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The medieval ages saw the rise in India and parts of Asia of philosophical, theological, cultural, literary and visual manifestations that derived from diverse faiths but with one aim—to attain enlightened liberation. Its resistance to Brahmanical texts and hegemony resulted in the creation of geometrical aesthetics that were interpreted by way of texts, paintings, and architecture and had a monumental impact on society. At the centre of its geometric configurations—the triangle, the square, and the circle—lay the idea of Creation itself, the source of primal energy that could to be diverted towards a higher consciousness, and all universe was manifest in this. Learn More

N. R. Sardesai was born in 1885 in Ratnagiri, Maharashtra, and completed his early education at the Ratnagiri School of Industry. Here, he studied carpentry and drawing in 1906, before joining Sir J. J. School of Art, Bombay, for formal training in art. Thereafter, he began work as a drawing teacher in a school in Fort, Bombay. In 1915, he had a short stint as a drawing teacher at his alma mater too. Learn More

Shanti Dave’s abstracts resemble—at first—the familiar and the unknown. There are writings, figures, deities, forms and shapes that resonate with what we seem to know. If the language is indecipherable, perhaps it belongs to some ancient texts lost to history. Is this his ode to a civilisation that existed in the past, or a prophesy of one to come? Is it a world hidden underwater? Or perhaps one alien to us because it comes from some other planet? Are these tombstones, or markers, of some mythological or historical realm?

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Tracing the evolution of set design in Bengal, responding to the theatre archive at Natya Sodh Sansthan with scholar Trina Nileema Banerjee. 

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A workshop on making botanical pigments with the Patachitrakars at Naya Village, who will share their songs and painted scrolls.

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Pebet is a ‘phunga wari’, a type of traditional fireside story told to Manipuri children by their grandparents. Directed by the renowned theatre practitioner Heisnam Kanhailal and performed first in 1975, it subverts the familiar icon of the bird and the cat to comment on political and cultural indoctrination.

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A guided walk of the first free circulating public library of India—Uttarpara Public Library—with researcher Sarbajit Mitra, traversing the history of regional literary cultures, and sifting through their vast archive to delve into the vibrant world of illustrated periodicals in colonial Bengal, followed by a poetry reading by Sujoy Prasad Chatterjee. 

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A guided walk by urban history researcher Sujaan Mukherjee, uncovering the forgotten histories of monuments and sites around the Indian Museum, and their changing fates after Independence.

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A paid opportunity for young students from diverse disciplines to participate in the exciting world of museums and arts organizations by introducing them to the whole gamut of activities that go into building audience engagement around an exhibition or programme.

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A workshop by Priyank Patel, from the Department of Geography, Presidency University, for ages 16 and above, on mapmaking in the colonial and postcolonial era and how maps of Calcutta (and later, Kolkata) were shaped through these different ways of knowing the world.

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Chittaprosad Bhattacharya (1913-1978) was a versatile artist and a lifelong adherent of the socialistic worldview. In 1943, he traveled across the famine-stricken villages of Bengal and produced realistic sketches of human suffering that were regularly published in the pages of the Communist Party journal 'People’s war'. These sketches were later compiled and published as a booklet under the title 'Hungry Bengal'. Fascinated by his artistic skills, the General Secretary of Communist Party of India, Puran Chand Joshi took Chittaprosad to the Party’s headquarters in Bombay (now Mumbai). 

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The DAG booth at India Art Fair has always aspired to provide its thousands of visitors with their most unique art-viewing experience based on rarity, historicity, and quality, raising the bar each year with works of sterling importance in addressing the art history of the subcontinent.  Abanindranath Tagore, Allah Bux, Anonymous (Early Bengal), Dhanraj Bhagat Jamini Roy, Krishen Khanna, Ram Kumar, M. A. R. Chughtai, M. F. Husain, Madhvi Parekh, Nandalal Bose, Nirode Mazumdar, Prabhakar Barwe, S. K. Bakre, Sailoz Mookherjea, Shanti Dave, Sohan Qadri, Thomas Daniell, Raja Ravi Varma, Edwin Lord Weeks, F. N. Souza, M. V. Dhurandhar

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