This painting represents the Das Mahavidya or the ten forms so Goddess Durga. The idols are painted on cloth using Ink and coloured pigments by Mithila artist Krishnanand Jha. Click here to see how artist Poonam Devi paints the same theme Dasa Mahavidya is associated with the Shakti cult in Hinduism and through it, ‘Tantrism’.… Read more »
The art of Desmond Lazaro is a manifestation of his meticulous research in the fields of cosmology, astronomy, and astrophysics, interpreted through the lens of the miniature art traditions he has imbibed
Komal Chitnis Komal Chitnis leads education initiatives and consults on special projects. She also works closely with colleagues across various ..departments to ensure that different facets of the Sarmaya collection are effectively utilized in curation, content development, and the creation of learning opportunities. She holds a Master’s in Archaeology and Museum Studies. Komal has previously… Read more »
Sarmaya is the museum without boundaries. Our archive of art, artefacts and living traditions represents the diverse histories of the Indian subcontinent. We offer a critical and compassionate framework for young Indians to discover their cultural inheritance. With our collection as the starting point, we create online and on-ground programming that sparks curiosity, invites dialogue… Read more »
Drawn from his book, ‘False Allies’, historian and author Manu S Pillai draws an intriguing portrait of the rulers of India’s princely states as we have rarely seen them before.
On the life of Parukutty, consort of Maharaja Rama Varma XVI of Cochin and a formidable leader of the Kingdom of Cochin
Sarmaya Films is a special series that documents the living traditions of India in ways that centre the communities, indigenous practices and natural eco-systems that nourish and preserve these art forms. So far, our journey has led us to the vanishing shadow-puppeteers of Dharmavaram in Andhra Pradesh and the next generation of an illustrious family… Read more »
In this essay, Arshi Irshad Ahmadzai takes us into the beating heart of her art practice that carries the fragrance of Najibabad and Kabul, and the poetry of Rumi and Ghalib
This photograph of traders from the Marwari community was taken by William Johnson in late 19th century Bombay. The port city of Bombay attracted early photographers, and the first official Indian photography organisation was founded here in 1854. William was a founding member of the Bombay Photographic Society and one of the first to produce… Read more »
This photograph of the women from the Parsi community was taken by William Johnson in late 19th century. With the British granting freedom of religion and equality before the law to migrants and minority communities, the city saw an influx of Parsis, who went on to play a pivotal role in the making of metropolitan… Read more »
This is a portrait of an unidentified prince of Rewa, an important princely state in Central India, second only to Gwalior. Rulers in the Indian Subcontinent were typically chosen from the ranks of warrior nobility and given legitimacy by a council of ministers and nobility. Kingship was often hereditary and princes—and, less frequently, princesses born… Read more »
Wadiyars served as vassals of the Vijayanagara rulers but as that empire weakened in the 16th century, the they asserted their dominance as independent kings. After the final Anglo-Mysore war ( 1798–99) ended the era of Tipu Sultan, Mysore was returned to the Wadiyars to rule as a subsidiary to the East India Company. Chamarajendra… Read more »
This is a studio photograph of an unidentified woman by an unidentified photographer. Early Indian photography was defined by the gaze of the coloniser. So, these images are accompanied by information meant to serve the British administration in tidily cataloguing by community, profession or faith the diverse populations of the Subcontinent. Towards the end of… Read more »
Derived from the Sanskrit’ sthagati’ for ‘he covers/deceives’, the word as it is used in the caption of this photo—’A Group of Thugs’—referred to men who were hereditary murderers and thieves. Some historians argue they killed to appease their deity, Goddess Kali, and the stealing was just incidental; others make the case that they were… Read more »
This photograph is of Jayajirao Scindia (1834-1886), the Maharaja of Gwalior, with his counsels. The Maratha Confederacy was an invincible force in 18th-century India. Ranoji Shinde, a Peshwas lieutenant who was pivotal in the Peshwas’ fight against the Mughals in Malwa, was one of the army’s rising stars. In 1731, Ranoji established his rule in… Read more »
This is a Carte de Visite portrait of the Begum of Bhopal, Shah Jahan Begum (1838-1901). The state of Bhopal was unique in Indian history for being ruled exclusively by women for over a hundred years. Their line began with the 19-year-old widow of the second Nawab of Bhopal, Qudsia Begum. A remarkable matriarch, Qudsia fought… Read more »
This photograph of the Palanquin Bearers was taken by William Johnson in Bombay. The root-word for the English ‘palanquin’ is the same as the one for the Hindi ‘palang’: ‘palyanka’, Sanskrit for bed. Baked into the word itself is a promise of comfort. Palanquins were the transport of choice for wealthy travellers in 18th- and… Read more »
Oude is the anglicisation of Awadh—itself a derivation of Ayodhya, capital of the ancient kingdom of Kosala. Awadh was one of the 12 original provinces or subahs defined by Mughal emperor Akbar. It was governed by a subedar, under whom sprawled a network of taluqdars, members of a land-owning aristocracy responsible for collecting revenues from… Read more »
This is a Carte de Visite portrait of the sixth Nizam, Asaf Jah VI Mir Mahboob Ali Khan Siddiqi, who reigned from 1869 to 1911. During this time, he developed the railways and established cotton and silk mills in the State. In popular culture, Mahboob Ali Khan is probably best remembered for his legendary collection of gemstones,… Read more »
This is a studio portrait of Thakur Sahib Maharaja Lakhdirji Waghji and the young Mahendrasingh of Morvi. They represent two generations of the Jadeja Rajputs who ruled the state of Morvi on the Kathiawar peninsula. In 1807, the East India Company declared the state of Morvi a British protectorate, a system by which local rulers… Read more »