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.
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. This would include discussion of the
“Hinayana” phase of work at Ajanta itself and other early sites. The influence of the many
remarkable Gupta models as well as the earlier monuments of the Vakatakas at Ramtek,
Mandal, and elsewhere will provide insights into Ajanta’s own development. Then, after
describing not only Ajanta, but other sites sponsored by Harisena and his feudatory kings,
we shall review the impact of his death—probably an assassination—upon the tragically
brief flowering of Harisena’s world, so richly mirrored at Ajanta, that shattered his beautiful
world, but at the same time prepared it for a host of new related monuments that grew up
out of the rich ruins, as it were, in the late fifth and early sixth centuries. These were by and
large the productions of Harisena’s former feudatories, now perhaps glorying in their
independence. The list is long and impressive: the Traikutaka productions at Kanheri, the
Early Kalacuri caves at Jogeswari, Mandapeswar and Elephanta, and finally some of the
finest caves at Ellora; the Maitrika sculptures of Western India, the famous Ucchakalpa
monuments at Deogarh, Nachna Kuthara, etc., the Visnukundin images from Pavnar and
the temples such as Rajim, Sirpur, and Tala in Kosala.

Most of these many sixth century monuments have been called Post-Gupta. We shall try to
show that they are essentially reflections of a too-long neglected world. We would better
think of them as Post-Vakataka.

Conference at a glance
• Conference inauguration on April 18, 2009 at 10.00 a.m.
• 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.m.
• Display of books on Ajanta and Ellora
• Opportunity to buy newly created, original art work
• Meet these world class scholars

Inauguration of the Conference

The conference inauguration is a spectacular event. With all the speakers assembled on
the stage, you will be transported to a different world. Don’t miss the opening event. Arrive
early to participate in these activities.

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. These artists have produced original work in
their own styles of painting. These new art works will be unveiled during the inauguration of
the conference and will remain at the museum till Sunday night. These and many new art
works will be displayed in Houston after the conference. Please contact Mr. Vatsa Kumar
for more information on this subject.
Lunch at the beautiful sculpture garden
The conference provides lunch to all the registered participants on Day 1 of the conference.
Weather permitting box lunch will be provided at the Sculpture Garden located across from
the museum. If it turns out to be a cold day, you can enjoy lunch in one of the museum’s
galleries.

Virtual Vihara
Introduced for the first time in this conference, virtual vihara is an interactive, animated
computer program, which allows you to experience Ajanta’s paintings at your own pace.
This program will also open the door for in depth exploration of the cave paintings. This
program will take place immediately following lunch.

Reception at Mfah lobby to honor the invited speakers

At the end of the conference on day 1, you are invited to attend the reception honoring the
invited scholars. The Museum of Fine Arts organizes the reception at the museum lobby,
where you will be able to meet the scholars and chat with them. This is a great net working
opportunity.

Day 2 of the conference

Get ready to come to the conference on its day 2. The conference starts at 1:00 p.m. and
will continue till 5:30 p.m. followed by reception at the lobby.

Display of books on Ajanta and Ellora

Scholars around the world have visited India to get a firsthand experience of its art forms,
culture, civilization, food and other facets. Many books on these topics are available online
at www.amazon.com and other book stores. At the conference, art lovers and readers will
be treated to a selection of excellent books on Ajanta, Ellora and Indian Paintings.

Opportunity to buy newly created, original art work

Whether you are an art lover, collector or an artist, you will love to view all the new
commissioned art works created exclusively for this conference. 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. For more information as to how to buy the art work,
please contact Mr. Vatsa Kumar. (vatsakumar@att.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. These scholars have
written amazing books about Ajanta, Ellora, Elephanta and other interesting sites in India.
Make use of this wonderful opportunity to meet these scholars, who are very friendly and
will be very interested in talking to you. Don’t miss this wonderful opportunity.

Conference schedule

April 18, 2009 inauguration at 10.00 a.m. Lectures from 10.30 a.m. to 5:30 p.m.
April 19, 2009 Conference starts at 1.00 p.m. and closes at 5:30 p.m.

Conference format
The conference will follow the pattern of a university seminar. The segment coordinator will
introduce the speaker briefly. Speakers are allotted 45 mts for their presentation, 10 mts for
Q&A followed by 5 mts to wrap up.
Registration fee for the Conference is $25 per person. This fee includes admission to
the conference on both the days, lunch on day 1 of the seminar. Registration fee does not
include admission to the banquet. No other discounts of any kind are available. Also, no
separate rates are offered for attending the conference for one day only.

