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Ajanta and its historical context by Dr. Walter Spink Conference at a glance Inauguration of conference on April 18, 2009 Unveiling of the commissioned paintings Lunch at the Sculpture Garden Reception honoring the speakers Meet world-class scholars Day 2 of the conference on April 19, 2009 Opportunity to buy newly created, original art work Display of books on Ajanta and Ellora Conference schedule Conference format Chairman of the conference Conference keynote speaker Conference speakers Registration / Mode of Registration and Refund policy Parking at the Museum Web site and upto date information on the Conference About Samskriti and Anjali Center About the Museum of Fine Arts About the Houston Community College Display of books on Indian Art Conference Program Book Visiting Ajanta and Ellora in 2010
Ajanta in its historical context
Homage to the Vakataka Harisena Dr. Walter Spink
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.
and elsewhere will provide insights into Ajanta’s own development. Don’t miss the opening event. and Tala in Kosala. We shall try to show that they are essentially reflections of a too-long neglected world. now perhaps glorying in their independence. Unveiling of the Commissioned paintings Sixteen local artists were invited to participate in the conference and to create original art works based on the theme of this conference. . as it were. Conference at a glance • Conference inauguration on April 18. the Early Kalacuri caves at Jogeswari. 2009 at 10.m. you will be transported to a different world. Sirpur. These artists have produced original work in their own styles of painting.. With all the speakers assembled on the stage. after describing not only Ajanta. and finally some of the finest caves at Ellora. The list is long and impressive: the Traikutaka productions at Kanheri. • Display of books on Ajanta and Ellora • Opportunity to buy newly created. Arrive early to participate in these activities. The influence of the many remarkable Gupta models as well as the earlier monuments of the Vakatakas at Ramtek. in the late fifth and early sixth centuries. These were by and large the productions of Harisena’s former feudatories. that shattered his beautiful world. we shall review the impact of his death—probably an assassination—upon the tragically brief flowering of Harisena’s world. the Maitrika sculptures of Western India. original art work • Meet these world class scholars Inauguration of the Conference The conference inauguration is a spectacular event. so richly mirrored at Ajanta.m. These new art works will be unveiled during the inauguration of the conference and will remain at the museum till Sunday night. but other sites sponsored by Harisena and his feudatory kings. Most of these many sixth century monuments have been called Post-Gupta. Mandapeswar and Elephanta. Please contact Mr.00 a. This would include discussion of the “Hinayana” phase of work at Ajanta itself and other early sites. the Visnukundin images from Pavnar and the temples such as Rajim. Vatsa Kumar for more information on this subject. but at the same time prepared it for a host of new related monuments that grew up out of the rich ruins. We would better think of them as Post-Vakataka. Then. the famous Ucchakalpa monuments at Deogarh. Mandal. • 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. etc. These and many new art works will be displayed in Houston after the conference.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. Nachna Kuthara.
This is a great net working opportunity. For more information as to how to buy the art work. At the conference.m. The Museum of Fine Arts organizes the reception at the museum lobby. original art work Whether you are an art lover. which allows you to experience Ajanta’s paintings at your own pace. Elephanta and other interesting sites in India. collector or an artist. .amazon. 2009 inauguration at 10. where you will be able to meet the scholars and chat with them. April 19. you are invited to attend the reception honoring the invited scholars.m. This program will also open the door for in depth exploration of the cave paintings. Day 2 of the conference Get ready to come to the conference on its day 2.net) Meet world-class scholars Are you an art student? Have you read any books on Ajanta or Ellora? Then you have read the books of one of the scholars that are present at the conference. Virtual Vihara Introduced for the first time in this conference. The segment coordinator will introduce the speaker briefly.m. food and other facets. The artists will be on hand to talk to you and share their experience with you and you will have an opportunity to buy any of the art work that you might like. culture. These scholars have written amazing books about Ajanta. The conference starts at 1:00 p. Opportunity to buy newly created. Weather permitting box lunch will be provided at the Sculpture Garden located across from the museum. (vatsakumar@att. Don’t miss this wonderful opportunity. If it turns out to be a cold day. and closes at 5:30 p.m. art lovers and readers will be treated to a selection of excellent books on Ajanta. Reception at Mfah lobby to honor the invited speakers At the end of the conference on day 1. Ellora and Indian Paintings. Vatsa Kumar. Speakers are allotted 45 mts for their presentation. This program will take place immediately following lunch. followed by reception at the lobby. 2009 Conference starts at 1. Make use of this wonderful opportunity to meet these scholars.m. you will love to view all the new commissioned art works created exclusively for this conference. who are very friendly and will be very interested in talking to you.m.Lunch at the beautiful sculpture garden The conference provides lunch to all the registered participants on Day 1 of the conference. Conference schedule April 18.00 a. Ellora. to 5:30 p.30 a. virtual vihara is an interactive. Display of books on Ajanta and Ellora Scholars around the world have visited India to get a firsthand experience of its art forms. Lectures from 10.com and other book stores. 10 mts for Q&A followed by 5 mts to wrap up. civilization. Conference format The conference will follow the pattern of a university seminar.00 p. you can enjoy lunch in one of the museum’s galleries. Many books on these topics are available online at www. please contact Mr.m. animated computer program. and will continue till 5:30 p.
on Sunday. Texas’ first and premier Indian dance academy.samskritihouston. please contact Vatsa Kumar (979)240-9496 or via e mail vatsakumar@att. hosted by the museum. It is therefore recommended that you do not bring them to the conference. sense of accomplishment and integrity . That is why the conference starts at 1:00 p.tickets2events. Please visit www. The phenomenal strides achieved in these past thirty four years mark the institution as a microcosm of joy.m. Rathna Kumar at (281)265-2787 or via e mail anjali@wt. please visit www.com at any time. Samskriti was established in 1994 with the vision of becoming an efficient cultural conduit between the East and the West.net . due to the technical contents of the seminar. Mode of Registration Admission to the conference is by tickets and on-line registration. In its 15 years of meaningful and successful operation in the greater Houston and Sugarland area. or on the north side of the Church. Children under 12 will not be able to enjoy the seminar. You may also contact Dr. Also. internationally reputed danseuse Dr. on payment of cash or personal check only. Registration includes admission to the seminar.samskritihouston. Since its inception in 1975. energy. For a detailed list of all the activities of Samskriti and to view its current and past activities. snacks and soft drinks. under the direction of its Founder. NO credit cards. the legendary tradition of Indian Classical Dance is safely preserved. by bringing the best of Indian fine arts from around the world to Houston audiences.org . Sunday parking at the church is not possible till noon. Since many other activities will be planned during that time. Refund Policy Full refund of the registration fee will be made for cancellation on or before April 5. For additional information or if you have any questions. 2009. Current and accurate Information on the conference will be maintained on Samskriti’s web site www.Registration fee for the Conference is $25 per person. and by promoting cross-cultural programs involving Indian and American artists from different ethnic backgrounds. Now in its 34th year of operation. Rathna Kumar.net Partners in our conference Samskriti is a Sanskrit word meaning cultural tradition. Registered guests are invited to the reception to honor the presenters. awareness. due to administrative constraints. conference program book. Anjali. no refunds will be made after this date.org Anjali Center for Performing Arts Anjali Center is dedicated to promoting and preserving Indian performing arts. lunch on day 1 of the seminar. Parking at the museum Free parking is available directly across from the museum in the Presbyterian Church parking lot. This fee includes admission to the conference on both the days. Samskriti has more than amply fulfilled its mission. no separate rates are offered for attending the conference for one day only. On-site registration is open to public on the days of the seminar. Registration fee does not include admission to the banquet. has blossomed into a renowned institution. lunch on Saturday. Samskriti presents numerous major programs by artists who come from different parts of the world throughout the year. No other discounts of any kind are available.
Thanks to Ms. only for viewing and NOT for Sale. To advertise in the program book. Asia Society Texas Center has been another active partner. invited articles and pictures. These books are from private collections. encouraging and promoting Indian art to the Houston art community. The program book contains conference details. Houston Community College Drawing students from near and far. I am sure the artists will be glad to share their experience with you.net. you are requested to please contact Mr. in their own original works. Display of books on Indian Art Scholars around the world have visited India to get a firsthand experience of its art forms. Martha Blackwelder and the members of her staff for providing helping us in many ways. they will be available to the public for purchase. more than 1. please contact Mr. 16 artists have come forward to create new art works in various styles of painting traditions employing a wide range of media. a limited number of books on Indian art will be displayed. please meet and greet them when you come across them at the lobby or during breaks. Please pick up your name badges and wear them during the conference. Please take a few minutes to review these books during breaks. Ms. supporting our conferences from the time we started organizing them in the museum in 2004. Houston Community College mirrors the diversity. badges will be issued at the registration desk. . to coincide with the Art conference / seminar held at the museum.Museum of Fine Arts Houston has been an active partner. Christine Starkman. equipment and manpower to help us run these conferences without a flaw. This is done to encourage these artists and also to see that the creation of new works would support the theme of the conference. At the conference. supporting seminars and conferences of this nature for the last 5 years. local artists have been invited to create new art works. Margaret Mims and the many staff members of the Museum for providing the facilities. food and other facets. If you are interested in owning any of these art works. As an active supporter of our conferences. HCCS has been our proud partner since our first conference held in 2004. programs and schedules.com and other book stores. Thanks to Ms.amazon. You may want to keep these badges as mementos. This will also help us in recognizing the conference attendees easily. Mfah has been the anchor organization working closely with us supporting. which will be provided FREE of all costs to the registered attendees. culture. Limited number of advertisements and messages from dignitaries are included in the program book. civilization. Vatsa Kumar Commissioned art works Every year since 2003.3 million students have improved their lives through education and training obtained from HCCS. These new art works will be on display during the conference and at the conclusion of the conference. Since its opening in 1971. Many books on these topics are available online at www. to interpret and reflect the theme of this year’s conference. openness and opportunity of the world-class city that is Houston. Vatsa Kumar phone (979)240-9496 or e mail vatsakumar@att. Program book A colorful program book will be released at the time of inauguration of the conference. Meet the commissioned artists As you review and enjoy the commissioned art works commissioned for this conference. Conference badges To identify the registered attendees at the conference.
Susan Huntington Invited scholar Relic veneration at Ajanta and other cave sites . Antel Conference Chair Provost and Senior Vice President.Walter Spink Invited scholar Conference Consultant and Keynote Speaker The garden that has been entrusted to us" What have we done? What are we doing? What must we do? Dr. University of Houston Senior Vice Chancellor for academic affairs University of Houston System Dr. John J.Dr.
Dr. with special attention to royal and court patronage. John Huntington Invited scholar "The Cave as a Whole: A Mahayana Iconology of the Cave 'Temple' Dr. Lisa Owen Invited scholar Understanding Constructions of Buddhist Ritual Space at Ajanta and Ellora . Dr. David Efurd: Invited scholar Patronage at cave sites in the pre-Vakataka and Vakataka eras.
Robert Decaroli Invited scholar Presence of regional or popular deities in the painting and sculpture of the site.Conservation and its problematics Dr. the ways these supernatural figures have been depicted at Ajanta . Pia Brancaccio Invited scholar Influences of Gandhara Art on Ajanta Dr.and exploring the reasons behind these choices . Leela Aditi Wood Invited scholar Ajanta Cave 17 .Dr.
Chedha Tingsanchali Invited scholar Influence of Ajanta art on Eastern Asia In the following pages. If you would like to know more about these scholars. The Cvs also list the papers.Dr. . please visit their web sites or you are welcome to contact them directly. articles and books published by these scholars. John Statdner Invited scholar Ajanta and Daksina Kosala Dr. Samskriti is immensely thankful to these scholars who have taken the time off from their busy schedule. you will be able to review the full length Cvs of all the invited scholars. to attend the Houston conference and present their experience with Ajanta.
000 original color slides for Color Slide Proj of Am Comm for SAA Director: Asian Art Archives. 1981-1986 with matching funds from U. Brown University (Visiting lecturer) 1972: Dept. Council.A. 1974-76 Trustee: American Institute of Indian Studies. Prof. Asian Art. 1972-1976 .. of Mich. U. of South Asian Studies University of Chicago (summer) Major Academic Commitments and Appointments Consultant / writer. 1974-1996 President: The Am Comm for South Asian Art. Produced app. Summer 1966 Organizer: Exhibition "The Cult of Krishna": U. Univ. 1981-1990 Director: NEH Photography Project. Asst. on Ajanta’s Conservation: Feb.Prof. 1971 Member: Indian Historical Atlas Committee. 1963-2000 Co-Editor: ACSAA Microfiche Project. 1962-1996 Director: Color Slide Project: Amer. Winter.A.58-61. Walter M. 1975-present: interactive discussions in caves Organizer: International Conf. 72-76 (now Am. M. Ann Arbor. (Instr: 56-58. B. Brandeis Univ. 1950 Art History (Indian Art). University of Michigan.I.. Kress Foundation support for ACSAA Slide Project 1986-1996 Director: Smithsonian Institution Project--Ajanta: Research and Documentation. film by Castle Productions: my view of Ajanta’s development Director: Annual Ajanta Student Site Seminar. History of Art. 1971 Board of Dir: American Academy of Benares. of Man. Ph.of Mich. 1964-1978 Member: Exec Comm. Act Dir. MI 48109-1357 Education Amherst College. Council for Southern A.Cvs of the invited scholars Dr. of Michigan (Assoc. Center for SE Asian Studies. (summa cum laude) 1949.D. 84. 1975-19 (for major cave sites) Chairman: Committee of Fine Arts. Tappan Hall. Media 01: my view of Ajanta’s history Protagonist: It’s written in the Stone. for S. 1983-1986 Director: Phoenix Project: Radiocarbon Dating of Indian Cave Temples.1970-2000) 1956-1961: Dept of Fine Arts. Harvard University. Chair: 59-60 1960: Dept.) Ed. S Asia Reg.A. 1954 Dissertation: "Rock-cut Monuments of the Andhra Period: Style and Chronology” Teaching Experience: 1961-2000: Dept History of Art.Prof. 1965-1971. of Art. Board: Ars Orientalis. Comm. Museum of Art.S. Spink Professor Emeritus. for ACSAA Slide Proj ‘70-76 Liaison: Samuel H. 1962-5.I. University of Michigan. 1969-76.of Michigan 1972-74 Member: Art and Archaeology Comm: A. 1972-3 Consultant: Smithsonian Institution Consultant in India for AIIS.“Some kind of Miracle” film by Internat. 1986-1991 Member: South Asia Regional Council.1999 Liaison: Indira Gandhi National Center for the Arts & Mus.1961-70.
