India is a civilization of many images, a culture of
many visual feasts, a tradition where the visible and the palpable arc as
important as the oral and the occurrent, where our
highest truths are embodied not only in our erudite texts but in our kathas (stories) and gathas (songs), akritis (visual forms) and
rachanas (compositions), rich with a
variety of forms, shapes, designs and motifs.
The Journey of Indian Forms explores some akritis
that adorn both majestic and
grand monuments, as well as common and ordinary spaces, and which through their
purely visual language are pointers to not only our culture, but equally to
These beautiful visual representations of both the
ordinary people and artisans, are not individual
expressions but that of the shared experiences of the community and the
preserve of the family, passed down through endless generations. They are
neither mere designs nor decorations, nor meant only for rites and rituals, but
in their own unpretentious way become sources of visual knowledge and have a
culture of their own.
analysis and repository of Indian visual forms, is a collector's
Harsha V. Dehejia
has a double doctorate -one in medicine and the other in Ancient Indian
Culture, both from Mumbai University. He is a practising physician, and
Professor of Indian Studies at Carleton University in Ottawa, Ontario, Canada.
His main interest is in Indian Aesthetics. A widely respected aesthete and art
collector, he has written extensively on Indian art and culture, including
Goddess of Love (1999): Despair and Modernity:
Reflections on Modem Indian Paintings (2000): A Celebration of"
Lore: The Romantic Heroine in the Indian Arts (2004): Celebrating
Krishna: Sensuous Images and Sacred
and A Festival of Krishna (2008).
Akriti to Sanskriti
The Aesthetics of
Messengers of the
From the Earth to the
The Plenitude of
In the Image of Man: Purusha to Manushya
Womb of the Universe
The Aesthetics of
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