Mode of Registration
Admission to the conference is by tickets and on-line registration. Please visit
www.tickets2events.com at any time. On-site registration is open to public on the days of
the seminar, on payment of cash or personal check only. NO credit cards. Registration
includes admission to the seminar, lunch on Saturday, conference program book, snacks
and soft drinks. Registered guests are invited to the reception to honor the presenters,
hosted by the museum.

Children under 12 will not be able to enjoy the seminar, due to the technical contents of the
seminar. It is therefore recommended that you do not bring them to the conference.

Refund Policy
Full refund of the registration fee will be made for cancellation on or before April 5, 2009.
Since many other activities will be planned during that time, due to administrative
constraints, no refunds will be made after this date.

Parking at the museum

Free parking is available directly across from the museum in the Presbyterian Church
parking lot, or on the north side of the Church. Sunday parking at the church is not possible
till noon. That is why the conference starts at 1:00 p.m. on Sunday.

Current and accurate Information on the conference will be maintained on Samskriti’s

web site www.samskritihouston.org . For additional information or if you have any questions,
please contact Vatsa Kumar (979)240-9496 or via e mail vatsakumar@att.net . You may
also contact Dr. Rathna Kumar at (281)265-2787 or via e mail anjali@wt.net

Partners in our conference

Samskriti is a Sanskrit word meaning cultural tradition. Samskriti was established in 1994
with the vision of becoming an efficient cultural conduit between the East and the West, by
bringing the best of Indian fine arts from around the world to Houston audiences, and by
promoting cross-cultural programs involving Indian and American artists from different
ethnic backgrounds. In its 15 years of meaningful and successful operation in the greater
Houston and Sugarland area, Samskriti has more than amply fulfilled its mission. Samskriti
presents numerous major programs by artists who come from different parts of the world
throughout the year. For a detailed list of all the activities of Samskriti and to view its current
and past activities, please visit www.samskritihouston.org

Anjali Center for Performing Arts

Anjali Center is dedicated to promoting and preserving Indian performing arts. Now in its
34th year of operation, the legendary tradition of Indian Classical Dance is safely preserved.
Since its inception in 1975, Anjali, Texas’ first and premier Indian dance academy, has
blossomed into a renowned institution, under the direction of its Founder, internationally
reputed danseuse Dr. Rathna Kumar. The phenomenal strides achieved in these past thirty
four years mark the institution as a microcosm of joy, energy, awareness, sense of
accomplishment and integrity
Museum of Fine Arts Houston has been an active partner, supporting seminars and
conferences of this nature for the last 5 years. Thanks to Ms. Christine Starkman, Ms.
Margaret Mims and the many staff members of the Museum for providing the facilities,
equipment and manpower to help us run these conferences without a flaw. Mfah has been
the anchor organization working closely with us supporting, encouraging and promoting
Indian art to the Houston art community.

Asia Society Texas Center has been another active partner, supporting our conferences
from the time we started organizing them in the museum in 2004. Thanks to Ms. Martha
Blackwelder and the members of her staff for providing helping us in many ways.

Houston Community College Drawing students from near and far, Houston Community
College mirrors the diversity, openness and opportunity of the world-class city that is
Houston. Since its opening in 1971, more than 1.3 million students have improved their
lives through education and training obtained from HCCS. As an active supporter of our
conferences, HCCS has been our proud partner since our first conference held in 2004.

Display of books on Indian Art Scholars around the world have visited India to get a
firsthand experience of its art forms, culture, civilization, food and other facets. Many books
on these topics are available online at www.amazon.com and other book stores. At the
conference, a limited number of books on Indian art will be displayed. These books are
from private collections, only for viewing and NOT for Sale. Please take a few minutes to
review these books during breaks.

Program book
A colorful program book will be released at the time of inauguration of the conference,
which will be provided FREE of all costs to the registered attendees. The program book
contains conference details, programs and schedules, invited articles and pictures. Limited
number of advertisements and messages from dignitaries are included in the program
book. To advertise in the program book, please contact Mr. Vatsa Kumar

Commissioned art works

Every year since 2003, to coincide with the Art conference / seminar held at the museum,
local artists have been invited to create new art works. This is done to encourage these
artists and also to see that the creation of new works would support the theme of the
conference.