Vatsa Kumar. 2009 Keynote speaker and Consultant. of Mich. March 1993 Listed by Art News as one of "The Great Experts" in Art History Delegate to Asia Society’s: International Conf.ajantainfo) “Living Rock”: ACSAA Session in my honor. 1990. S. Dayton Museum 1990 Univ. CHACHAJI: Professor Walter M. Asian Cultural Council. of WMS writings by colleagues. Articles on WMS’s life and work. JetWings. May 21 to 28. 1990 s. Also writer and protagonist for two hour-length films on my theories about Ajanta’s history and development. Alumni mg. McMaster University. Baroda. in conjunction with Ann Mtg of CAA Mar 16. Lokmat Times. bibl. Houston Texas. Mumbai. Nagpur University. Keynote Lec for Colloquium: Indian Culture at the Crossroads (Vakataka Conf Groningen 2002) Various notices and/or articles on my work in Indian Express. April 2009) Research Grants (listing since 1971) (Grants obtained earlier than 1971 from Bollingen Foundation. Kress Foundation. 2008 Presenter of Heras Memorial Lectures. (See Castle Productions: www.Honors: Chief Guest: Age of the Vakatakas symposium. Spink Felicitation Volume (ed. Univ of Wisconsin: “Site Seminar Revisited” (papers by my students) Hooker Distinguished Visiting Professorship. India. Walter M. University of Michigan as well as funds raised for Asian Art Archives. U. Markel) Ars Orientalis Supplementum 2000. Department of History of Art. The Art Newspaper. Sem on the Art of Ajanta and its Significance. Organizer. Travel and Leisure. 1989 Master of Ceremonies (and Consultant) Pala Art Symposium. Research Fellowship for volumes on Ajanta 2000: American Institute of Indian Studies Senior Grant for study at Ajanta 1999: Freer Travel Grant (2 week) to Taiwan museums 1994: American Institute of Indian Studies Senior Grant for study at Ajanta . on South Asia. of Michigan Faculty Recognition Awards 1990 & 1991 Panel at Conf on SA. Smithsonian Institution. Ann Arbor Observer. and ACSAA Color Slide Project not listed here) 2003: Rosenkranz Charitable Foundation Grant-doc film: Ajanta:’ It’s written in the Stone’ 2001: National Endowment for the Humanities. 1988 Scholarly panel on my theories at 1) Assoc of Asian Studies National Meeting. 07 “Exploring Buddhist Cave Temples” Conference in honor of Prof. LSA Magazine (various years). Southeast Asia Art Foundation. 1985 Guest of Honor: Int. Sponsored by Freer Gallery of Art. and U of Mich Record. International Conference on Ajanta and Related Sites (Organized by Samskriti-Center for Indian Performing Arts. 2) Annual Conf. on S Asia. Mr. Ford Foundation. the Ending of the Beginning" 17 th.” The Future of Asia’s Past” Thailand 1995 Requested by the Ministry of Education (Govt of India) to publish my six-volume study of Ajanta when completed. National Endowment for the Humanities. Association for Asian Studies. Consultant for forthcoming television series (“Nova”) including Ajanta and Ellora. Times of India. 1988 Keynote “Ajanta. Seoul National University and National Museum of Korea. Smithsonian Institution. January 2 and 3. Annual Conf. Spink under auspices of Chung Choo Art Society and Association of Art History and Visual Culture.
Association of University Professors. Getty. of Michigan 1977: Archival Slide Project. Photography" 1983: Social Science Research Grant for research in Indonesia 1981: University of Wisconsin Travel Grant for film consultation in India 1980: Rackham International Cooperation Grant 1979: American Institute of Indian Studies Grant: Research on caves in India (Winter) 1979: AIIS Grant to India (fall) 1978: AIIS Grant Research on cave sites in India (winter) 1977: Asian Art Archives. Canada Council. Poona (Life Member).75 –April 1976 1974&77:Univ. summer work at Ajanta 1988: Smithsonian Travel Grant to Internat.1991-2: Guggenheim Fellowship for work on Ajanta 1990-1: Fulbright Fellowship for work on Ajanta 1990: NEH Fellowship for work on Ajanta volumes 1989: Smithsonian Institution Travel Grant to India 1989: OVPR Small Project Grant for work on Ajanta 1989: Rackham Int Partnership Grant to remake Ajanta Cave plans 1988: American Institute of Indian Studies grant. London. Poona (Life Member). The Asia Society. AAS. 1986: American Institute of Indian Studies: Short term grant to study Indian caves 1984-5: Fulbright Research Grant for study in Indonesia 1983: American Institute of Indian Studies: Short term grant to study Ajanta caves 1983-6: Smithsonian Inst grant:"Ajanta Caves: Research. connections India and West 1972: ACLS Grant for study of Buddhist & Hindu cave temples 1971: Smithsonian Travel Grant for program consultation in India Reviewer: NEH. American Committee for S Asian Art 1976: 6 month NEH Fellowship for Art and Ideas. India. Indian Archaeology Society (Life Member).of Michigan Rackham Grant. 1987-8: NEH Grant for Research at Victoria and Albert Museum. LSA Grant through U. Baroda. AAIS. College Art Association. Seminar on the Art of Ajanta. Smithsonian Inst. East and 1975: AIIS Travel Grant to study cave temples Dec. Bharata Itihasa Samshodhaka Mandala. and Asian Cultural Council Consultant: Metropolitan Museum S and SE Asia Galleries 1988 Organizations: Association for Asian Studies. Bhandarkar Oriental Research Institute. American Council for Southern Asian Art. Indian Association of Art Historians. Indian National Trust for Art and Cultural Heritage (Life Member) . Shastri Foundation.
Dr. Exhibition catalogue. Ananda Krishna Felicitation Volume) edited N. Bakker. edited by H. New Delhi. Articles and monographs “A Disarming Story”. In H. 03 . Leiden 2005 1: The End of the Golden Age. 1971. Solstices Leiden 2008 The Journey of Siddhartha (a free translation from Asvaghosa’s Buddhacarita). Mumbai 2000 Ajanta. Ann Arbor: Center for South and Southeast Asian Studies. Groningen. pp. 2004 “The Innocent Evolution of Ajanta’s Technology”. Ann Arbor (Bangladesh relief). Ann Arbor: Asian Art Archives. 1967. (reprinted: Penguin) The Quest for Krishna: Paintings and Poetry of the Krishna Legend. Cells. Leiden 2006 4: Painting. 2004 (in the press) “Ajanta” and “Ellora”: short articles for Encyclopedia of Britannica’s Art of India. Leiden 2005 2: Arguments about Ajanta. University of Michigan. pp 1-20 “To Keep One’s Memory Green” for Prof. Scribner’s. 2004 “Ajanta: A Brief Resume” Card prepared for Maharashtra Tourist Development Corp. Sculpture. Ann Arbor: Center for South and Southeast Asian Studies. 20. Asher. A Brief History and Guide. 1994. Krishna. University of Michigan. New Delhi. University of Michigan. Leiden 2006 3: The Arrival of the Uninvited. 6 Volumes (Handbook of Oriental Studies). for Encyclopedia of India. ed S. 30-37.000 copies made in English. New York: Schocken Books.List of publications: Books: Ajanta: History and Development. Deiter Schlingloff festschrift (2008?) “The Ajanta Caves”. Dehejia. In The Vakatakas: Indian Culture at the Crossroads. NYC 2005 (in press) “A New Vakataka Chronology”. A Celebration of Love. Krishna and M. Krishnamandala: A Devotional Theme in Indian Art. F. The Axis of Eros. ed. Wolpert. Marathi and Hindi for distribution at the site. Journal of Indian Anthropology 43:1-20 (2008). In The Ananda-Vana of Indian Art (Dr. 1973. and Bombay: Marg Publications. 2004 “The Quest for Krishna”. 1972. Ajanta to Ellora. Architecture: Ajanta: Year by Year (Leiden 2008) 5 Cave by Cave Leiden 2006 6: Shrines.
1995. pp. and interested scholars. New Delhi: Oxford University Press. Submitted 1999 “Wall Painting [at Ajanta]. 189-96. Khandalavala. Edited by R. M.” In Indian Painting: Essays in honor of Karl J.” Ars Orientalis 21 (1991): 67-94. 213-42. paper for The Future of Asia’s Past for Asia Society’s Conference in Cheng Mai. Bangalore: Dr. and Ellora. “Notes on Buddha Images.” Pathik 3:4 (July 1992): 16-25. Distributed at conference. Report of Ajanta Site Conference for Indian National Trust for Art and Cultural Heritage. New Delhi.S. Edited by B. 1991. Goswamy and U. “Ajanta in a Historical and Political Context. 1991. Edited by R. of the Siam Society. New Delhi: Books & Books. Edited by J. 1989. 1992. Parimoo. 1991. “Ajanta in a Historical and Political Context (Continued): Reply to K. Nagaraja Rao Festschrift. New Delhi: Harman Publishing House. B. pp. M. Edited by B. A. Still unpublished.” In Proceedings of International Seminar on The Art of Ajanta. In Sri Nagabhinandanam: Dr. 15. pp. S. “The Warlis. “A Letter from Ajanta”.” In The Art of Ajanta: New Perspectives. Lalit Kala Akademi. 1992. Nayak and N. “Topics for Study and Discussion in the Vakataka Caves at Ajanta and Aurangabad. vol. 1.” In Ratna-Chandrika: Panorama of Oriental Studies (Shri R. 553-58. New Delhi: Harman Publishing House. 1995 “To Keep one’s Memory Green”. . Rao’s 70th Birthday Felicitation Volume. 248-62. Handa & A.” In The Dictionary of Art. Publ. Agrawala Festschrift). Chhabral. Edited by. R. 171-80. “Before the Fall: Pride and Piety at Ajanta. 71-99. In the press.” In New Trends in Indian Art and Archaeology: S. participants. Ed B.M. Pub. Rane) Pathik 3:3 (April 1992): 8-10. pp. 213-41. pp. Nagaraja Rao Felicitation Committee. S. et al.” In The Age of the Vakatakas. 436-49. Delhi 2002. New Delhi: Aditya Prakashan. pp. Parimoo.? “The End of Imagery at Ajanta. (1993) Entries of Ajanta. Edited by R. “The Earliest Vakataka Cave Shrine: an Anomalous Stupa in the Ghatotkacha Vihara. pp.” In Reappraising Gupta History: Festschrift honoring Srirama Goyala. 177-202. Turner. Submitted 1993. C. Bhatia .“Cave 17’s Ceiling: Could it really fly?” paper for International Seminar on Science and Technology.U. D. et al. 337-48. Edited by A. pending. pp. 65-77. Khandalavala. Parimoo. “A Recently Discovered Buddha Image at Aurangabad. vol. Jamkhedkar. Miller. pp. New Delhi: Books & Books. “The Vakataka Caves at Ajanta and their Successors. New Delhi: Aditya Prakashan. Feb 99.” vol.C. Distributed by committee to govt officials. 1995. and in The Art of Ajanta: New Perspectives. Shastri. New York: Grove Dictionaries. “The Vakatakas’ Flowering and Fall. pp. 1996.” Archaeology 45:6 (November-December 1992): 52-60.” In The Powers of Art: Patronage in Indian Culture. Ghosh. “The Archaeology of Ajanta. 1992. “The Achievement of Ajanta.” Pathik 2:1 (September 1990): 5-17. “Ajanta’s History: A Resume” For ASI: Sarkar Felicitation Volume.” (With A.N. “The Caves at Ajanta. Deshpande. Edited by B.C. Requested by J. 92. Agrawal. 2. In Enciclopedia Italiana. pp.
“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. 23582. 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.
Dr. Pia Brancaccio
Assistant Professor. Department of Art and Art History Drexel University, Philadelphia, Philadelphia PA 19104 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) “Satavahana Terracottas: proposed connections with the Mediterranean Tradition.” East and West 55 (2006) “Abstract Realities.” Introduction to the catalogue Reverse-Depth. Tamarind Art Gallery, New York. (2006) “The making of a life: Re-Reading Bharhut Sculptures.” South Asian Studies 21 (2006) “Perceptions of the ‘West’ and ‘Westerners’ in Satavahana Times: The Archaeological Evidence.” South Asian Archaeology, ed. C. Jarrige. Paris. (2005) “The Buddhist Caves at Aurangabad:The Impact of the Laity,”Ars Orientalis, Supplement (2000) “Angulimala, or the Taming of the Forest,” East and West 48 (1999) “More on the Buddha and the Naked Ascetics.” East and West 44 (1994) “Note on the Buddhist Caves at Aurangabad.” Annali dell'Istituto Universitario Orientale di Napoli 53 (1993) “The Buddha and the Naked Ascetics.” East and West 41 (1991) Encyclopedia entries and reviews: “Aurangabad,” “Bedsa,” “Bhaja,” “Kondapur,” “Samalaji” and “Written Sources for Indian Archaeology.” Enciclopedia Archeologica Treccani. Rome. (forthcoming) “Elephanta” and “Ellora.” Encyclopedia of India. Macmillan. (2005) Review of Ajanta by Walter M. Spink. Ars Orientalis 26 (1996). Review of Unfolding a Mandala by Geri Malandra. East and West 46 (1996). 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).
Canada. Universita’ degli Studi di Ravenna.Y.” Invited lecture at the Univesita’ degli Studi di Napoli ‘L’Orientale’. London. 2007 Feb “Living Rock.” Paper presented at the International Conference “The Life of the Buddha: New Directions in Research.” Paper presented at the 19th Conference of the International Association of Buddhist Studies.” Invited lecture at The New School. Drama. 2008 January: “ Dionysiac Traditions.” . 2002 July: “Indian Ocean Trade: Archaeological evidence from the Satavahana period.” Invited lecture presented at the ‘Afghanistan Meeting 2008. Italy.” Paper presented at the 17th International Conference of the European Association of South Asian Archaeology.Conference papers and invited lectures: 2008 October: “The pottery from Bajaur: A window into the late Gandharan tradition. religion and politics: The multicultural matrix of Ancient Gandhara. 2004 May: “The Making of a Life: Re-reading Bharhut Sculpture. and the Development of a Buddhist Culture in Gandhara.' Institute for Research In Humanities. Salem. 2005 July: “Molding the West: Terracottas. New York. Korea. London. 2005 August: “The construction of a visual biography of Sakyamuni: evidence from early Buddhist sites.” Poster presented in collaboration with Professor Xinru Liu from The College of New Jersey at the Annual Mtg of the American Association of Historian.” Session chaired at the Annual College Art Association Conf.” Invited lecture presented at Seoul National University. 2007 July: “The rock cut complex of Aurangabad: continuity and change in Buddhist art at the threshold of the 7th century.” Paper presented at the international conference “A Pantheon Rediscovered. New York. School of Oriental and African Studies. Peabody Essex Museum. Italy. Japan. 2008 May: “Repositioning the caityagrha: a fresh look into the early Buddhist rock-cut tradition of the Western Deccan. 2006 December: “Trade.” Mc Master University and University of Toronto Mississauga. Ewing.” Public lecture at The Metropolitan Museum of Art. 2005 June: “Il Buddha a Bharhut fra darsanas e jatakas. N.” Paper presented at the 10th American Committee for South Asian Art) Conference." Paper presented at 18th International Conference of the European Association for South Asian Archaeology. British Museum. New Haven. 2003 October: “The Construction of a Visual Biography of the Buddha: The Beginnings at Bharhut. molds and the circulation of western models on the Deccan Plateau. Kyoto University. 2007 September: “Art and Religious Identities in the Early Buddhist Communities of South Asia. 2006 April: “The genesis of Buddhist visual narratives in South Asia. Washington DC.” Invited lecture presented at The College of New Jersey. Changing Perceptions of Early Historic India?” Yale University. 2008 April: “Satavahana Terracottas between Tradition and Innovation: An exploration of Sources and Transmission of Models.
