Banaras

Banaras, also known as Varanasi, is one of the oldest continuously inhabited cities in the world and a central spiritual hub of India. It lies at the heart of Indic faith and is deeply sacred to Hindus, who believe it to be the ultimate place for achieving moksha (liberation from the cycle of life and death). The city's soul is defined by its ghats, the steps leading to the Ganges River, where people come to bathe, pray, and cremate their dead, symbolising the cyclical nature of life. The temples, narrow lanes, and vibrant markets echo centuries of tradition, yet Banaras remains a place where the old and the new coexist.

Visually, Banaras is a city of contrasts: the serenity of the river at dawn, juxtaposed with the bustle of everyday life; ancient, worn architecture alongside modern signs of urban growth. Its colours are rich—golden temples, the deep red of prayer flags, the blue of the river, and the soft oranges of dawn—commonly seen throughout the city’s vistas. It is a city where time stands still, yet constantly moves.

Curated by art critic Gayatri Sinha, this exhibition draws on DAG’s collection, building on two previous exhibitions held in 2023 and 2019, to depict the essence of Banaras. The accompanying publication traces its evolution from ancient to contemporary times, highlighting the diverse communities that shape the city—ascetics, weavers, and craftsmen. Through painting, sculpture, objects, photography, books, and travelogues, the exhibition brings together the perspectives of colonial artists, modern painters, and photographers to create a panoramic view of this enigmatic city, as it unfolded over the nineteenth and twentieth centuries.

The exhibition is divided into three sections, moving chronologically from the 1800s to the present day. Banaras has captivated the interest of many artists since the 18th century. During British colonial rule, it also served as an important administrative seat. The city’s reputation as an ancient holy city preceded the British, attracting not only officials but also explorers and travelers who brought their own interpretations of the city to life for audiences back home. Some of these representations adhered to the larger tropes of the picturesque and the sublime, while others focused on the layered connotations of the city. Artists such as Thomas Daniell, William Hodges, James Prinseps, and Edwin Lord Weeks populate this section, exemplifying foreign views and perceptions.

The depictions by modern artists shifted from traditional ghat-focused imagery to include the lanes, alleys, and everyday activities that characterize the city. Artists like M. F. Husain, Ram Kumar, Manu Parekh, and L. N. Taskar shed light on the living aspect of Banaras.