16 artists have come forward to create new art works in various styles of painting traditions
employing a wide range of media, to interpret and reflect the theme of this year’s
conference, in their own original works. These new art works will be on display during the
conference and at the conclusion of the conference; they will be available to the public for
purchase. If you are interested in owning any of these art works, you are requested to
please contact Mr. Vatsa Kumar phone (979)240-9496 or e mail vatsakumar@att.net.

Meet the commissioned artists

As you review and enjoy the commissioned art works commissioned for this conference,
please meet and greet them when you come across them at the lobby or during breaks. I
am sure the artists will be glad to share their experience with you.

Conference badges
To identify the registered attendees at the conference, badges will be issued at the
registration desk. Please pick up your name badges and wear them during the conference.
This will also help us in recognizing the conference attendees easily. You may want to keep
these badges as mementos.
 Dr. John J. Antel
Conference Chair

Provost and Senior Vice President, University of Houston

Senior Vice Chancellor for academic affairs
University of Houston System

Dr.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. Susan Huntington

Invited scholar
Relic veneration at Ajanta and other cave sites
 Dr. John Huntington
Invited scholar

"The Cave as a Whole: A Mahayana Iconology

of the Cave 'Temple'

Dr. David Efurd:

Invited scholar
Patronage at cave sites in the pre-Vakataka
and Vakataka eras, with special attention to
royal and court patronage.

Dr. Lisa Owen

Invited scholar
Understanding Constructions of Buddhist
Ritual Space at Ajanta and Ellora
 Dr. Pia Brancaccio
Invited scholar
Influences of Gandhara Art on Ajanta

Dr. Leela Aditi Wood

Invited scholar
Ajanta Cave 17 - Conservation and its problematics

Dr. Robert Decaroli

Invited scholar
Presence of regional or popular deities in the painting and
sculpture of the site, the ways these supernatural
figures have been depicted at Ajanta - and exploring the
reasons behind these choices
 Dr. John Statdner
Invited scholar
Ajanta and Daksina Kosala

Dr. Chedha Tingsanchali

Invited scholar

Influence of Ajanta art on Eastern Asia

In the following pages, you will be able to review the full length Cvs of all the invited
scholars. The Cvs also list the papers, articles and books published by these
scholars. If you would like to know more about these scholars, please visit their web
sites or you are welcome to contact them directly.

Samskriti is immensely thankful to these scholars who have taken the time off from
their busy schedule, to attend the Houston conference and present their experience
with Ajanta.
 Cvs of the invited scholars

Dr. Walter M. Spink

Professor Emeritus, History of Art,
University of Michigan, Tappan Hall, Ann Arbor, MI 48109-1357

Education
Amherst College, B.A., (summa cum laude) 1949. Harvard University,
M.A. 1950 Art History (Indian Art), Ph.D., 1954
Dissertation: "Rock-cut Monuments of the Andhra Period: Style and Chronology”

Teaching Experience:
1961-2000: Dept History of Art, Univ. of Michigan (Assoc.Prof.1961-70; Prof.1970-2000)
1956-1961: Dept of Fine Arts, Brandeis Univ, (Instr: 56-58; Asst.Prof.58-61; Chair: 59-60
1960: Dept. of Art, Brown University (Visiting lecturer)
1972: Dept. of South Asian Studies University of Chicago (summer)