W. 2001 July: “Perceptions of the “West” and “Westerners” in Satavahana Times: The Archaeological Evidence. 1992: University of Michigan Fellowship to attend the Ajanta Summer Seminar in India. I. Los Angeles. Spink. France. Calcutta. 1995 October: “The Caves at Aurangabad: The Impact of the Laity. 2000 November: “Close Encounters: Multicultural Systems in Ancient India. Advisor: Prof. Archaeology and Texts. Paris. Univ of Minnesota." Paper presented at the International Conference on Indian Terracottas. Member College Art Association. Fussmann. 1990-91: Indian Government and Is.” McMaster University. 1997 June: “India and Rome. Pune. Fellowship for research conducted at the Deccan College Postgraduate and Research Institute. Istituto Universitario Orientale.E. 1999 February: “The Archaeology of Occidentalism” Paper presented at the Annual CAA Conference.U.O. for research conducted at the Institut d'Indologie du Collège de France and Musée Guimet. India. 1994: Dissertation Fellowship.” Paper presented at the International Conference on “Gandharan Buddhism: An Interdisciplinary Approach. University of Pennsylvania. for research conducted at the University of Michigan in Ann Arbor. G. Advisor: Prof. 1999: CAA International Travel Grant. Collège de France.” Paper presented at the International Conference “On the Cusp of an Era: Art in the Pre Kusana World. Hamilton. Philadelphia. Grants and awards 2005: Buddha Dharma Kyokai Foundation Grant for the publication of the book Gandharan Buddhism: Art. 1998-99: Post-doctoral Research Fellowship.” Lecture presented at the Getty Research Institute.Lecture presented at the NEH Summer Seminar on the Indian Ocean. Kansas City. Italy. Paris. Wisconsin. University of Pennsylvania American Committee for South Asian Art. Napoli. Napoli. Italy. Member European Association for South Asian Archaeology. Italy. Member International Association for Buddhist Studies. 1993: Dissertation Fellowship.” Nelson-Atkins Museum of Art. Professional Associations Affiliated Faculty Member of the South Asia Center. Napoli.” Paper presented at the 7th ACSAA (American Comm for South Asian Art) Conference.” Paper presented at the 24th Annual Conference on South Asian Studies. 1999 May: “Devotion to the Buddha: A Reinterpretation of the Evidence from Votive Stupas. University of Madison.O. Canada. Istituto Universitario Orientale. 1998 February: "Satavahana Terracottas: proposed connections with the Mediterranean Tradition. Member .M.” Paper presented at 16th International Conference of the European Association of South Asian Archaeology. Indian Museum. LA 1996 May: “The Caves at Aurangabad: A Forgotten Buddhist Sanctuary.
Hungary sponsored by the I. Italian Archaeological Mission in Pakistan (Is. Functions. E. India sponsored by the Deccan College Postgraduate and Research Institute.Athens. and Buddhist Practices M. 1989: Excavations and drawings of material from the site of Gyoma-Endrod. Greek. and the Form of Early Buddhist Caves. Member American Institute for Pakistan Studies. 1992: Excavations at Paestum. B.” Melāvo: Mid-Year Conference for U. March 2009 (forthcoming). Deglurkar.A. Dr.U. Department of Art History Skidmore College.A. Columbus. February 2004. Italy.O. University of Georgia.S. Genito. G. P.. Art History (South Asia ). Fulbrighters in South Asia. May 2005.A..Ithaca.” Huntington Symposium.. Second Century BCE through the Third Century CE: Core Elements.B.” American Council for Southern Asian Art Symposium XII. Director: Prof.” Association for Asian Studies Annual Meeting. June 2008.O. Fine Arts. Director: Prof. Cornell University. Member Archaeological excavations 1997 to present: Team Member.” Association of Ancient Historians Annual Conference.) Director: Prof. History of Art (South Asia). . Latin. Community.U. May 1993. Ancient (reading fluency): Sanskrit.I. Caityagṛha: Relic Veneration at South Asian Buddhist Cave Sites from the Early Historic Period. Director: Prof. October 2005. “The Appropriation and Reuse of Early Buddhist Cave Sites in Maharashtra.O. “Patronage. Italy. Chinese. Languages Modern: (speaking and reading fluency): Italian. New York Conference papers and symposia “Caitya Hall. “Trade and Occupation: Cultural Interactions and the Resulting Artistic Production in the Indian Deccan. 1991: Excavations at Baghi Mahari. Classical Chinese. NY. Pune. Georgia Title of thesis: Early Iconography of the Indian Sun-god Sūrya B. Callieri. May 1999. “Cave Monasteries of Early Buddhism.. Saratoga Springs. Napoli. Greco. Italy sponsored by the I.F. David Efurd Visiting Assistant Professor. Ohio Title of Dissertation: Early Buddhist Caves of Western India ca. 12866 Education Ph. colloquial Hindi.The Ohio State University.American Association for Asian Studies. French.D. Napoli. German. Goa . October 2008.
. ( New York : Hudson Hills. “The Long Arm of the Law: The Body of the Buddha and Anthropometry in Gandharan Art. et al. “Reassessing the Distribution of Caitya Halls among Buddhist Rock-Cut Sites in Western Maharashtra . History of Art 213: Visual Cultures of Asia. Dina Bangdel. The Ohio State University. Teaching appointments Visiting Assistant Professor.” in Cathryn Baack. Publications “Caitya Halls: Evidence of a Rock-Cut Architectural Tradition in the Vicinity of Karāḍ. Summer 2005. 2003-2004. Circle of Bliss: Buddhist Meditational Art ( Chicago : Serindia Publications. 2000-2003. Fulbright-Hays Doctoral Dissertation Research Abroad Grant (DDRA). Spring 2005. 2005 Edward F.” in John Huntington. 2005). 141-142. 2006-2007. Winter 2006.Panel Chairman.. India. The Ohio State University. Instructor. Dina Bangdel. “Mahasiddha Luipa.” Midwest Conference on Asian History and Culture. The Kress Collection at the Birmingham Museum of Art. and Win 2002. Graduate Teaching Associate.” in Jeannine O'Grody. et al. 2003)..” Midwest Conference on Asian Affairs.. Teaching Assistant. India . Win 2003.” South Asian Studies 22 (2006): 11-22. forthcoming 2009). 2002. University of Georgia. History of Art 213: Visual Cultures of Asia. Southern Mahārāṣṭra .“‘Reading’ the Art of Buddhism. 23-40. Volume 5 ( Columbus . History of Art 211:Medieval and Renaissance Art. “Mahasiddha Virupa.. Co-instructor. University of Georgia. Winter 2005. ed. Circle of Bliss: Buddhist Meditational Art ( Chicago : Serindia Publications. Autumn 2005. Honors and Awards Presidential Dissertation Fellow. Winter 2008 and Summer 2003.” Midwest Conf on Asian Affairs. Department of Art History. Co-instructor. Hayes Graduate Research Forum Proceedings. Art History 2100: Monuments of World Art. 139-140. The Ohio State University. The Ohio State University. India . Spring 1999. Spring 2008. The OSU 2004-2006.” in John Huntington. Ohio : Council of Graduate Students at The Ohio State University . History of Art Department. 2002. Department of Art History. 1996-1999. 2003). 2003-2004 (declined in favor of Fulbright-Hays award). Instructor. 2002. ed. “Flaming Shoulders: An Iconographic Reemergence During the Kushana Dynasty. “Jacopo d’Arcangelo del Sellaio’s Christ with Instruments of the Passion. Skidmore College. 2008-2009. Fulbright Grant.
and Pitalkhora. Ellora.January 2002. Third-year Intensive Sanskrit. Walter Spink at the Buddhist caves of Ajanta. Foreign Language Enhancement Program (FLEP) Scholarship. conducted by Dr. India . California State University at Long Beach 1988 : A. including rock-cut sculptures on Mt. University-Wide Graduate Assistant. Summer 2001. The Ohio State University . Departmental Graduate Assistant. 2003-2004. Office of International Affairs. Art History.” a nine-month research project supported by the Fulbright-Hays Doctoral Dissertation Research Abroad Grant (DDRA). University of Wisconsin-Madison. Oliver Freiberger 1997: M. 1999-2000. Summer 2002. Preliminary Dissertation Research. College of Visual Arts and Design. 1996-1998.” Advisor: Janice Leoshko. the Ohio State University. Art History.. 1998-1999. and Function of Early Rock-cut Architecture in India . Dr.S. CA . University of Georgia. Art History. Second Reader: Gregory Schopen 1991 : B. Summer 2002. Summer 1999. Namsan . The University of Texas at Austin Thesis: “Locating the Buddha: Ajanta’s Place in Western India’s Rock-Cut Excavations. Aurangabad. Summer 2002. the Ohio State University Graduate School.D. University Graduate Fellow. Korea Visits to sites in Kyongju. Denton TX Education 2006 : Ph. Graduate Teaching Associate.. “The Origin.” Advisor: Janice Leoshko. supported by an International Dissertation Research Travel Grant.A. the Sokkuram cave. Intensive Hindi. Lisa N.. University of North Texas. 2000-2003.. Research and travel in Asia India Dissertation Research. University of Georgia. Walnut. Michael Charlesworth. San Antonio College. Development. Ajanta Site Seminar. Penelope Davies. Foreign Language Enhancement Program (FLEP) Scholarship. Committee: Patrick Olivelle. University of Chicago . December 2001.A. Buddhist cave sites in Mahārāshtra . and Buddhist Monastery Pulguksa. Mt. The University of Texas at Austin Dissertation: “Beyond Buddhist and Brahmanical Activity: The Place of the Jain Rock-Cut Excavations at Ellora.International Dissertation Research Travel Grant. Owen Assistant Professor of Art History.
. Canada. and Protection at Ellora. Feb 07 2005 “Excavating a Multi-Religious Site: Ellora in the Eighth and Ninth Centuries. London: Routledge (2009) Forthcoming “Absence and Presence: Worshipping the Jina at Ellora.” Minerva: The International Review of Ancient Art & Archaeology 5/6 (Nov/Dec 1994): 33-48 Conference papers and invited academic lectures 2008 “New Approaches to Jain Rock-Cut Sites in South India. October 2007 2007 “Kings or Ascetics? Evidence of Patronage in Ellora’s Jain Caves. October 2008 2008 “Sculpture or Architecture? Reconsidering Jain Rock-Cut Monuments in Tamil Nadu. Lisa and Nina Roy. Center for South Asia.. ed. School of Oriental and African Studies (SOAS). Oxford Centre for Hindu Studies. and Protection at Ellora.” College Art Association. ed.” Jainism in South India. ed.1 (2001): 27-59 1994 Owen. University of London. Centre of Jaina Studies. October 2007 2007 “Representations of Wealth.” 36th annual conference on South Asia. University of Oxford. England.” Shivdasani Conference on Archaeology and Text: The Temple in South Asia.. April 2007 2007 “Carving the Divine/Carving the Liberated: Articulations of ‘Presence’ in Ellora’s Hindu and Jain Cave-Temples. University of Wisconsin-Madison.” Jinamanjari 34. April 2007 2007 “Who Pays for Art? The Case of Ellora’s Jain Caves. April 2005 .” in Peter Flügel.” Chander Mohan Jain Memorial Lecture Series.” Journal of the International Association of Buddhist Studies 24. England. Fecundity. no.Publications Forthcoming : “Kings or Ascetics? Evidence of Patronage in Ellora’s Jain Caves. Lindquist. 95th annual conference. Oxford: Oxford Centre for Hindu Studies (2009) 2006 “ Depicting a Jain Assembly: Representations of the Samavasarana at Ellora. Jaina Sacred Places. New York.” 37th annual conference on South Asia.” in Himanshu Prabha Ray. University of Toronto. “The Peaceful Liberators: Jain Art from India. 2 (October 2006): 44-60 2001 “Constructing Another Perspective for Ajanta’s Fifth-Century Excavations. September 2008 2008 “Demarcating Sacred Space: The Jina Images at Kalugumalai.” Artibus Asiae (2010-11) Forthcoming “Representations of Wealth. Centre for South Asian Studies.” Association for Asian Studies Annual Meeting.” 10th Jaina Studies Workshop.” annual Sri Roop Lal Jain Lecture. Southern Methodist University. Huron University College. Canada. University of Wisconsin-Madison. Fecundity.” in Steven E. Essays on South Asia in Honor of Patrick Olivelle. Center for South Asia. Firenze: Firenze University Press (2009-10) Forthcoming “Demarcating Sacred Space: The Jina Images at Kalugumalai. Archaeology and Text: The Temple in South Asia. March 2008 2007 “Absence and Presence: Worshipping the Jina at Ellora.
Center for South Asian Studies. for fieldwork in India. Invited gallery talk for the exhibition Domains of Wonder: Selected Masterworks of Indian Painting.” Concordia University. Pasadena.” Norton Simon Museum of Art. for research at the American Institute of Indian Studies Photo Archive at the University of Pennsylvania 2007 Junior Faculty Summer Research Fellowship. UT Austin . Worth. CA. and lodging for two UNT graduate students to assist me in fieldwork in India during summer 2009 2008 Junior Faculty Summer Research Fellowship. Invited lecture as part of the museum’s Art in Context series. Montreal. UT Austin 2004-05 Marshall F. for fieldwork in India during summer 2007 2005 Professional Development Award. March 1998 1997 “Heaven on Earth: Art and Experience at Ajanta. Charleston. and Mrs. March 2004 2002 “In Perpetual Homage: Images of Devotees in Ellora’s Jain Excavations.” University of Virginia. UT Austin 2003-04 Dean’s Graduate Research Fellowship. January 2009 2008 Texas Collects Asia: Indian and Southeast Asian Art. Invited participant in the scholar’s panel for this symposium. Dallas. Ft. Trammell and Margaret Crow Collection of Asian Art. April 2008 2007 “Articulating Space and Time in Indian Painting.” Dallas Museum of Art. SC. UNT.” Jack S. TX. Invited lecture for the exhibition Boundaries and Transformations: Masterworks of Indian and Southeast Asian Sculpture from the Collection of Dr. November 2001 1998 “Locating the Buddha: Ajanta’s Place in Western India’s Rock-Cut Excavations. UNT. Blanton Museum of Art. College of Fine Arts. William T. This award provides air transportation. Symposium VIII. Dallas. Office of Graduate Studies. UNT. UNT. February 2002 2001 “Patronage and Practice: Representations of Donors and Devotees at Ellora. for fieldwork in India during summer 2009 2008-09 Charn Uswachoke International Development Fund Grant. TX. Wells Scholarship/ Fellowship Endowment. sum 07 2006-07 Faculty Research Grant (RIG). Amarillo. TX. UT Austin.” Kimbell Art Museum.” American Council for Southern Asian Art. Invited lecture on the museum’s permanent collection of Jain art. MD. October 1998 Invited museum lectures and gallery talks 2009 “Expressions of Divinity and Liberation in Jain Art. Feb 2009 2009 “Seeing the Goddess in Motion: A Processional Image of Parvati. Sackler Gallery at the Smithsonian Institution. Baltimore. December 2007 1998 “Other Worldly Visions: Persian and Indian Paintings from the Arthur M. Price. TX. College of Fine Arts.” Amarillo Museum of Art. UNT.2004 “Carving Devotion at Ellora. September 1997 Academic awards and research grants 2008-09 Faculty Research Grant (REG).” American Council for Southern Asian Art. QC. food. Shastri IndoCanadian Institute lecture series. Symposium X.
Canada 2002-03: Assistant Instructor. Trammell and Margaret Crow Collection of Asian Art. UT Austin 2001-02 M. San Marino. Indian Classical Music Circle of Dallas Languages Sanskrit (reading). Department of Art & Art History. UT Austin 1998 American Institute of Indian Studies Language Program (funded by FLAS) for 3 months of intensive language work in Udaipur. CA. Los Angeles. College of Visual Arts and Design. Concordia Univ. Los Angeles County Museum of Art. 03/94-08/94 1993-94: Curatorial Intern. Hage Endowed Scholarship in Fine Arts. Austin. UT Austin 2000-01 Fulbright-Hays DDRA fellowship for 12 months of research in India. 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. 06/9206/93 Professional memberships American Council for Southern Asian Art. TX 1995-2002: Teaching Assistant. Fellowship. College Art Association. Department of Art & Art History. CA 1992-93: Curatorial Intern. Department of Religion. Dallas Museum of Art.2002-03 Marshall F.S. Hindi (reading and limited speaking). College of Fine Arts. Wells Scholarship/ Fellowship Endowment. Association for Asian Studies. Los Angeles. Austin. India Association of North Texas. Montreal. Department of Education 2000-01 David Bruton Jr. India 1997-98 Foreign Language Area Studies Scholarship (FLAS) for Hindi. TX 1994: Curatorial Assistant. Los Angeles County Museum of Art. Huntington Library and Art Collections.K. CA. UT Austin 1998-99 Foreign Language Area Studies Scholarship (FLAS) for Hindi. Indian and Southeast Asian Art Department. and German (reading) . awarded by the U. University of North Texas. Denton TX 2005: Adjunct Instructor. UT Austin. QC. Indian and Southeast Asian Art Department. UT Austin.
