oil painting. This is a ceiling painting painted in Cave No.1
at Ajanta – Bharati Venugopal
Shibi - 36”x 48” oil on canvas painting. - Carmen Flores - Mexican Artist
The use of line, the free brushstrokes and the use of warm colors are the main features in this
painting. The king Shibi is represented among a crowd of characters in motion
Editorial:
All the art works that you see, are created by these artists exclusively for this conference. These
art works are less than 3 months old as they have been created after holding several meetings
with all the artists, to see who is doing what. Samskriti is extremely thankful to all the artists who
have come forward to share with us their understanding and expression of Ajanta paintings.
These artists deserve our applause.
The artists
Winning first place consecutively for the past two years at The Sugar
Land Town Square art show changed a lot of things for me and I
decided to turn my hobby into my profession. I started participating
in shows and competitions and won quite a few awards. Some of my
prominent achievements so far are winning the Christmas card
contest in 2007 that depicted the reflection of City Hall in Sugar Land on the Christmas
ornament and the Mayor of Sugar Land; Mayor David Wallace purchased my painting. I also
won first place on my portrait at the State level. An image of my recent painting depicting ‘The
Eldridge Memorial Hospital’ has been printed in the 2009 calendar for the City of Sugar Land’s
50th year Anniversary.
I love to paint and I enjoy it even more when people can enjoy my painting as I believe art is an
expression from the heart and one can feel the energy from a painting. I like to explore and be
creative in my paintings. I paint landscapes, floral, abstract, portraits etc., but putting my
expression on the painting is an accomplishment and my intention is for the audience to enjoy
my paintings the same way I enjoy creating them. My website is www.sharmyn.com and e mail
address is sharmynali@gmail.com
Bhavana Vaishnav
Growing up in a very creative environment in Indore, India, I began
painting as a kid. With all its colors and activity, Mother Nature
inspired me to paint using my perspective. After my high school
studies, this hobby turned into passion and became the turning point
in my life, my wonderful and creative journey as an artist began. I
attained education in Arts and continued to grow as an artist. After
marriage I moved to Houston, TX and have participated in various
solo and group exhibitions.
Over the course of my journey, I have added various mediums and media to my repertoire. In
addition to using oil color for realistic painting, I now paint more abstract with acrylic colors using
texture. Web site addresses www.artbybhavana.com and www.artquestpearland.com
Neil Sen: Neil Sen is a freelance artist, who has exhibited his work
in different parts of the country and produced illustrations for books
and magazine covers. He is currently involved in teaching
numerous classes both for kids and adults and has been doing so
for over 10 years. He is widely known in the community for his
inspirational teaching and his passion for art. He is a natural
teacher and is in the process of writing a book for children which
will work as a guide for kids to learn art easily. He has also been a
consultant and artist for several organizations.
Moved to the UAE after getting married and was a member of the
Dubai International Art Centre. Was an active member of the Abu
Dhabi Cultural Foundation and was exposed to various Painting
techniques like Oil Painting, Pastels, Water Color, Silk Painting and
Glass Painting. In 2005 and 2006, participated in the Camel
Caravan and Falcon Public Art projects in the UAE. Submitted
designs were competitively chosen and the life-size colorfully
painted camels and falcons were displayed at various public places
earning appreciation and accolades
Joined the Sugarland Area Artists Association ( SLAA ) and have been an active member .
Have won various prizes in the Art shows conducted by SLAA , and have picked up new
painting techniques by associating with the artists there.
Raison D’Etre for Painting: I have enjoyed Art from a very early age. I love the creativity that
accompanies artistic abilities and the freedom of expression that it allows. Experimenting with
colors and using different media is what motivates me most. I also think that there is a strong
link between Art and Charitable causes and I try to make this happen from my side whenever
possible.
Editorial:
Ajanta is storehouse of exquisite wall and ceiling paintings created by master painters some
1500 years ago. The Houston artists have come forward to study many of the Ajanta drawings
and have selected a few of them for their own interpretation and expression. Samskriti is very
appreciative of these artists and wishes to thank all the artists for creating these art work for
including in this Ajanta conference.