Major Academic Commitments and Appointments

Consultant / writer- “Some kind of Miracle” film by Internat. Media 01: my view of Ajanta’s
history
Protagonist: It’s written in the Stone, film by Castle Productions: my view of Ajanta’s
development
Director: Annual Ajanta Student Site Seminar, 1975-present: interactive discussions in
caves
Organizer: International Conf. on Ajanta’s Conservation: Feb.1999
Liaison: Indira Gandhi National Center for the Arts & Mus. of Man, for ACSAA Slide Proj
‘70-76
Liaison: Samuel H. Kress Foundation support for ACSAA Slide Project 1986-1996
Director: Smithsonian Institution Project--Ajanta: Research and Documentation, 1983-1986
Director: Phoenix Project: Radiocarbon Dating of Indian Cave Temples, 1981-1990
Director: NEH Photography Project, 1981-1986 with matching funds from U. of Mich.
Produced app. 84,000 original color slides for Color Slide Proj of Am Comm for SAA
Director: Asian Art Archives, University of Michigan, 1962-1996
Director: Color Slide Project: Amer. Comm. for S. Asian Art, 1974-1996
President: The Am Comm for South Asian Art, 72-76 (now Am. Council for Southern A.A.)
Ed. Board: Ars Orientalis, 1963-2000
Co-Editor: ACSAA Microfiche Project, 1975-19 (for major cave sites)
Chairman: Committee of Fine Arts, S Asia Reg. Council, 1974-76
Trustee: American Institute of Indian Studies, 1962-5; 1972-3
Consultant: Smithsonian Institution Consultant in India for AIIS, Winter, 1971
Board of Dir: American Academy of Benares, 1965-1971; Act Dir. Summer 1966
Organizer: Exhibition "The Cult of Krishna": U.of Mich. Museum of Art, 1971
Member: Indian Historical Atlas Committee, 1964-1978
Member: Exec Comm, Center for SE Asian Studies, U.of Michigan 1972-74
Member: Art and Archaeology Comm: A.I.I.S, 1969-76; 1986-1991
Member: South Asia Regional Council, 1972-1976
Honors:
Chief Guest: Age of the Vakatakas symposium. Nagpur University, 1985
Guest of Honor: Int. Sem on the Art of Ajanta and its Significance, Baroda, India, 1988
Keynote “Ajanta, the Ending of the Beginning" 17 th. Annual Conf. on South Asia, 1988
Scholarly panel on my theories at 1) Assoc of Asian Studies National Meeting, 1990;
2) Annual Conf. on S Asia, 1989
Master of Ceremonies (and Consultant) Pala Art Symposium, Dayton Museum 1990
Univ. of Michigan Faculty Recognition Awards 1990 & 1991
Panel at Conf on SA, Univ of Wisconsin: “Site Seminar Revisited” (papers by my students)
Hooker Distinguished Visiting Professorship, McMaster University, March 1993
Listed by Art News as one of "The Great Experts" in Art History
Delegate to Asia Society’s: International Conf.” 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. 1990 s.
CHACHAJI: Professor Walter M. Spink Felicitation Volume (ed. S. Markel) Ars Orientalis
Supplementum 2000. Sponsored by Freer Gallery of Art, Smithsonian Institution,
Department of History of Art, U. of Mich. Articles on WMS’s life and work, bibl. of WMS
writings by colleagues.
Keynote Lec for Colloquium: Indian Culture at the Crossroads (Vakataka Conf Groningen
2002)
Various notices and/or articles on my work in Indian Express, Times of India, Lokmat
Times, Travel and Leisure, The Art Newspaper, JetWings, Ann Arbor Observer, and U of
Mich Record, Alumni mg. LSA Magazine (various years);
Consultant for forthcoming television series (“Nova”) including Ajanta and Ellora. Also writer
and protagonist for two hour-length films on my theories about Ajanta’s history and
development. (See Castle Productions: www.ajantainfo)
“Living Rock”: ACSAA Session in my honor, in conjunction with Ann Mtg of CAA Mar 16, 07
“Exploring Buddhist Cave Temples” Conference in honor of Prof. Walter M. Spink under
auspices of Chung Choo Art Society and Association of Art History and Visual Culture;
Seoul National University and National Museum of Korea, May 21 to 28, 2008
Presenter of Heras Memorial Lectures, Mumbai, January 2 and 3, 2009
Keynote speaker and Consultant, International Conference on Ajanta and Related Sites
(Organized by Samskriti-Center for Indian Performing Arts, Mr. Vatsa Kumar, Organizer,
Houston Texas, April 2009)

Research Grants (listing since 1971)

(Grants obtained earlier than 1971 from Bollingen Foundation, Asian Cultural
Council, Kress Foundation, Association for Asian Studies, Smithsonian Institution,
Southeast Asia Art Foundation, Ford Foundation, National Endowment for the
Humanities, University of Michigan as well as funds raised for Asian Art Archives,
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, 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
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; summer work at Ajanta
1988: Smithsonian Travel Grant to Internat. Seminar on the Art of Ajanta. Baroda, India,
1987-8: NEH Grant for Research at Victoria and Albert Museum, London.
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, 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, LSA Grant through U. of Michigan
1977: Archival Slide Project, American Committee for S Asian Art
1976: 6 month NEH Fellowship for Art and Ideas, East and
1975: AIIS Travel Grant to study cave temples Dec.75 –April 1976
1974&77:Univ.of Michigan Rackham Grant, 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, Smithsonian Inst, AAIS, AAS, Getty, Shastri Foundation, Canada Council,
and Asian Cultural Council
Consultant: Metropolitan Museum S and SE Asia Galleries 1988