Silpakorn University. Wiant Designated Professor in Chinese Literature and Culture" for the term 1 October 1988 through 30 September 1992.Thesis: Saptamahāsthāna: Concepts and the modes of depiction in Indian and Southeast Asian Art Profession & Office Lecturer of Department of History of Art. Na Pralan Road.500 for publication V:23.A. Thesis: Analysis of Two-Hand Vitarka Mudrā Buddha Images in Dvāravatī Art Ph. Elected to Alpha Epsilon Chapter of the Phi Beta Delta Honor Soc for Int Scholars. 1968: University of California at Los Angeles. (History of Art) Silpakorn University .00. Carries a National Endowment for the Humanities grant of $5. Bangkok Thailand M. (History of Art) Silpakorn University .00).A.) B.D. Bangkok Thailand Ph.Dr. India M.000. Research resulted in publications V: 23 and V:17. 1965: University of California at Los Angeles . American Institute of Indian Studies "Superior Scholar/Indologist in the Humanities" award. etc. Bangkok Thailand Subjects: Indian and Southeast Asian Arts Dr.00 and an honorarium of $1. Nepal Additional Photographic documentation Summer 2007 India.A. Recent research and travel experience Winter 2002-03. Faculty of Archaeology.520.500. 8 Dec 1987. New high resolution digital photos of previously photographed monuments . Bluett Centenary Award [1884-1984] for the paper contributing the most to Chinese Art Historical Studies. Specialization: Studio (Ceramics.D. Pra Nakorn District.1961: University of California at Los Angeles Honors : The Ohio State University Distinguished Research Award for 1981 (Included an undesignated research award of $9. Huntington Education : Ph. (History of Art) National Museum Institute of History of Art. Jewelry. John C.D. Chedha Tingsanchali Qualification: B. New Delhi .A. First Prize of $1. May 1988 Named the "Bliss M. Design. and Mildred A. Specialization: Buddhist Art in East and Inner Asia M.A. Conservation and Museology.
EDU/LOSTSTOLEN/AFGHAN/GLASS/A1002M. Leiden. Le Roy Davidson. Exhibition: The Art of Doshu Kanayama. III:4. exhibition catalog. Los Angeles. Buddhist Meditational Art. the Practitioner as Adamantine Being". MAPS OF ASIA (ALL ORIGINAL JCH DRAWINGS). III:2. SET UP IN 1997 W03.ohiostate. Huntington). LOST AND STOLEN IMAGES OF AFGHANISTAN. Books and catalogs contributed to II: 1. The Phur-pa: Tibetan Ritual Daggers. Ascona.EDU/MAPS/MAPINDEX.HTML. Huntington. Artibus Asiae Supplementum. Leiden. "Adi Buddha: The Definition of "Highest" Buddha-Nature" III. edited by J. I:2.12th Centuries) and its International Legacy. XXXIII. III:3. California. W04. AT: HTTP://KALADARSHAN.OHIOSTATE. (W) Major web publications (SUPERVISE AND RESPONSIBLE FOR THE CONTENT OF THE WEB PUBLICATION OF THE FOLLOWING) W01. Set up in 1998.1966. Tokyo: John Weather hill. Fullerton .html. Spink.HTML. edited by Susan L. The Art of Ancient India: Buddhist Hindu and Jain.edu/exhib/kaney/pgs/kaneintr. edited by Walter M. . Leiden. vol. Huntington. edited by Susan L. exhibition catalog. SET UP IN 1997 WITH ONGOING ADDITIONS TO DATE. Dundon (Leoshko). Dayton Ohio.HTML. W02. At: http://kaladarshan. Dayton Art Institute. I:4 Co-curator and co-author (with Dina Bangdel). Chicago. (principal author. 1980. The Art of the Indian Subcontinent. American Committee for South Asian Art Microfiche Archive. Huntington) Leaves from the Bodhi Tree: The Art of Påla India (8th . 1975. The Circle of Bliss. Oceanic Art. Huntington and Janice L. Leiden. AT: HTTP://KALADARSHAN. Susan L. 1990. Loretto (Pennsylvania). 1968. Archival publications: (Principal Investigator/Project Director and primary photographer for the following) III:1. 1975.ARTS. AT: HTTP://KALADARSHAN. "Vajrasattva. Ku≈å∫a Archive.OHIOSTATE. 1975. 1998 Co-edited entire catalogue Prepared essays: "Introduction". Gandhåra Archive. The Southern Alleghenies Museum of Art. "Tantric or Yogic Buddhism: the Inner Being and the Methodology of Salvation". II:2. Serindia and Columbus. Gupta Archive. SET UP IN 1997. edited by Susan L. II:3 Mirrors of the Heart Mind: The Rezk Collection of Tibetan Art from the Permanent collection of the Southern Alleghenies Museum of Art. NEPALESE BUDDHIST ART. "Popular Buddhism in Tibet" . 2003 II.OHIOSTATE.ARTS. 1975 I:3.ARTS. The Columbus Museum of Art.Bibliography: Books and catalogs I:1.arts. 1985. Co-author (with Susan L. Western Cave Archive.EDU/NEPAL/NEPAL.
27:7 July/august 1996. 18-19.edu/exhib/sama/samaintr.“Mount Meru. pp.edu/exhib/circleofbliss/index. no separate list of published photographs is maintained in the usual manner. March 1997 V: 37. October 2008. ed. 34: 8 October 2003. “Buddhist Monasteries in Southern Asia. (With Chaya Chandrasekhar) “Mandala. 43-105. "Recreating an Almost-Lost Subject in Newar Buddhist Art: The Svayambh¥ Jyotir¥pa. Encyclopedia of Monasticism: two vols.” in Orientations. "The Lomas Risi Visualization Project. pp. 45-50." to be in The Pure Land Tradition: History and Development. Johnston.html V. Payne Berkeley Buddhist Studies Series.arts.” II: 1204-1212 V: 38..” II: 808-815.edu/China/Chnhp. IX. pp. Posted June 1998 at: http://kaladarshan. 63-70. "The Study and Teaching of Buddhist Art and Iconography using Computer Technology. Chinese Buddhist Art. 32.” in Orientations. V:34.” I:55-66. Chicago and London." in Orientations. “A Broken Date In Paris. V: 36. W07. N. Published photographs Through supplying photographs to various publications. vol. At: http://kaladarshan. vol.arts.” II: 895-901 “Stupa.arts. pp. vol." in anon. edited by James Foard and Michael Solomon. At: http://kaladarshan.ohio-state. Due to its potential size.ohio-state.html W06." (Invited article) to appear in a special issue of The Pacific World: Journal of the institute of Buddhist Studies. Mirrors of the Heart Mind: The Rezk Collection of Tibetan Art from the Permanent collection of the Southern Alleghenies Museum of Art. to various authors for use in their articles and books and through the archival publications listed above (section III). The Ohio State University Presses. 1996. .000 photographs.. Articles : (Note: for purposes of this "short Vitae" only the eight most recent articles are listed and no forthcoming articles are listed) V33. "Rebirth in Amitåbha's Sukhåvatª. Lead article. 2000. and Richard K. Columbus. 58 V: 39 “A Case Study in Religious Continuity: The Nepal-Bengal Connection. 32-40 and 56-64 respectively V: 41. A Review of the Catalogue Art of the Ganges Delta” Orientations. The Buddhas of Bamiyan” In Archaeological Odyssey July August 2001 pp. 35-39. (With Dina Bangdel) The Circle of Bliss: Buddhist Meditational Art. 7 (Sept 2001.W05.html Posted in 1999. Four Articles in: William M. Fitzroy and Dearborn publishers. pp. I have published more than 20. V:35 With Dina Bangdel. 1995. (Direct pub of a Fulbright Grant Research Pro of 1994) V: 40-1 1) “Early Painting and the Bengal connection” 2) “The Study of Himalayan Paintings: New Techniques and Tools. The Processing of Perception.ohio-state.
97 University of London. The Art Bulletin. River Books (2008. ed. the didactics. Special number on Indian Art. Austin. 2 (1991) “New Approaches in South Asian Art” The Art Journal.K. Publications (partial list.91 Associate Professor. Austin. February. forthcoming) Articles “A Fifteenth-Century Buddhist Monument and the Seven Stations in Buddhist Art”. Dr. February 6 to May 15. and the essays for the catalog.now Stadtner & Associates (research firm. Department of Art 1992 . Editor and Contributor. l996 . University of Texas. Guest Editor. Marg Publications. Indian & Southeast Asian Art) Awards and grants: (since l981) Fulbright Fellowship (1981) .82 Assistant Professor. The Circle of Bliss: Buddhist Meditational Art: Los Angeles County Museum of Art.D. Conceived of managed a project in which 14 students created an exhibition of Tibetan including condition reports. 2005 Sacred Sites of Burma. Donald M. (gen.A. June 13. Stadtner Walnut Creek. 1976 University of Michigan.Exhibitions 10.Asian Art) University of California. Berkeley (Department of Art History – Indian art) Professional employment 1976 . River Books. l972 Ph. Abrams. 1998 through September 1998.India Smithsonian Institution (l985) . Organizing curator and subsequently cocurator (with Dina Bangdel) project involved 20 students from the OSU Art History program in writing sections for the catalog.Burma National Endowment for the Humanities (1987) – India Regents’ Fellowship – University of Texas (l989-1991) – Burma Luce Fellowship. Bombay. 2004. Department of Art 1982 . Association for Asian Studies (1991-1992) – Burma / U. part-time appointment) 1997 .Burma Smithsonian Institution (1987) . Education M.) Contributed : “The Art of Burma” The Art of Burma : New Studies. since l990) Books Art of Southeast Asia. CA. l998. l999 Ancient Pagan. Fall 1887. 1998 11. University of Texas. Albert Le Bonheur. 2003 and Columbus Museum of Art. October 6 to December 31. LXXIII. SOAS (Sotheby’s Education Institute. Ann Arbor (Department of Art History . Winter. through June 13. Orientations. Mirrors Of The Heart-Mind: The Rezk Collection Of Tibetan Art: Southern Alleghenies Museum of Art. l990 “The Little Clay Cart in Early Mathura”. New York.
Los Angeles. VA 22030 Education 1999:Ph. Supplement I.“Revisiting the Shahi Sculpture of Afghanistan”. l999 Two Important Fifth-Century Avalokitesvaras from Afghanistan. specialization in the Arts of South and Southeast Asia with a minor specialization in Buddhist Studies. 1999-2005: Assistant Professor. Robert Daniel DeCaroli Associate Professor.D. 6th International Conference of European Association of Southeast Asian Archaeologists. l996 The Little Clay Cart in Kushan Mathura. 2000 “Burma on the Eve of the Modern Era”. Sum 1998: Lecturer. Archaeology. 2008 Invited lectures (since l995) The Changing Face of Bodh Gaya and a Buddhist Revival in l5th-century Burma. 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 2005-Present Director (Chair) of the Art History Program 2005-Present Associate Professor (with Tenure). London. Society for South Asian Studies. Leiden. George Mason University. Ars Orientalis. 2002 Dr. major emphasis on the Art of South and Southeast Asia with minor focuses on Classical Greco-Roman and Chinese art. South Asian Studies. 2000 “Two Fifth-Century Bodhisattvas from Afghanistan”. l999 The Hindu Virus in Burmese Art. February. l999 Coaxing or Hoaxing: Why Anomalies Matter in the History of Art. Indian Art Circle. October. London.: University of California. XVI. Bangkok. l996 A Royal Pagoda in Burma. George Mason University 1998-1999: Lecturer. 2000 “An ‘Extraordinary folly’?”. l999 “Sharing the Load of the Lord : Crossing the Yamuna”. 2001 “The Mon of Lower Burma”. Fairfax. April. The Siam Society. London. . College Art Association. Orientations. New York. Dept of History and Art History. 1995: Masters Degree: UCLA Department of Art History. Indian Art Circle. Los Angeles Department of Art History 1997: Advanced to Candidacy for Doctorate: UCLA Department of Art History. George Mason University Department of History and Art History. Orientations. UCLA. The Asia Society. Loyola Marymount University. May-June. 2001 The Seven Weeks of the Buddha and Royal Monuments in Thailand and Burma. Department of History and Art History. Leiden. Journal of the Siam Society. l995 Bo-daw-hpaya’s Royal Pagoda at Mingun”. July. 15th International Conference on South Asian Archaeology.
vol. 13. “Buddhist Sculpture” in Encyclopedia of India. Detroit: Charles Scribner’s Sons . New York: Oxford University Press USA. (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. 115. vol. Bibliography of South and Southeast Asian Art and Archaeology 1992-1993. India.1998: Asian Cultural Council Travel Grant 1995 . 4. 2001:Mathy Junior Faculty Funding for research in Cambodia. “From the Living Rock: Understanding Images in Early South Asia” in What’s the Use of Art?: Asian Visual and Material Culture in Context. April 1996.” East and West. 50. Hawkes eds. vol. David Whitley ed.” Jinamanjari: International Journal of Contemporary Jaina Reflections. 2008. Kurt Behrendt ed. Alta Mira Press. Oxford University Press. 1. “Laukika or Folk Religion as an Iconographic Link Between the Indus Culture and Jainism. 8. . Burma (Myanmar) and Thailand 1997 . no. 1998.” In the Catalogue of the Fowler Museum’s Chewing Culture: The Art of Betel in Asia and the Pacific. no. Austin: American Council for Southern Asian Art. October 1995. Text and the Development of the Buddha Image in Early South Asia.” Journal of the American Oriental Society. 2005. University of Hawaii Press. Stanley Wolpert ed. September 2004 In progress: Image Problems: Art. “An Analysis of Dandin’s Dasakumaracarita and its Implications for Both the Vakataka and Pallava Courts. (working title) Articles and Book Chapters “Shedding Skins: Naga Imagery and Layers of Meaning in South Asian Buddhist Contexts”in Stupas. “Fertile Images: An Exploration of the Social and Supernatural Functions of Betel in India. Dickson History of Art Fellowship Publications: Books Haunting the Buddha: Indian Popular Religions and the Formation of Buddhism. A. “Reading Bhaja: A Non-Narrative Interpretation of the Vihara 19 Reliefs.1996: Edward A. contributing author. 2008.Grants and Awards 2007: Getty Research Institute Visiting Scholar Grant 2006. Shimada and J. 2002: South and Southeast Asian Art editor for the NEH funded World History Matters project 2003:GMU University Teaching Excellence Award. Archaeology of Religion series.Thomson Gale. 2000. J Mrazek and M Pitelka eds. vol. (pending).