Organizations:
Association for Asian Studies, The Asia Society, Bharata Itihasa Samshodhaka Mandala,
Poona (Life Member), Bhandarkar Oriental Research Institute, Poona (Life Member),
American Council for Southern Asian Art, Indian Association of Art Historians, Indian
Archaeology Society (Life Member), College Art Association, Association of University
Professors, Indian National Trust for Art and Cultural Heritage (Life Member)
List of publications:
Books:
Ajanta: History and Development. 6 Volumes (Handbook of Oriental Studies), Leiden 2005

1: The End of the Golden Age. Leiden 2005 2: Arguments about Ajanta. Leiden
2006
3: The Arrival of the Uninvited. Leiden 2006 4: Painting, Sculpture, Architecture: Ajanta:
Year by Year (Leiden 2008) 5 Cave by Cave Leiden 2006 6: Shrines, Cells, Solstices
Leiden 2008

The Journey of Siddhartha (a free translation from Asvaghosa’s Buddhacarita). Mumbai

2000

Ajanta, A Brief History and Guide. Ann Arbor: Asian Art Archives, University of Michigan,
1994.

The Axis of Eros. New York: Schocken Books, 1973. (reprinted: Penguin)

The Quest for Krishna: Paintings and Poetry of the Krishna Legend. Ann Arbor
(Bangladesh relief), 1972.

Krishnamandala: A Devotional Theme in Indian Art. Exhibition catalogue. Ann Arbor: Center
for South and Southeast Asian Studies, University of Michigan, 1971.

Ajanta to Ellora. Ann Arbor: Center for South and Southeast Asian Studies, University of
Michigan, and Bombay: Marg Publications, 1967.

Articles and monographs

“A Disarming Story”, Journal of Indian Anthropology 43:1-20 (2008), pp 1-20

“To Keep One’s Memory Green” for Prof. Dr. Deiter Schlingloff festschrift (2008?)

“The Ajanta Caves”, for Encyclopedia of India, ed S. Wolpert, Scribner’s, NYC 2005 (in
press)

“A New Vakataka Chronology”. In The Ananda-Vana of Indian Art (Dr. Ananda Krishna
Felicitation Volume) edited N. Krishna and M. Krishna, New Delhi, 2004

“The Quest for Krishna”. In H. Dehejia, A Celebration of Love, pp. 30-37, New Delhi, 2004

“Ajanta: A Brief Resume” Card prepared for Maharashtra Tourist Development Corp.
20,000 copies made in English, Marathi and Hindi for distribution at the site. 2004

“The Innocent Evolution of Ajanta’s Technology”. In The Vakatakas: Indian Culture at the
Crossroads, edited by H. Bakker, Groningen, 2004 (in the press)

“Ajanta” and “Ellora”: short articles for Encyclopedia of Britannica’s Art of India, ed. F.
Asher, 03
“Cave 17’s Ceiling: Could it really fly?” paper for International Seminar on Science and
Technology, Delhi 2002. In the press.

Report of Ajanta Site Conference for Indian National Trust for Art and Cultural Heritage,
Feb 99. Distributed by committee to govt officials, participants, and interested scholars.

“Ajanta’s History: A Resume” For ASI: Sarkar Felicitation Volume. Submitted 1999

“Wall Painting [at Ajanta].” In The Dictionary of Art, vol. 15, pp. 553-58. Edited by J. Turner.
New York: Grove Dictionaries, 1996.

“The Earliest Vakataka Cave Shrine: an Anomalous Stupa in the Ghatotkacha Vihara,” vol.
1, pp. 171-80. In Sri Nagabhinandanam: Dr. M. S. Nagaraja Rao Festschrift. Bangalore:
Dr. M. S. Nagaraja Rao Felicitation Committee, 1995.
“Topics for Study and Discussion in the Vakataka Caves at Ajanta and Aurangabad.” In
Indian Painting: Essays in honor of Karl J. Khandalavala, pp. 436-49. Edited by B.N.
Goswamy and U. Bhatia . New Delhi, Lalit Kala Akademi, 1995
“To Keep one’s Memory Green”. Requested by J. of the Siam Society. 1995. Pub. pending.
“A Letter from Ajanta”, paper for The Future of Asia’s Past for Asia Society’s Conference in
Cheng Mai. Distributed at conference. Still unpublished. (1993)
Entries of Ajanta, and Ellora. In Enciclopedia Italiana. Submitted 1993. Publ.?
“The End of Imagery at Ajanta.” In New Trends in Indian Art and Archaeology: S. R. Rao’s
70th Birthday Felicitation Volume, vol. 2, pp. 337-48. Edited by B.U. Nayak and N.C.
Ghosh. New Delhi: Aditya Prakashan, 1992.
“The Vakataka Caves at Ajanta and their Successors.” In Reappraising Gupta History:
Festschrift honoring Srirama Goyala, pp. 248-62. Ed B. C. Chhabral. New Delhi:
Aditya Prakashan, 92.
“The Caves at Ajanta.” Archaeology 45:6 (November-December 1992): 52-60.
“The Warlis.” (With A. Rane) Pathik 3:3 (April 1992): 8-10.
“Ajanta in a Historical and Political Context (Continued): Reply to K. Khandalavala, A.
Jamkhedkar, B. Deshpande,” Pathik 3:4 (July 1992): 16-25.
“Before the Fall: Pride and Piety at Ajanta.” In The Powers of Art: Patronage in Indian
Culture, pp. 65-77. Edited by B.S. Miller. New Delhi: Oxford University Press, 1992.
“The Achievement of Ajanta.” In The Age of the Vakatakas, pp. 177-202. Edited by A.M.
Shastri. New Delhi: Harman Publishing House, 1992.
“The Vakatakas’ Flowering and Fall.” In Proceedings of International Seminar on The Art of
Ajanta, pp. 213-42. Edited by R. Parimoo. 1991; and in The Art of Ajanta: New
Perspectives, pp. 71-99. Edited by R. Parimoo, et al. New Delhi: Books & Books, 1991.
“The Archaeology of Ajanta.” Ars Orientalis 21 (1991): 67-94.
“Notes on Buddha Images.” In The Art of Ajanta: New Perspectives, pp. 213-41. Edited by
R. Parimoo, et al. New Delhi: Books & Books, 1991.
“Ajanta in a Historical and Political Context.” Pathik 2:1 (September 1990): 5-17.
“A Recently Discovered Buddha Image at Aurangabad,” In Ratna-Chandrika: Panorama of
Oriental Studies (Shri R.C. Agrawala Festschrift), pp. 189-96. Edited by. D. Handa & A.
Agrawal. New Delhi: Harman Publishing House, 1989.
“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. 235-
82. 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).
Conference papers and invited lectures:
2008 October: “The pottery from Bajaur: A window into the late Gandharan tradition.”
Invited lecture presented at the ‘Afghanistan Meeting 2008,' Institute for Research In
Humanities, Kyoto University, Japan.
2008 May: “Repositioning the caityagrha: a fresh look into the early Buddhist rock-cut
tradition of the Western Deccan.” Invited lecture presented at Seoul National University,
Korea.

2008 April: “Satavahana Terracottas between Tradition and Innovation: An exploration of

Sources and Transmission of Models.” Paper presented at the international conference “A
Pantheon Rediscovered. Changing Perceptions of Early Historic India?”
Yale University, New Haven.

2008 January: “ Dionysiac Traditions, Drama, and the Development of a Buddhist Culture in
Gandhara.” Poster presented in collaboration with Professor Xinru Liu from The College of
New Jersey at the Annual Mtg of the American Association of Historian, Washington DC.

2007 September: “Art and Religious Identities in the Early Buddhist Communities of South
Asia.” Invited lecture presented at The College of New Jersey, Ewing.

2007 July: “The rock cut complex of Aurangabad: continuity and change in Buddhist art at
the threshold of the 7th century." Paper presented at 18th International Conference of the
European Association for South Asian Archaeology, Universita’ degli Studi di Ravenna,
Italy.

2007 Feb “Living Rock.” Session chaired at the Annual College Art Association Conf. N.Y.

2006 December: “Trade, religion and politics: The multicultural matrix of Ancient
Gandhara.” Public lecture at The Metropolitan Museum of Art, New York.

2006 April: “The genesis of Buddhist visual narratives in South Asia.” Invited lecture at The
New School, New York.

2005 August: “The construction of a visual biography of Sakyamuni: evidence from early
Buddhist sites.” Paper presented at the 19th Conference of the International Association of
Buddhist Studies, School of Oriental and African Studies, London.

2005 July: “Molding the West: Terracottas, molds and the circulation of western models on
the Deccan Plateau.” Paper presented at the 17th International Conference of the European
Association of South Asian Archaeology, British Museum, London.

2005 June: “Il Buddha a Bharhut fra darsanas e jatakas.” Invited lecture at the Univesita’
degli Studi di Napoli ‘L’Orientale’, Italy.

2004 May: “The Making of a Life: Re-reading Bharhut Sculpture.” Paper presented at the
10th American Committee for South Asian Art) Conference, Peabody Essex Museum,
Salem.