CE South Asia. England. Patronage and the Past: Great Buddhist Centers of India: Invited Lecture at the Smithsonian Institution. vol. March 2007. Text. Germany sponsored by EKO – Haus. Bangkok. Invited Lecture at the University of Virginia Museum of Art. April 14. Text and Image: Physical Evidence and the Recovery of Buddhist History. .” Journal of Asian Culture. Invited Lecture at George Washington Univ Colloquium on "Bringing Buddhism to Varied Lands". Pilgrimage. 13th Conference of the International Association of Buddhist Studies. 15th Conference of the International Association of Buddhist Studies. Invited lecture at University of Virginia South Asia Seminar Series. London. Image. 17. December 2002 Getting to Know the Neighbors: Buddhist Art and Expansion in Southeast Asia: Invited Lecture at the Univ of Colorado at Boulder. 2008 Shedding Skins: Naga Imagery and Layers of Meaning in South Asian Buddhist Contexts. September 2008. Getty Scholar Seminar. Thailand. and the Crisis of Innovation in 2nd c. Part of the “Sacred Spaces and Spiritual Journeys” series. July 9. 14th Conference of the International Association of Buddhist Studies. Los Angeles. June 2008. Society of American Archaeology. March 2004 Instructing the Gods: Visual Culture and Buddhist Success in Southeast Asia. Early Buddhist Practices.“Cosmic Geography: An Analysis of Programmatic Decoration in the Buddhist Stupa-Pillar Caves of Kuca. Atlanta. Local Gods and Foreign Ideas: Visual Culture as a Mechanism for Buddhist Expansion in India and Burma. and Innovation. March 07. Seeking the Buddha’s Body: Art. Selected Presentations Invited Discussant and Respondent at “Nativism in Buddhism Conference” held in Dusseldorf. Virginia. 1994-95. October 2001. Invited Lecture at the Getty Center. October 2001. Oct. Montreal. March 2006. 2007 Picturing the Buddha: Text. Panel Organizer and Chair. March 2005. South and Southeast Asian Art Sympo April 1719 2002. Part of the “Places of Piety: Sacred Sites and Cities of India” series. Invited Lec UCLA Los Angeles. August 2005 Haunting the Buddha. Haunting the Buddha: Indian Popular Religions and the Formation of Buddhism. Canada. Invited lecture and book signing at the Sackler and Freer Galleries of the Smithsonian Institution. Portraits and Presence: Understanding Imagery in Early Indian Buddhism. Weedon Lecture Series. 2008. Bodhgaya: Pilgrimage at the Seat of Enlightnment: Invited Lecture at the Smithsonian Institution. Invited Lec Mary Washington Univ Fredricksburg. Image Problems: Exploring the Origin of the Buddha Image in South Asia.
George Mason University. University of Michigan. Madison. June 1996. Feb 1996. the American Council of Southern Asian Art Conference. Ellora and Mahabalipuram. Ca April 1994. Wisconsin. and less of Mahājanaka: A study of a painted jātaka in Ajanta's Cave 1. The Role of Local Deities in Early Buddhist Patronage. Dr. part of the Works in Progress Lecture Series. Leela Aditi Wood Visiting Assistant Professor in the Department of Liberal Arts. Los Angeles. M. Ancestor Worship and the Emergence of Buddhist Monasticism in India. Philadelphia. 11th Annual South Asia Conference. University of Michigan. George Washington University South Asia Seminar. Louisiana. Invited lecture at the Smithsonian Institution.. Ghost Stories: Buddhist Appropriation of Sanctity from Popular Indian Funerary Practice. History of Art. American Academy of Religion in New Orleans. Ann Arbor Dissertation: “The Buddha and the shape of belief: Indic visual jātakamālās. Winter 1993. Virginia. An Analysis of Dandin’s Dasakumaracarita and its Implications for Both the Vakataka and Pallava Courts. March 2000. Pious Ghosts and Troublesome Monks: The Dynamics of Patronage in Early Indian Buddhism. May 14. MI 48202 Education: Ph. November 25. May 1996. Monks and Yaksas: The Role of Minor Deities in the Formation of Buddhism. more on. 1996 Painting Traditions of the Pahari Hills. History of Art. at the American Council of Southern Asian Art Conference in Minneapolis. Invited Lec at Loyola Marymount University. . Converting the Dead: Local Deities. Fall 2005. Madison. Fairfax.A. Ann Arbor Thesis: More. October 2000. Wi Nov 93. Pennsylvania. Patrons. University of California. College for Creative Studies. The Center for Asia Pacific Economic Cooperation. Detroit. The Perfect Gift: An Exploration of the Social and Supernatural Uses of Betel in India. February 1996. Artistic Traditions of Buddhist Central Asia Workshop.. November 1994 Cosmic Geography: An Analysis of Programmatic Decoration in the Buddhist Stupa-Pillar Caves of Kuca. Berkeley. Los Angeles.D. February 2001 Conviction Carved in Stone: the Rock-Cut Temples of Ajanta.Monks and Ghosts: the Intersection of Buddhism and Spirit Religion in India. Minnesota. 22nd Annual Conference of South Asian Studies. 2000. Policing the Monastery: The Iconic Presence of Minor Deities at Buddhist Sites and the Regulation of Monastic Behavior. California. 23rd Annual Conference of South Asian Studies.
University of Michigan. MI Research assistant to Professor Luis Gomez. England Professional experience Visiting Assistant Professor.” Fall 2005 Prof. Fall 1999 Guest Lecturer for Professor Walter Spink’s Site seminar at the Ajanta caves in India. Dept. Detroit. English in the School of English and American Studies. The Arts of Asia and the Islamic World. Brighton. Visual Resources Centre. Univ of Michigan. South Asia. Dept of Liberal Arts. Section 2.” English Composition Board Course. Shi ‘ism and the Architecture of Conviviality in Early Modern Iran. “Visual Cultures of Islam. Graduate Student Instructor. Detroit Institute of Arts. Professor Martin Powers. Research assistant to Professor Walter Spink. 4: (Painting. History of Art. University of Michigan. University of Michigan. of Psychology. Wayne State University. Martin Powers “Painting and Poetry in China” English Composition Board Course 05 Professor Sussan Babaie. June 1969.chinamirror. . University of Sussex. Graduate Seminar: The Ajanta Caves.Ph. University of Michigan. Responsibility for illustrations and photographs in v. 2002. of Asian Languages and Cultures. 2006-present. Candidate (ABD): English Literature (Field: English Novel). Adjunct Lecturer. Fall 1998. Hucker Professor of Buddhist Studies. Architecture) and plans in v. July 1997 Guest Lecturer for Professor Walter Spink. November 2007-August 2008. Sculpture. History of Art. 6 volumes. Isfahan and its Palaces: Statecraft. “Painting and Poetry in China. 2007 Research Assistant to Professor Sussan Babaie. College for Creative Studies. B. History of Art. History of Art. Sussan Babaie “Introduction to the Art and Architecture of the Islamic World.D. Professor Martin Powers.” Produced and directed by Lawrence Castle. Winter 1977. Adjunct Professor of Psychology. Asian Archives. Curatorial Assistant. 2006-June 2007. “Ajanta: some kind of miracle. July 2000. July 1999. University of Michigan. History of Art. Ajanta: History and Development. Detroit. History of Art. University of Chicago. 2006-7 Editorial and web work for “China Mirror” (On-line Web Project: www. 5.A. Fall 2006 Graduate Student Instructor (GSI)..” Fall 2003 Graduate Research Assistant. History of Art. Charles O.org). Dept. Handbook of Oriental Studies. Fall 2002-Winter 2003 Art Historical Expert and Narrator on the Ajanta paintings in an educational documentary video. Sep. University of Michigan Prof.
” Spring 1995. American Literature Survey. New York and the Indian National Trust for Art and Cultural Heritage (INTACH). 20–23 February 2008. CA. University of Michigan Professor Ward Bissell. 1995 Professor Martin Powers.Conference on the Conservation of the Ajanta Caves. Summer 1970 Instructor. Buswell.” In The Vākāṭakas: Indian culture at the Crossroads. (Invited) Entries in Encyclopaedia of Buddhism. “Introduction to Art: Renaissance to Modern. Pasadena CA. Groningen: Egbert Forsten. University of Michigan. Pasadena. ‘85-86 Teacher. 1982-83 Teaching or Research Assistant. Religious Story and Homology. Loyola High School. London.” “Bodh Gayā. 1999. Department of English.” “Jātaka. 2003 (invited): “Ajanta. English Department. Fall 1969 Publications “Replicating the Buddha: The Great Miracle of Śrāvastī. Fall 1995 GSI.” Fall 1994 Research Assistant to George Michell and John Fritz. designing the curriculum. “Little Buddha” and Other Stories: Visual Narrative in Asia. CA. Dallas-Fort Worth. Aurangabad Branch. Introduction to Buddhism. GSI. Professor Luis Gomez. Spring 1970 Teaching Assistant. Macmillan Reference USA. teaching and grading it. Mc Gann.) GSI. Chicago. 1983-84 Research Assistant to Professor Jerome J. Illustrations of. “Conference Report”: Authored sections on the conservation of the murals and co-authored the whole report with Professor Walter Spink and Michael Corfield. “The Ajanta Cave 17 inscription as a preface to the monastery donated by the local king: History. Los Angeles. University of Illinois at Chicago Circle. 1986 Assistant Archivist. 2004. “Introduction to Asian Art. 1997-8 . History of Art. India. Asian Languages and Cultures. (I had sole responsibility for creating this course.” 96th Annual CAA Conference.” Win. Vijayanagara Project. History of Art. Archives of the California Institute of Technology. World Monuments Fund. English Literature. University of Michigan. “British Literature from the Restoration to the Romantics. the Divyāvadāna and Ajanta’s Cave 26. Freshman Rhetoric.” Winter 1970 Teaching Assistant. Jr. edited by Robert E. Maharashtra. California Institute of Technology. at the Ajanta Caves. To be published along with other papers on this panel. University of Michigan.” “The Mahābodhi Temple” and “Sāñcī” Honors and awards The Institute for the Humanities Graduate Fellowship. February 23-25. 1969-70 Research Assistant to the Head of Rhetoric.
University of Michigan. UCLA April 1998 “Accessing time through space in the Indic tradition: Does Bakhtin’s “chronotope” apply to Ajanta’s Cave 17?” CAA Conference. Chicago. June 6-8.” American Committee for Southern Asian Art Symposium VIII.” 23rd Annual Conference on South Asia.” Groningen.” 96th Annual CAA Conference. fall 1992 FLAS Fellowship for Sanskrit. University of Michigan. the Divyāvadāna and Ajanta’s Cave 26. Madison WI. University of Michigan. November 1994 “The absent presence of the Buddha: Looking at ‘aniconism’ from a different perspective.” The Groningen Oriental Studies Colloquium on “The Vākāṭakas: Indian Culture at the Crossroads. Toronto. winter and summer 1996 Henry Tappan Teaching Award. 67-68 Conferences and symposia: “Replicating the Buddha: The Great Miracle of Śrāvastī.” 23rd Annual Conference on South Asia. Fall 1996 Dissertation Grant. Sackler Gallery and Freer Gallery of Art. Charleston. MA.” CAA Conference. index and image. 2001 “Narrating pūjā (worship) and dāna (giving) in Ajanta’s Cave 17. Ontario. the Danforth Foundation. 1989-91 Rackham Non-Traditional Fellowship. historical legend and religious narrative homologised. 1988-89 Kent Fellow. Northampton. The Netherlands. 1992-3 FLAS Fellowship for Hindi. with especial attention to the Viśvantara Jātaka. Dallas-Fort Worth. Fall 1995 American Institute of Indian Studies Junior Fellowship for field research in India. 1991-2. 2002 “Relics and the living presence of the Buddha after the Mahāparinirvāṇa: Icon. University of Michigan. IL. Washington DC. University of Michigan. University of Michigan. Madison WI. “Inscription as preface in Ajanta’s Cave 17: History.” Lecture.Freer Fellowship. History of Art. SC. February 1998 “Monkey as hero and villain: Point of view in the Monkey and Buffalo Jatakas in Ajanta's Cave 17. Smithsonian Institution. October 1998 “Narrative frames and narrational modes in monumental texts: Ajanta’s Cave 17. History of Art for research at the Arthur M. 20–23 February 2008. February 28-March 3. winter 1989. History of Art. 1974-8 American Association of University Women International Fellowship 1971-72 The Exchange Scholarship in American Studies at Smith College. November 1994 . Canada.
Dunhuang Art and Society International Seminar held at the Mogao Caves. Madison WI. University of Michigan. November 1992 “Ajanta's cave-palaces: The politics of piety. University of Michigan. 1993 “More on and less of Mahājanaka. History of Art.February-March 1999.” 21st Annual Conference on South Asia. University of Michigan. Washington DC. 2. and 17 form one of the most comprehensive and detailed photographic collections and archival record on that subject. their documentation of the paintings and their conservation. Winter 1990-Winter 1992 Photography: My slides of the Ajanta paintings in Caves 1. 2000. 1989 Professional Activities Steering Committee member of the Tappan Association. Madison WI.” American Committee for South Asian Art Symposium. Europe.” Lecture in an extension course on Indian architecture at the Arthur M. Winter 1993-Winter 1990 Student Representative on the Graduate Committee. Asia. 1991 “Painting at Ajanta: An Embarrassment of Riches?” 18th Annual Conference on South Asia.” History of Art Graduate Colloquium. especially given the fact that the Archaeological Survey of India’s (ASI) pre2000 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. University of Michigan. January 28.” Brown bag lecture at the Centre for South and Southeast Asia Studies. 2001 Travelled widely in India.“The narrative structure of the Mahājanaka Jātaka and its place in the architecture and painting of Cave 1. ii) The Huntington Archives of Buddhist Art at Ohio State University has digitized my slides of Caves 1 and 2. January 10 1992 “Departures and returns: Kingship in the nāga jātakas of Ajanta's Cave 1. the graduate student association of the History of Art.June-August 1997. Qizil and other sites on the “Silk Route” in Xinjiang Province. Dunhuang. Smithsonian Institution. Sackler Gallery and Freer Gallery of Art. China (PRC).Feb 1993-April 1994 Participant. USA visiting museums and art historical sites . January 1992 “Narrative structure and strategy in Ajanta's Cave 1. Digitizing Images: Proficiency in Photoshop CS3 Art historical travel Field Research in India: June-August 1999. November 3-5. Washington DC April 19-21.
London and Prentice-Hal l/Abrams. Associate. 165 plates. 786 pp. 81 text figs. . 1984. With distinction. Art of Asian Cultures. 775 illus. University of Oxford. Hindu. proficiency in reading Gujarati: Some proficiency in speaking . With Contributions by John C. 1990. Dayton and Seattle: Dayton Art Institute and University of Washington Press.S.. U. Huntington. Balliol College. Studies in South Asian Culture. Numata Distinguished Visitor in Buddhist Studies. 1972. East-West Center. 282 photos.J. Full Professor. Northwestern University. French: Fluency in reading. The Graduate School (1995-1996) 1990-present Distinguished University Professor. Susan L. 1995-2005 Dean of the Graduate School. The Art of Ancient India: Buddhist. Huntington Descriptions of courses taught and service in department.. The Ohio State University 1990-present Distinguished University Professorship.. Teaching honors 1976 Distinguished Teaching Award finalist (Arts and Sciences.Languages Sanskrit: Proficiency in reading and translating . University of Hawaii. . Berkeley.. England. Los Angeles. 1964-1966 M. Dissertation: Stone and Bronze Sculpture of Bihar and Bengal. Art History. Tokyo: John Weatherhi l. Advisor: J. nor are book reviews. public lectures and community service Education January. 1985. Multicultural Teaching (The Ohio State University) Research honors 1985 Distinguished Scholar Award. Jain. Leiden: E. University of California. Co-authored with John C. 615 pp. Leaves from the Bodhi Tree: The Art of Pala India and Its International Legacy. X. 10 maps. Thesis: Landscape Elements in the Ajanta Paintings June 1972 Ph. 296 pp. The Ohio State University. exhibit ions. 3 maps. The Ohio State University PUBLICATIONS: Books The "Pala-Sena" Schools of Sculpture. The Ohio State University (Interim Vice Provost and Dean.Hindi:Fluency in speaking. Leroy Davidson. Bril l.A. Huntington.present Assistant. 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. Mary Jane Crowe Visiting Professor of Art History. Laurence King. Art History (India). 8th . The Ohio State University. Vice Provost for Graduate Education. University of Michigan 1963-1964 University of California.D. Advisor: Prithwish Neogy. and university committees are not included in this resume. 1998 Fall (Michaelmas) term. 1963 Bachelor’s. college. History of Art. Oxford.A. proficiency in speaking Dr.12th Centuries Employment history 2005 Fall: . Art History (Asia).