2003 October: “The Construction of a Visual Biography of the Buddha: The Beginnings at
Bharhut.” Paper presented at the International Conference “The Life of the Buddha: New
Directions in Research,” Mc Master University and University of Toronto Mississauga,
Canada.

2002 July: “Indian Ocean Trade: Archaeological evidence from the Satavahana period.”
Lecture presented at the NEH Summer Seminar on the Indian Ocean, University of
Pennsylvania, Philadelphia.

2001 July: “Perceptions of the “West” and “Westerners” in Satavahana Times: The
Archaeological Evidence.” Paper presented at 16th International Conference of the
European Association of South Asian Archaeology, Collège de France, Paris.

2000 November: “Close Encounters: Multicultural Systems in Ancient India.” Paper

presented at the International Conference “On the Cusp of an Era: Art in the Pre Kusana
World,” Nelson-Atkins Museum of Art, Kansas City.

1999 May: “Devotion to the Buddha: A Reinterpretation of the Evidence from Votive
Stupas.” Paper presented at the International Conference on “Gandharan Buddhism: An
Interdisciplinary Approach,” McMaster University, Hamilton, Canada.

1999 February: “The Archaeology of Occidentalism” Paper presented at the Annual CAA
Conference, Los Angeles.

1998 February: "Satavahana Terracottas: proposed connections with the Mediterranean

Tradition." Paper presented at the International Conference on Indian Terracottas, Indian
Museum, Calcutta.

1997 June: “India and Rome.” Lecture presented at the Getty Research Institute, LA

1996 May: “The Caves at Aurangabad: A Forgotten Buddhist Sanctuary.” Paper presented
at the 7th ACSAA (American Comm for South Asian Art) Conference, Univ of Minnesota.
1995 October: “The Caves at Aurangabad: The Impact of the Laity.” Paper presented at
the 24th Annual Conference on South Asian Studies, University of Madison, Wisconsin.

Grants and awards

2005: Buddha Dharma Kyokai Foundation Grant for the publication of the book Gandharan
Buddhism: Art, Archaeology and Texts.

1999: CAA International Travel Grant.

1998-99: Post-doctoral Research Fellowship, Istituto Universitario Orientale, Napoli, Italy.

1994: Dissertation Fellowship, Istituto Universitario Orientale, Napoli, Italy, for research
conducted at the University of Michigan in Ann Arbor. Advisor: Prof. W. Spink.

1993: Dissertation Fellowship, I.U.O. Napoli, Italy, for research conducted at the Institut
d'Indologie du Collège de France and Musée Guimet, Paris, France. Advisor: Prof. G.
Fussmann.

1992: University of Michigan Fellowship to attend the Ajanta Summer Seminar in India.

1990-91: Indian Government and Is.M.E.O. Fellowship for research conducted at the
Deccan College Postgraduate and Research Institute, Pune, India.

Professional Associations
Affiliated Faculty Member of the South Asia Center, University of Pennsylvania
American Committee for South Asian Art, Member
International Association for Buddhist Studies, Member
European Association for South Asian Archaeology, Member
College Art Association, Member
American Association for Asian Studies, Member
American Institute for Pakistan Studies, Member

Archaeological excavations
1997 to present: Team Member. Italian Archaeological Mission in Pakistan (Is.I.A.O.)
Director: Prof. P. Callieri.

1992: Excavations at Paestum, Italy sponsored by the I.U.O., Napoli, Italy.

Director: Prof. E. Greco.

1991: Excavations at Baghi Mahari, India sponsored by the Deccan College Postgraduate
and Research Institute, Pune. Director: Prof. G.B. Deglurkar.
1989: Excavations and drawings of material from the site of Gyoma-Endrod, Hungary
sponsored by the I.U.O. Napoli, Italy. Director: Prof. B. Genito.

Languages
Modern: (speaking and reading fluency): Italian, French, German, Chinese, colloquial Hindi.
Ancient (reading fluency): Sanskrit, Classical Chinese, Latin, Greek.

Dr. David Efurd

Visiting Assistant Professor, Department of Art History
Skidmore College, Saratoga Springs, NY. 12866

Education

Ph.D., History of Art (South Asia), June 2008.The Ohio State University, Columbus, Ohio
Title of Dissertation: Early Buddhist Caves of Western India ca. Second Century BCE
through the Third Century CE: Core Elements, Functions, and Buddhist Practices

M.A., Art History (South Asia ), May 1999. University of Georgia,Athens, Georgia
Title of thesis: Early Iconography of the Indian Sun-god Sūrya

B.F.A., Fine Arts, May 1993. Cornell University,Ithaca, New York

Conference papers and symposia

“Caitya Hall, Caityagṛha: Relic Veneration at South Asian Buddhist Cave Sites from the
Early Historic Period,” Association for Asian Studies Annual Meeting, March 2009
(forthcoming).