" Darshana. "A Metal Image of Visnu Dated in the Reign of Surapala I. Leiden: Inter Doc Co 1995. " With John C. 370-78. Centre for Cultural Studies and Research. 1981." Ars Orientalis 22 (1992). Leiden: KITLV Press. 1991. Varanasi: Jnana Pravaha. Ed. 1979. pp. Shri Krishna Deva commemoration volume. and Mrs. K. Gods as Kings: Temporality and Eternity in the Art of India.B.d. The Asia Society. 111-156. " Ancient Indonesian Sculpture Ed. 57-75. Leiden: Inter Doc Company." Bangladesh Lalit Kala (Jan. Asher and G. "Aniconism and the Multivalence of Emblems: Another Look. 2 (Summer 1979): 240-247. Catherine B. " Apollo (Nov. pp. 1977. "The Pala -Chedi Style of Sculpture. 1975. 1991. Debala Mitra and Gouriswar Bhattacharya. "The Buddhist Stupa at Gyaraspur. "Pre. 57-67. "Ritual in the Early Buddhist Art of India. Archive of Gupta Art. John D. pp. Ed. Joanna G. Eight entries Indian Art Treasures: Suresh Neotia Collection. 1984. "Coomaraswamy's Legacy. " Ars Orientalis 24 (1994): 30-38. 1994.Edited archival works Archive of Mathura Art. [n. 54-58. Gai.) ." In A. Asher. Marijke Klokke and Pauline Lunsingh Scheurleer. 1981. J. "Some Aspects of Bengal Stone Sculpture. Archive of Gandhara Art. Los Angeles: Ward Ritchie Press. 177-184." Art Journal 49." In Indian Epigraphy: Its Bearing on the History of Art. Colombo. 1983?] "Epigraphy from Art History: The Pala Period. Leiden: Inter Documentation Company. Varanasi: Bharat Kala Bhavan. pp. Seattle: Seattle Art Museum. 1975. "Early Buddhist Art and the Theory of Aniconism. Williams. 1989: 239-242. Ten entries for Handbook. "An Unusual Image of the Pala Period Showing the Buddha Converting the Robber Angulimala.d. [n. Leiden: Inter Documentation Company." In Kaladarßana. Delhi: Sri Satguru Publications. Dr. 1-2 [1985-86]):111-119. Dhaka. "Kings as Gods. "Some Connections Between Metal Images of Northeast India and Indonesia. " In Studies in Art and Archaeology of Bihar and Bengal. pp. Huntington.” (Forthcoming in conference papers from Harvard University. Huntington. Frederick M. " Oriental Art XXV. Buddhist and Hindu Monuments of Eastern India and Bangladesh. eds." Orientations (October 1989): 26-46. Sircar Comm Volume (Journal of Ancient Indian History XV. N.Pala and Pala Period Sculptures in the Mr. With Janice L. 4 (Winter 1990): 401-408. 1996." In Dinesa-Vandana: D. Kusana Period. 1996 ?] "A Pala Image of the Sage Agastya. 1983). New Delhi: American Institute of Indian Studies and Oxford Book House. 1968. Ed.S. Gaya. Various entries for Macmillan Dictionary of Art. Islamic Monuments of Eastern India and Bangladesh. Rockfeller 3rd Collection. "Leaves from the Bodhi Tree: The Art of Pala India and its International Legacy.M. Leiden: Inter Documentation Company. New Delhi: American Institute of Indian Studies. Selected articles Contributor to Art of the Indian Subcontinent. "Some Iconographic Reflect ions on the Arjuna Ratha at Mamllapuram. Co-authored with John C. Author. Bhattasali Centenary Volume. Ed. Dundon. 2006.1975): 19-28. Anand Krishna. Habibullah Commemoration Volume.C." In Chhavi-2. Leroy Davidson. "Some Bronzes from Fatehpur.
00 Sept. 5. Budapest. “Aniconism and Early Buddhist Art. 8.00 June 1977 The OSU Graduate School. Travel to India. J.000. College Art Association of America. Spring. Winter. May.” Michigan State University. June. Spring 2006. 1997. “Aniconism and the Early Buddhist Art of India”.” Heidelberg. “Art Under Attack: Terrorism. Asian Art Museum. February." South Asia Conference. 2002. Development Fund.000. "Early Buddhists in the Early Buddhist Art of India. Amsterdam. Publication subsidy for Pala book.1980-Aug. 1997.” University of California." Kyoto. 1. “Art as Text. WI.00 June 1977 Milard Meiss Pub Award. Fall. October.” University of London. 1980 Smithsonian Institution.00 June 1977 The OSU. Art of India through the Ages” Minn Institute of Arts. Photo documentation project. “Early Buddhist Art & the Theory of Aniconism”. 1995.500.042.” Harvard University. December 2007.T. October 1997. 85. Project 14. Computerization of Bihar and Bengal archive. College of the Arts. 1. October. Art. Conference on the Religious Experience of Buddhist Ritual. Art as Document: Understanding Buddhism through Art.1982-Aug. Travel to India. 1995.I. and Other Threats to Art. 4. Oct. Madison.Publication subsidy for Pala art book. 1977 The OSU College of Arts. Post-doctoral fellowships and grants Nov.00 Dec. “Electronic Projects in Art History.1983 Aga Khan Program for Islamic Architecture at Harvard University and M.1983 Inter Documentation Company. " International Congress of Asian and North African Scholars (ICANAS). 1998.000. 1995.000. Fall.” Mills College.1982 Aga Khan Program for Islamic Architecture.T.150. Germany. “Iconicity in the Early Buddhist Art of India. 1996. “Revising Indian Art History: The Theory of Aniconism and Early Buddhist Art. Philadelphia. Fall.00 . "Buddhist Art and Electronic Media. "Electronic Projects in Art History. Pala book. $3.00 June 1977 The OSU. 14.” Leiden. “Early Buddhist Art and the Emperor’s New Clothes.800.” Univ of Minnesota. San Francisco.00 June-Aug. 2001. Gonda Lecture. 1998. “Confluence of Cultures. Spring.439. Harvard University and M.” Birmingham Museum of Art. “Change and Continuity in the Early Buddhist Art of India.900.000. Berkley. Nov 95. 2. Japan.00 June-Aug. 1998. University of London. 1982 National Endowment for the Humanities Bihar and Bengal archive project. 1995. Bihar and Bengal archive.1975-Jan." Harvard University. 1980 The OSU Small Grants Program Travel to India. Royal Netherlands Academy of Arts and Sciences. School of Oriental and African Studies.00 June 1981. "Buddhism and the Arts.Aug. Modernization." Middlebury College. “Pilgrimage and Sacred Places in Early Buddhist Art. 6.00 Sept. Zurich. University of Cambridge. “Research in Early Buddhist Art. October. “Asian Art and Electronic Media.Fall 06. July. 600.Presentations (select and last ten years only): "State of the Field. 1.” Vanderbilt University. "Kings as Gods.1979-Jan.1976 The OSU Small Grants Program. 1998.1980 OSU Development Fund Supp funds for travel in India. Summer 1998. 1998. 1980 The OSU Office of Academic Affairs Travel funds for India. Computerization of Bihar and Bengal archive.00 July 1982-Sept. 1. Archaeological Institute.00 June-Aug.I." College Art Association meeting.500. 2006.” ACSAA conference.Publication subsidy for Pala book. “Early Buddhist Art of India”. Spring.050.45 Jan. 2002.
Cultural awareness through Art History and Computer Imaging.00 Fall 1984 OSU College of Arts. American Institute of Indian Studies. w/ John C.1983-Sept.00 Summer 1984 The Samuel H.00 1996 Battelle Endowment for Technology and Human Affairs.000. OSU.00 1989-1990 Asian Cultural Council.000. 14. With John C.737. 4000. 25.000.600. Research in India. 1. 138. For Center for Art and Archaeology.00 Winter 1991 College of the Arts.320.000. Computerization of Index for archive.00 Fellowship.00 1993 College of the Arts.00 1987 Supplement to Smithsonian grant.00 Summer 1984 American Institute of Indian Studies. The OSU Research on two Indonesian metal sculptures.1982-Aug. Huntington & Janice Glowski 25. Huntington). 15.27. American Institute of Indian Studies. 2500.00 1992.Sept.-June 1987 Smithsonian Institution. 1992 College of the Arts.00 Spring 1985 Distinguished Scholar Award.00 1992-1993 American Institute of Indian Studies 14. The Ohio State University. With John C.50 1987 Supplement to Smithsonian grant.822.812. Travel to Collections. Travel to India.424. Huntington and Janice M.00 July 1988-June 1989 Smithsonian Institution.00 Spring 1984 The OSU. 3. 19. 1.00 1987 Fulbright Grant to Sri Lanka (Research not undertaken due to political situation) 30.1984 John Simon Guggenheim Memorial Foundation.00 Education (FIPSE). summer National Endowment for the Humanities.000.00 Oct. 1986 Smithsonian Institution. the OSU 1. For Center for Art and Archaeology. Held jointly with John C.00 Jan. Kress Foundation (grant shared with John C. 2500.00 August 1989 The Merck Foundation.391." (Not used. 1. The OSU For research in Europe.400.00 July 1989-June 1990 Smithsonian Institution. The OSU.500. Huntington. 397.00 Spring 1991 National Endowment for the Humanities.00 August 1989 David Nalin.1983 The OSU College of the Arts. For Center for Art and Archaeology. 347.000. Electronic materials for the teaching and research on Asian art and culture With John C. American Institute of Indian Studies. "Leaves from the Bodhi Tree. Technical study of two Indonesian metal sculptures. The OSU for research assistance for "Leaves from the Bodhi Tree' exhibition. Subsidy for publication of Leaves from the Bodhi Tree. 3 months. Glowski .920.00 July 1989 Office of Research and Graduate Studies.00 Research in India. For Center for Art and Archaeology. Huntington & Janice M. 1.800. For exhibition. Research in Indonesia. Cultural awareness through Art History & Computer Imaging.276.00 July 1987-June 1988 Smithsonian Institution.570. 21. 750. American Institute of Indian Studies.21. 6.00 996-1999 Fund for the Improvement of Post Secondary 183.000.600. Glowski 29. Office of Academic Affairs.000.) 252. 366. 6. Huntington and Janice M. Part 2.00 Jan.00 1994 American Institute of Indian Studies Fellowship. Computerization of Bihar and Bengal archive. 3.211.-Dec. Subsidy for Leaves from the Bodhi Tree.00 for FIPSE project. Assessment grants 10.00 1992-1993 National Endowment for the Humanities.00 Technical Study of Nepalese Metal Sculptures 1995 Battelle Endowment for Technology and Human Affairs. Fellowship for the study of Buddhist art. Research in Sri Lanka.793. Glowski 1998. 1500. 2000.842.000.331. 204. Fellowship. Travel grant to India to study early Buddhist Reliefs. College of Arts.00 1989-1991 Smithsonian Institution. 2500.400. 1994 Fulbright award for field research in Nepal and Bangladesh. American Institute of Indian Studies.00 1994 College of the Arts. For Center for Art and Archaeology. For research assistance for "Leaves from the Bodhi Tree" exhibition.00 July 1989 College of the Arts.
) 1998 College Art Association. 1994-1997 College Art Association. Morey Book Award Committee. Program Committee Chair. Smithsonian Institution. South Asia Regional Council. Eastern Art Report. 1984 American Committee for South Asian Art. Monographs. Huntington and Janice M. (Chair. Art and Archaeology Committee. Association for Asian Studies.Trustee. Outreach Coordinator. 1973-74 Treasurer. 1984-85 Vice-President. 1978 Nominating Committee. Publications Committee 1994-1997 College Art Association. ..E. With John C. American Institute of Indian Studies.Editorial Advisory Board. Finance Committee 1991. American Institute of Indian Studies. 1975-76 Secretary. 1983-84 Nominating Comm.000. American Institute of Indian Studies.1999-2001 National Endowment for the Humanities. 1992-1995 Board of Directors.000. 85-86). 1984 The Asia Society. With John C. London 1985-1990 American Institute of Indian Studies. 1973-77 Editorial Board. College Art Association. American Committee for South Asian Art. American Committee for South Asian Art. 1984-85 Council for American Overseas Research Centers. Barr Award Committee. Association for Asian Studies. 1979-82 Executive Committee. American Committee for South Asian Art. American Committee for South Asian Art 1976-79 Association for Asian Studies. 1995. Glowski. Executive Committee 1994-1997 College Art Association. 1997-2000 College Art Association. 1974-77 Board of Directors. Symposium Program Comm member. Chair. 320. Huntington. 184. American Institute of Indian Studies. 1978-85.) Selection Committee. Appointed positions (National and International): 2006-2009 College Art Association. 1995-1995 College Art Association. American Institute of Indian Studies. Art and Archaeology Committee. (Chair.S. 1984-87 Fellowship Selection Comm . 1984-1986 American Committee for South Asian Art. Member. American Committee for South Asian Art. 1984-85 Executive Committee. 1984-86 Fulbright (C. Elected positions (National): 1993-1997 Board of Directors.I. 1976-81 President. Governance Committee 1994-1997 College Art Association.00 2001-2002 Mellon Foundation. Occasional Papers and Reference Series. Association for Asian Studies. 1975-78 American Institute of Indian Studies. Planning Committee. Program Planning Consultant.00 Electronic materials for teaching and research in Asian art and culture. American Committee for South Asian Art. 1976-79 Board of Directors. New York. 1998 and 1999.
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. This is why the Virtual Vihara is designed with cutting edge 3D simulation and gaming technology that it is already familiar and attractive to the youth. Only by really being there can the full impact of its history.g. It affords the viewer an experience of being inside a virtual cave exploring and discovering its richness at a selfselected pace /pattern. 2009 Please feel free to contact us with your feedback and ideas: shriram. Houston. 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. this new immersive format opens new doors for combining investigation. for cultural tourists from all over the world and most of all for children and young adults everywhere for whom the distant past must be made attractive in the present. On entering the virtual cave.for the Indian diaspora. pedagogy and experiential learning. While these kind of expositions can and have been done in documentaries and multi-media presentations. ← Digital model of Cave number 4 We see the Virtual Vihara function as a stimulator of interest and curiosity among a diverse demographic . Ajanta is a priceless legacy of the past and a UNESCO world heritage monument that must be experienced in the flesh. at eye level. 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. One also has control of the lighting and proximity to the murals in a way that one does not have in the physical space.chitra@gmail. one is free to float about viewing the paintings high on the walls. Multiple applications with varied purposes can be built atop the basic database of a virtual cave – e. a sonic environment with music & hints of dialogue and narration make the walls even more eloquent but only teasingly so. Finally. sensuality and spirituality be felt.com .com and binitardesai@gmail. We present it as a pilot project and are honored to be able to showcase it at the “Ajanta: Miracle in the Mountains” conference. The idea is to kindle a passion that will lead the viewer eventually to Ajanta. without the distance and perspective distortion inevitable in the real cave.The Virtual Vihara A pilot project by Chitra Shriram and Binita Desai The Virtual Vihara is a digital simulation of Ajanta Cave # 1.
Her animation. (www. India (1983) and a B. She has an MA in art education from The Ohio State University wherein she specialized in computer animation at the premier. Ahmedabad from 1980 to 1997. she worked and taught at the National Institute of Design. where she is currently teaching and consulting on projects. A traditional Animation Film Maker and Designer. She has a Certificate in Film Animation from The National Institute of Design. India. She is currently working on a project on Colour and is a consultant to Bhasha Academy. . His interests span both design and software engineering. Gujarat. pioneering institution: The Advanced Computing Center for the Arts & Design (1989). (1983) and a B. Her clients include McGillivray just to name a few.A from the MS University of Baroda. at Gandhinagar. India. wherein she specialized in Applied Arts (1980). feature and large format films. wherein she specialized in Painting (1980).A from the MS University of Baroda. Baroda on visualizing a Health Information System. Dallas.hellikon. Ahmedabad.com). Varun Varshney is working towards a bachelor’s degree at DAIICT. Binita Desai is a Professor at DAIICT. She has a Certificate in Film Animation from The National Institute of Design. Gandhinagr. She worked under the aegis of Xaos Inc of San Francisco from 1993 – 2000 and subsequently joined as partner and creator director of Hellikon Inc. design and creative direction have been at the service of broadcast. Joo Eun Chi is a graduate of the Art & Technology program at the University of Texas.The Virtual Vihara Team Chitra Shriram is an Emmy Award Winning Creative Director in the area of computer animation and visual effects.
. transfer to Taj Residency. These caves or viharas (monasteries) are remarkable for the quality of their murals. with unique carvings of the Ramayana and Vishnupurana. The town is named after Aurangzeb. Don Statdner will be the guide for this educational tour. We will also visit sites in Aurangabad. street scenes of the time. Hanging Gardens. famous iconographical representations of Lord Shiva. Afternoon: city tour including Marine Drive.Aurangabad. Aurangabad is a convenient base for organizing visits to the famous rock-cut temples of Ajanta & Ellora. Crawford Market. In some of the caves. At this time it is included for your information only. Ellora. which relate the life story of Buddha and reveal the life and culture of the people. the murals relate to the Buddha’s previous births. showing the progress of his soul. This preannouncement does not include any price information or travel price details. Day 03: Mumbai. the last of the six great Mughal Emperors. The tour will be organized in early 2010. The landmark of this collection of rock-cut sculptures is the magnificent Kailasanatha Temple. the Jain Temple and Gandhi Museum. All together. Day 02: Mumbai. Today visit the Buddhist. The most notable feature of these cave temples is that entire hillsides were cut away with the artisan’s chisel to produce these sculptures. as well as superb representations of birds and animals. Malabar Hill. Elephanta and other interesting places in India PS. who built a mausoleum here for his wife. Afternoon/ evening free to stroll the markets in Colaba Area. http://www. Jain and Hindu caves at Ellora. royal court settings. are considered to be the finest in India and date between 600 and 1100 AD. 0800. 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.Visit Ajanta. It is the most extraordinary freestanding monolithic temple (there are only two of these in India). Morning to relax. Dr. The caves at Ajanta date back to the 5th century and contain paintings and sculptures of major events in the life of the Buddha. which are some of the world’s most exquisite. family life. Ellora’s 34 caves are over 10 centuries old and represent elaborate sculptures from the Hindu. Day 04: Mumbai . there are 29 caves. Transfer to airport to connect flight 9W113 dep. Afternoon: join Bombay Heritage Walking Club (art & architecture students /professionals). Buddhist and Jain faiths. They organize a 2 hour walk through the old part of Bombay. Morning ferry to explore Elephanta Caves. noted for their sculptures..spirit-of-india. This itinerary is suggested by Spirit of India. the exact date of departure is not finalized.com and is included here to give you an idea of the places that will be covered in this trip. 0715 / arr.D. time permitting. Day 01: Arrive in Mumbai. carved between 450 and 750 A. Met & transfer to hotel Fariyas. including a visit to the Maha Deva Trimurti and the Ardhanareshvara sculptures. Day 05: Aurangabad A full day excursion to the caves at Ajanta which date from 200 BC to 650 AD. You will spend the morning visiting the most outstanding of the 34 cave temples in the area.
is fascinating. including the extraordinary array of 1144 sculptured pillars each distinct in design. The fort has a series of spectacular palaces. 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. Udaipur. the lovely lake side capital of Mewar. Surrounded by hills and mountains. each decorated with exquisite engravings. On arrival transfer to hotel Lake Palace. Sunset boat ride on Lake Pichhola. temples and palaces . lattice and mirror work. Morning visit the City Palace. bristling with episodes of heroism and splendor. women of the royal harem who took their own lives when their men were defeated in battle. The City Palace is a blend of stern Rajput military architecture on the outside and lavish Mughalinspired decorative art on the inside. Palaces and the Gardens.Day 06: Aurangabad .Udaipur Fly to Udaipur. travelers and writers. Afternoon. Day 09: Jodhpur Morning city tour including the 15th century Mehrangarh Fort perched majestically on a high hill and the museum. walking tour with guide of the Old City and visit studios of miniature painting artists. continue to enthrall the visitor. Overnight at Ajit Bhawan Palace. Suggest lunch on your own at the excellent and intimate Fateh Prakhash restaurant. Jain mythology and cosmology. 1355hrs.Jodhpur (290 km) Drive to Jodhpur. Flight IT2316 dep. Afternoon independent to stroll the quaint city. Noted for its grandiose scale and elaborate ornamentation. The whole. Built by Daranshah in 1439. carved ceilings.every feature mirrored in the placid blue waters of Lake Pichhola. Also visit Crystal Gallery. Day 08: Udaipur . it is a sprawling edifice made up of at least four separate inter-connecting palaces. gardens. Lunch at Maharani Bagh (Mango Orchard of the Maharaja of Jodhpur) near the Temples. and arches decorated with friezes depicting scenes from the lives of the Jain saints. There is no place in India which appeals more to the imagination of poets and painters. the largest Palace complex Museum of Rajasthan. and its remarkable past. Continue drive to Jodhpur. of the three temples. The Palace museum contains a wonderful collection of old Rajput weaponry. the City of Dawn. the city of Lakes. 90 km out of Udaipur. Set on a hill overlooking Lake Pichhola. Udaipur the Venice of India. The city's inherent romance and beauty. built over a period of nearly 3 centuries. looms up like a vision in white. and set on the edge of three lakes. than Udaipur. Entered through gates which bear the evocative handprints of the Sati queens. 1215 / arr. it is bewitching in all its details .narrow streets lined by vivid colored stalls. Day 07: Udaipur. take a walk through the colorful Bapu Bazaar. Of particular note is the museum that exhibits a magnificent collection of royal memorabilia . the temple is dedicated to the first Jain Tirthankara saint. Surrounded by tangled forests with monkeys abounding in the courtyard. which give on to a fertile plain. enroute visit the Ranakpur JainTemples. the Adinatha is the most outstanding. Ranakpur is one of five important pilgrim centers for the Jain community.
Evening return to Jaipur. Wandering through the bazaars of old Jaipur is an experience in itself. west and south of the town. Nearby is the ornate Hawa Mahal (Palace of Winds). drive to Fatehpur Sikri. Wazir Birbal's house.Jaipur (330 km) Drive to Jaipur enroute visit Pushkar. weavers. the Shilpa Shastra. The Jaipur astronomical observatory built by Raja Saw Jai Singh II in 1827 is an amazing monument. In the 1720’s. The ascent to the Fort will be on elephant backs. enamel work. Day 13: Jaipur . There will be opportunities to visit block printing factory. popularly known as the Pink City. The doorways are decorated with river goddesses. jewelers and bankers. gem cutting. Day 11: Jaipur Jaipur. Its' history can be traced backed to the 12th century. Check into hotel Taj View. and silk shops. the Astrologer's Seat and Panch Manzil Mahal. The typical temple of this area is set on a terrace whose walls are finely decorated with moldings and miniatures. The 23 temples are grouped in several sites north. In the morning visit the City Palace complex. Different streets were allotted for different professions such as potters. the ancient kingdom of Jaipur. Jaipur has a variety of manufacturing industries.Pushkar . It is especially known for its arts and crafts. Sawai Jai Singh II began to build the new city of Jaipur. Day 10: Jodhpur .Fatehpur Sikri . the Hawa Mahal (Palace of Winds). Amber was also the name of its ancient capital. noisy and happily chaotic and you can buy anything here. Jal Mahal (Water Palace). situated 7 miles away. The best preserved are the western groups which are on a hillock above the town. . a peaceful village north of Jodhpur in the Thar Desert. Continue drive to Agra. while the 12th century Sachiya Mata temple is a living temple of the Golden Durga. The sprawling City Palace was an integral part of Raja Sawai Jai Singh II's new city of Jaipur. Visit the Derviche Saint Mosque. jewelry. protected by wild Arrival Hills on all sides. Afternoon independent for shopping and relaxing. The ancient town of Ossian contains the largest group of 8th to 10th century Hindu and Jain Temples in Rajasthan. Can stop for lunch here and relax by the lake for a short break. Today it is a museum that displays art.Agra (250 km) After breakfast. After lunch visit Palace and walk to the charming village nearby. Camel rides in the sand dunes just before sunset. They are colorful. It is a delightfully idiosyncratic five-tier composition of arches and balconies. Pir Shaikh Salim Chisti. Afterwards drive to Samode Village (40 min). Amber Fort is superbly located. hand-printed fabrics and stone sculptures. it was extended by Raja Mannish in the late 16th century. drive to Amber. the capital from 1570 to 1586 of the Great Moghul Empire. a unique architectural concept reflecting Akbar's belief in the unity of all religions. carpet factory. serpents and scrollwork. Originally built in the 11th Century. is the capital of the state of Rajasthan. textiles and armory. dyers. Overnight at Mandawa Palace. Day 12: Jaipur After breakfast. The city turned out to be an astonishing well-planned one based on the ancient Hindu treatise on architecture. Lunch at Samode Palace on your own.Afternoon excursion to Ossian.
2010 / arr. Afternoon excursion to Mandu (30 km). his grandson. also visit Oswald’s Shop. The structure is enlivened by the limpid expanse of water in the tank outside the northern wall. in its palaces and mosques. Mandu was a pleasure resort. Transfer to railway station to connect Shatabdi Exp. to the south-west. These remarkable and interesting rock-cut shrines and monasteries are situated in the Narmada valley among the southern slopes of the Vindhya hill in Kukshi Tahsil of Dhar District. Towards the end of 13th century. It was here that the founder of the dynasty. Day 16: Indore . Afterwards.Indore. laid out the first formal Persian garden on the banks of the Yamuna River. in the 16th and 17th centuries. built between 1622 and 1628. Sunrise visit to Taj Mahal. Under Mughal rule. High up on the crest of a hill. courts and gardens and Shahajahan embellished it with marble mosques. with its natural defenses. built by Nawab Shahjehan Begum around a courtyard with a large tank in the centre and with an imposing double storeyed gate-way with 4 recessed archways and 9 imposing cusped multifoiled openings in the main prayer hall. which provided inspiration for the master builders of world famous Taj Mahal centuries later. Roopmati's pavilion still gazes down at Baz's palace. Afterwards visit Itimad-ud-Daulah.Dhar (190 km) Full day excursion to Bagh Caves.the city of joy.Dhar (60 km) After breakfast drive Dhar. raised the towering ramparts of the great Red Fort. where you can see the famous marble inlay technique of Agra. a magnificent expression of Afghan architecture. baths and pavilions. 0815 / arr. Perched along the Vindhyan ranges at an altitude of about 2000 feet. Agra was the capital of India. of the love of the poet-prince Baz Bahadur for his beautiful wife. Rani Roopmati. we visit Agra Fort. it came under the Sultans of Malwa. while the member is made of black basalt. pietra dura. the first white marble inlaid grave in pure Indo-Persian style. which is passed down through generations within families. was originally the fort capital of the Parmar rulers of Malwa. first of who renamed it Shadiabad . 1405 to Bhopal. return to hotel for breakfast. Each of Mandu's structure is an architectural gem. Babar. Mandu is a celebration in stone of life and joy. Check into hotel Jhira Bagh Palace. The Quibla wall in the prayer hall is carved with 11 recessed arches. From Dhar these are about 90 km. If interested. .Day 14: Agra Agra is globally renowned as the city of the Taj Mahal. On arrival transfer to hotel President. The balladeers of Malwa still sing of the romance of royal lovers. The monumentality of this structure was much greater originally when it faced the towering bastions of the Fatehgarh Fort. In the Mughal period. palaces and pavilions of gem-inlaid white marble. Its rulers built exquisite palaces like the Jahaz and Hindola Mahals. The glory of Mandu lives on. its lakes and palaces the scene of splendid and extravagant festivities. Mandu. Day 15: Agra . 1845 / arr. ornamental canals. Jehangir built rose-red palaces. in addition to the legendary Taj. Within its walls. but this royal Mughal city has. On arrival visit The Taj-ul-Masajid is one of the largest mosques in Asia. in legends and songs. 1930 or IC134 dep. Day 17: Dhar . and Hoshang Shah's Tomb.Bhopal . Here Akbar. Some are outstanding like Jami Masjid. many monuments that epitomize the high point of Mughal architecture.Bagh Caves . dep. 2040 to Indore. Afterwards drive to airport to connect flight 9W3418 dep.
Day 19: Delhi Today visit some architectural highlights of Delhi including Qutab Minar.D. Many of these art forms are now dying.These caves belong to the Buddhist faith and it is not certain as to how and when these caves began to be called Bagh Gumpha. offering a delightful amalgam of craft.the range is limitless. Transfer to hotel Parkland. the Red Fort and Shah Jahan Jami Masjid. Each month new sets of artisans are invited. Day 20: Delhi Morning visit the Crafts Museum. intrinsic to each part of the country are available in this exotic bazaar. toys. The food plaza enables visitors to savor flavors from the various regions of India. imaginative landscaping. The different stalls offer a wide choice of ethnic food which is clean. embellished camel hide footwear. brassware. From here go to the unique Dilli Haat. silk and woolens. beads. these caves were lost from human memory.D. 1215. It believed that either the name of the river or of the village has given its name to others.Delhi After early breakfast drive to Indore (60 km) to connect flight 9W731 dep. The village situated at a distance of about 8 km. to sophisticated fabric and drapery. The handicraft stalls are allotted on a rotational basis to craftsmen from all corners of the vast and varied land of India. . .. hygienically prepared and reasonably priced. Also visit the National Museum. Gems. Safdarjang Maqbarah. exhibits from the Vijayanagar period in south India. and costumes of the various tribal peoples. The Crafts museum was designed by leading Indian architect Charles Correa. Most of the exhibits represent some of the rarer arts in India. The caves were first discovered in 1818. food and cultural activities. Shows promoting handicrafts and handlooms are held at the exhibition hall in the complex.. Afternoon at leisure. textiles and unique tribal art exhibition. the biggest mosque in the world. and the river flowing nearby the cave came to be known as Bagh village and Bagh river. It seems that after the extinction of Buddhism in Central India by the 10th Century A. which has a good collection of Indian bronze. and the traditional village architectural style have combined to produce the perfect ambience for a Haat or market place.. the oldest Indian Mosque of the 12th century. Until recently these caves were roughly assigned to the Seventh Century from the style of architecture and painting but a copper-plate inscription since discovered pushes back the date of at least some of them to the 4th or 5th Century A. an upgraded version of the traditional weekly market. Day 18: Dhar . Another view states otherwise. miniature and mural paintings. Spread over a spacious six acre area. built in 1650. thus ensuring that different handicrafts are available to visitors at each visit. During the intervening centuries the caves often became the abode of tigers (Bagh) and this association of tigers with the caves gave then the present name. the only one in the country. the last period of the Mughul architecture from the 11th century. the museum invites master craftsman to display their talents in the open courtyard of the museum. In a bid to encourage the continuance of these skills. and some of the exhibits are the only examples of particular art forms in existence. 0945 / arr. terracotta and wood sculptures dating back to the Mauryan period (2nd-3rd century BC). A wide variety of skillfully crafted handicrafts. and also enabling them to buy authentic wares at prices that have not been inflated by high maintenance costs.Indore . especially from the remote tribal belts.Evening transfer to International airport to connect flight to home. These range from intricate rosewood and sandalwood carvings. there are over 20. the most popular museum for daily life utensils. metal crafts.000 examples of Indian art and architecture. In a natural setting. and we can spend time with them after touring the museum.
a cousin of Buddha who gave up worldly comforts to live a simple life and was seen begging for alms at his own palace. pillars. she is greatly disturbed to know that her husband is outside begging for alms.Geetha Rau and Madhu Sulladmath This is a three dimensional mixed media work of art. King Mahajanaka and Queen Sivali. elegance. Dancing Apsara.. This inspired me to make a reproduction of this painting and hopefully my interpretation does justice to the original work.Cuauhtemoc Murphy Apsaraas of Ajanta.Commissioned art works created exclusively for this conference Ajanta caves . paper and print and some found materials.George Ty Among the interesting features of the Ajanta Cave paintings are the female figures and one of them is the consort of Padmapani.Sharat Valluri (3 dimensional Sculpture) Medium: Synthetic Clay surface painted using acrylic paints. the intricate jewellery. An ode to Ajanta – 24”x 28” This piece is a relief.5 ft (To be mounted on a pedestal).40” x 30” alkyd oils with a base coat of acrylic paint on canvasSangeeta Pasrija Beauty and Grace . and inner peace. It is done in the basso-relievo style on Carrera marble.Bhavana Vaishnav . It highlights jewelry and hair styles of Ajanta period which are in vogue even to this day. glue. Expressions of Life – 48”x 36” – Sharmyn Ali This painting is a diptych and the technique used in this painting is called the old masters technique of glazing in oils.Rashmi Murthy A painting inspired by a mural of a dancing lady surrounded by musicians in the Ajanta caves.24”X 24” Oil on paper – Vinod Patel An ultimate homage to Supernatural Human Experience: Bodhisattva by a mere rearrangement of Cosmic Rock Dust on a two dimensional plane of paper is a tribute by Head Heart Hand: Tri Ratna. whose expression shows. The 3D collage of the caves brings to life the paintings.A collage: 3 ft x 3 ft x 1. 24" x 30”.3 ft x 2 ft x 1. The painting is about conversion of Nanda. in communicating a multi modal miracle of the beauty. which adds depth. Bodhisattva Padmapani . paint. based on the wall paintings from the caves of Ajanta. The color palette. The expression of Nanda and his spiritual journey creates a serene peacefulness that is emitted from the original artwork. using polystyrene. statues and other architectural details. the dresses and the line work are inspired by different Ajanta murals.24”x 30” Acrylic on Canvas . The second part of the diptych depicts Nanda’s wife Queen Janapada kalyani. emotion and grace. It seems that she is an isolated island in the middle of a turbulent sea. This is an attempt to give three-dimensional form to this most iconic of Ajanta paintings. a combination of two paintings using mixed media on canvas . using a language of line and color to achieve the Tranquility-Tejas.5 ft . This particular figure caught my eye because of her facial expression filled with outward beauty. My paintings are mostly evocative and I believe that this piece is a fitting representation of my art. Kalakendra.
the free brushstrokes and the use of warm colors are the main features in this painting. This is a ceiling painting painted in Cave No.Kirthimukha carved on a pillar: 18”x15”. surrounded by various scenes from the Ajanta paintings of His previous births. pleasure or vice. These artists deserve our applause. Towards this end. who is made so graceful by his divine introspection. Nanda with his inward look radiates a serene peacefulness which holds the attention of the viewer most compellingly. This gentle soul.which still envelops us today. In this detail (right) we see Nanda after he has renounced his palace life to become a wandering mendicant (bhikshu). Timeless Beauty – 48” x 36” Oil on canvas. once the king. Together they represent Compassion and a Regal Majesty respectively.Geetha Prakash The artwork chosen is the figures of Bodhisattva Padmapani and Vajrapani in Cave 1 of the Ajanta Caves. are created by these artists exclusively for this conference. 24" x 30" (framed) oil painting. The Path – 24”x 48” Mixed Media – Harleen Chhabra The work centers on Lord Buddha. has come to the palace door begging for alms. Editorial: All the art works that you see.1 at Ajanta – Bharati Venugopal Shibi . . Samskriti is extremely thankful to all the artists who have come forward to share with us their understanding and expression of Ajanta paintings.36”x 48” oil on canvas painting. The king Shibi is represented among a crowd of characters in motion The conversion of Nanda: 24” X 30” Multi Media – Neil Sen Nanda was a cousin of the Buddha.Mexican Artist The use of line. similar to the traditional style of Tanjore painting prevalent in Southern India.that have to be overcome to follow The Path shown by the Enlightened One. The queen is deeply disturbed by these unusual events and wonders how to win back the attention of her husband. 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. 50/50 clay – Rachelle Gomez Nandi Vardhan.Carmen Flores . Each scene depicts a human emotion. . The artwork attempts to capture the spirit of compassion and the subtle but radiant beauty of the paintings. Among the incidents of the Lord’s life. is seen here begging for alms in his own palace door. the painting is embellished with semi-precious stones and gold foil for the crown. . Nanda’s wife Queen Janapada kalyani (left) has been informed that her husband. his conversion of Nanda is one of the favorite themes of Buddhist artists.
His classes have also participated in community and school projects. cotton and faux fur. a number of his former students have gone on to study art at colleges. they find they have more to offer than they ever knew. design and model making. In 2006 as part of the Royal Legacy seminar at Museum of Fine Arts. Geetha and Madhu own and operate "Sadagara". She has been continuously involved in the cultural and social activities in the community for long time. Now in his fourth year teaching Art at Bay City High School. silk. Madhu has wide experience in design and execution of projects using different mediums like leather. Mr. Madhu Sulladmath is an entrepreneur with a flair for painting. He has used the lost wax technique to great effect with his bronze sculptures. His recent works in watercolor have been applauded. though he frequently works with other materials as well. Students surprise themselves in his classroom: when allowed to bring nothing but their best. by creating a 40 feet long table scape of the famous Mysore Dasara parade with an unique collection of miniature dolls. Cuauhtemoc Murphy is a multitalented artist and educator. his works appear in numerous private collections. Houston in 2005.The artists Geetha Rau is a multifaceted artist excelling in Porcelain doll making. Murphy’s dedication to fine arts makes him a gifted teacher. By virtue of having owned a corporate gift industry. an Event Management Company. has achieved the most critical success. embroidery and other fabric arts. In addition to being featured in various art shows. His favorite medium. in . oil painting. they successfully capture moments or moods which are otherwise fleeting. His classical approach to color has made his oil paintings very popular-they are vivid and accurate representations of a unique perspective. sculpture. They organized a very thematic banquet as part of the Vijayanagara conference conducted at the Museum of Fine Arts.
in today's world. Her keen interest in Indian dance and poetry events in Houston are worthy of mentioning. A painter and sculptor in the tradition of pure romantic school of art.addition to an annual show at the Matagorda County Museum. Sharat showed interest in art at from his childhood days. Sangeeta was the Secretary and board member of the Houston based Indo-American Charity Foundation. Arun Pasrija. My paintings are mostly evocative and I believe that this piece is a fitting representation of my art. She donates her paintings to local charities to raise funds at their annual galas and auctions. His art is beauty oriented. USA and is well regarded among the discriminating in Houston Arts Circle having executed both private and public commissioned artworks. is a rare artist. He continued further studies under the guidance of Mr. and inner peace. The title of my piece is "Beauty and Grace". Sharat Valluri. Sharat currently lives in Houston. Daughter. Her work has been displayed at local art galleries and received rave reviews. joyous and benevolent. Nikki is currently a junior at SMU in Dallas and son Kunal. noble beauty difficult to find elsewhere depicting a universe of serene happiness. . George Ty : Among the interesting features of the Ajanta Cave paintings are the female figures and one of them is the consort of Padmani-pani. This inspired me to make a reproduction of this painting and hopefully my interpretation does justice to the original work. He was also commissioned by Houston Kannada Vrinda to create the signature theme painting of the Stone Chariot at Hampi for the Seminar on Vijayanagara Empire held in 2004 in Houston. and has briefly studied under Ms. It seems that she is an isolated island in the middle of a turbulent sea. which raises funds for many local charitable organizations. Murphy also enjoys teaching adults. This particular figure caught my eye because of her facial expression filled with outward beauty. California. His paintings are saturated throughout with a delicate.Texas. is a sophomore at the Kinkaid High School. elegance. Merl Ross at Berkeley. he finds the challenges of teaching high school students very rewarding. Painting and drawing are her favorite hobbies. His work was recently exhibited by APAHA at the Chase Bank building in downtown Houston. a technology entrepreneur. Jim Robertson in Houston. He is mostly self-taught. While Mr. Sangeeta Pasrija has earned a degree in Visual Arts and Advertising after coming to the US. she is married to Dr. Living in Houston.
painting. abstract.I was born in Bengaluru. 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. floral. This experience has primarily shaped my world-view and has held me in good stead in my design endeavors. 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. and drawing.com and e mail address is sharmynali@gmail. I started participating in shows and competitions and won quite a few awards. Vinod R Patel was gently nudged away to a fulltime Engineering College. As a child.com and to enjoy Sharat’s art work. I was always interested in coloring.. www.com Vinod Patel: While aspiring to become a modern artist from earlier school days and getting recognition from Gujarat state Lalit Kala academy. the vast cultural and religious diversity that is India. I got my first silver medal at the age of 12 in a Japanese art competition and that gave me the courage to learn more. 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. but tenaciously hung in touch with Baroda school artists like Jayant Parikh and invited art criticism for his works . Rashmi Murthy . It was an honor that my paintings were appreciated and selected by art authorities for competitions where I won awards. Because of this I had the opportunity to experience first hand. Mayor David Wallace purchased my painting. Since my father worked in the Indian Army. India.com. Sharat has created a number of artworks. I got to travel and live in different Indian states. I like to explore and be creative in my paintings. Sharmyn Ali: Art evolved into my passion. My website is www. I design residential high rises. To enjoy his extensive collection of photographs from the Halebidu temple please visit www. I paint landscapes. I have a Masters Degree in Architecture from the University of Houston. 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.Halebidu. please visit his website. religious buildings.Inspired by the exquisite sculpture at the Hoyasaleswara temple in Halebidu in Karnataka which he visited a few years ago.sharmyn. 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. schools and commercial interiors just to name a few.SharatValluri. I also won first place on my portrait at the State level. portraits etc.
Rachelle has produced another Ajanta art work which is currently being shown in her school as a part of an exhibition. I was . With all its colors and activity. Vinod worked on nuclear plants for sixteen years. Subramaniyan.com and www.F. Once my husband took early retirement and decided to move to Houston from New York. I was fascinated by colors. After my high school studies. Houston to name Bhavana Vaishnav Growing up in a very creative environment in Indore. . TX and have participated in various solo and group exhibitions. Jeram Patel and the Baroda group. Mother Nature inspired me to paint using my perspective. Bharathi Venugopal: Ever since I was a child. Web site addresses www.S. Over the course of my journey. owned a technology company for fifteen years.artbybhavana. India.Ltd. Bay City is located about 70 miles south of Sugarland.artquestpearland. and was also commissioned to art projects by G. my wonderful and creative journey as an artist began. I have added various mediums and media to my repertoire. kept him in touch with late Bhupen Khakhar. I now paint more abstract with acrylic colors using texture. He recently exhibited his works in USA group shows for Dravo Corp. In addition to using oil color for realistic painting. Mr.C. I used to look over the shoulder of my mother and marvel the flowers coming to life with the help of vibrant colored threads she used for her embroidery. Even in school. and B. I enjoyed the coloring part than the actual drawing I did. Sardar Patel University annual events for 7 years in a row. this hobby turned into passion and became the turning point in my life.G.V. at the Bay City Independent School District in Bay City. After completing Masters.from Dean K.Pittsburgh. I always wanted to pursue my passion for art formally but could not do so while being busy with raising the family and managing the career. the Gujarati Samaj of Houston. Vinod kept on painting and exhibiting in group shows during vacations. India Culture Center and Shangri La Art Gallery.com Rachelle Gomez is a high school junior in ceramics. After marriage I moved to Houston. I began painting as a kid.but the creative fire still burning deep inside his guts. I attained education in Arts and continued to grow as an artist.M. Texas. .
She has had seven solo shows. shedding the popular view of apathy. That was 10 years back and since then there is no turning back.Mexican Artist Ms. I was fortunate to find a teacher who excelled in museum quality luminous oil painting method.the current issues that plague our globe. Harleen Chhabra: Harleen’s art subjects capture the coexistence of the two worlds. Neil Sen: Neil Sen is a freelance artist. like environmental plunder. she felt the need to . This year she was commissioned by the Sugarland City Hall to participate in the Sugar Land 50th Anniversary art project. In 2006 she won the Sinaloa State Fund for Culture and Arts Grant and the AP70 Gallery commissioned her a series for the ‘Banco del Bajío´ in Mexico. Since 2007 Ms. acrylics. colored pencils and mixed medias also. the last one was at the Gallery of the Artist Alliance of Sugar Land in 2008. Her goal is to create works that inspire involvement in the viewers. Flores lives and works in Houston. Harleen showed interest in drawing since childhood and participated in numerous art shows and competitions in her school days. He has also been a consultant and artist for several organizations. and currently in a Corporate career. Several of my paintings are sold and several more are in private collection here and abroad. war & terrorism and the beauty in hope & cheer that still thrives. who has exhibited his work in different parts of the country and produced illustrations for books and magazine covers. I have painted over 100 pictures on variety of subjects and various mediums such as water color.very happy to quit my job in Insurance Industry and was dreaming of getting formal art lessons. Carmen Flores . Flores got her bachelor degree in Fine Arts in 2003 at “Universidad de las Americas-Puebla” Mexico. Having gone to Engineering and Business schools for formal education. Texas. 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. She won the Antonio López Sáenz painting award in 2005. He is currently involved in teaching numerous classes both for kids and adults and has been doing so for over 10 years. but still oil painting is my primary choice. He is widely known in the community for his inspirational teaching and his passion for art.
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 . Geetha Prakash: Post graduate in Textile Designing from Madras University with University Rank . Was an active member of the Abu Dhabi Cultural Foundation and was exposed to various Painting techniques like Oil Painting. Moved to the UAE after getting married and was a member of the Dubai International Art Centre. Experimenting with colors and using different media is what motivates me most. Won various prizes in art and craft competitions at the school and collegiate level in Madras. Raison D’Etre for Painting: I have enjoyed Art from a very early age. 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. In 2005 and 2006. Texas-USA. 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. 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. Pastels. I love the creativity that accompanies artistic abilities and the freedom of expression that it allows. Editorial: Ajanta is storehouse of exquisite wall and ceiling paintings created by master painters some 1500 years ago. Water Color. Mostly self-taught. Have won various prizes in the Art shows conducted by SLAA . Silk Painting and Glass Painting. participated in the Camel Caravan and Falcon Public Art projects in the UAE.go back to pursue her interest in the arts. she recently started studies under the esteemed guidance of Mr Indranil Sen in Houston. . and have picked up new painting techniques by associating with the artists there.
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