“Patronage, Community, and the Form of Early Buddhist Caves,” Huntington Symposium,
October 2008.

“The Appropriation and Reuse of Early Buddhist Cave Sites in Maharashtra,” American
Council for Southern Asian Art Symposium XII, October 2005.

“Trade and Occupation: Cultural Interactions and the Resulting Artistic Production in the
Indian Deccan,” Association of Ancient Historians Annual Conference, May 2005.

“Cave Monasteries of Early Buddhism,” Melāvo: Mid-Year Conference for U.S. Fulbrighters
in South Asia, Goa , February 2004.
Panel Chairman,“‘Reading’ the Art of Buddhism,” Midwest Conf on Asian Affairs, 2002.

“The Long Arm of the Law: The Body of the Buddha and Anthropometry in Gandharan Art,”
Midwest Conference on Asian Affairs, 2002.

“Flaming Shoulders: An Iconographic Reemergence During the Kushana Dynasty,”

Midwest Conference on Asian History and Culture, 2002.

Publications

“Caitya Halls: Evidence of a Rock-Cut Architectural Tradition in the Vicinity of Karāḍ,

Southern Mahārāṣṭra ,” South Asian Studies 22 (2006): 11-22.

“Jacopo d’Arcangelo del Sellaio’s Christ with Instruments of the Passion,” in Jeannine
O'Grody, ed., The Kress Collection at the Birmingham Museum of Art, ( New York :
Hudson Hills, forthcoming 2009).

“Reassessing the Distribution of Caitya Halls among Buddhist Rock-Cut Sites in Western
Maharashtra , India ,” in Cathryn Baack, ed., 2005 Edward F. Hayes Graduate Research
Forum Proceedings, Volume 5 ( Columbus , Ohio : Council of Graduate Students at The
Ohio State University , 2005), 23-40.

“Mahasiddha Luipa,” in John Huntington, Dina Bangdel, et al., Circle of Bliss: Buddhist
Meditational Art ( Chicago : Serindia Publications, 2003), 139-140.

“Mahasiddha Virupa,” in John Huntington, Dina Bangdel, et al., Circle of Bliss: Buddhist
Meditational Art ( Chicago : Serindia Publications, 2003), 141-142.

Teaching appointments
Visiting Assistant Professor, Department of Art History, Skidmore College, 2008-2009.

Instructor, History of Art 213: Visual Cultures of Asia, The Ohio State
University, Winter 2008 and Summer 2003.

Co-instructor, History of Art 213: Visual Cultures of Asia, The Ohio State University,
Spring 2008, Winter 2006, Autumn 2005, Summer 2005, Spring 2005, Win 2003, and Win
2002.

Co-instructor, History of Art 211:Medieval and Renaissance Art, The Ohio State University,
Winter 2005.

Graduate Teaching Associate, History of Art Department, The OSU 2004-2006; 2000-2003.

Instructor, Art History 2100: Monuments of World Art, University of Georgia, Spring 1999.

Teaching Assistant, Department of Art History, University of Georgia, 1996-1999.

Honors and Awards

Presidential Dissertation Fellow, The Ohio State University, 2006-2007.

Fulbright-Hays Doctoral Dissertation Research Abroad Grant (DDRA), India , 2003-2004.

Fulbright Grant, India, 2003-2004 (declined in favor of Fulbright-Hays award).

International Dissertation Research Travel Grant, Office of International Affairs, The Ohio
State University , Summer 2002.

Foreign Language Enhancement Program (FLEP) Scholarship, Intensive Hindi, University

of Wisconsin-Madison, Summer 2002.

Foreign Language Enhancement Program (FLEP) Scholarship, Third-year Intensive

Sanskrit, University of Chicago , Summer 2001.

Graduate Teaching Associate, the Ohio State University, 2000-2003.

University Graduate Fellow, the Ohio State University Graduate School, 1999-2000.

Departmental Graduate Assistant, University of Georgia, 1998-1999.

University-Wide Graduate Assistant, University of Georgia, 1996-1998. Research and travel

in Asia

India

Dissertation Research, “The Origin, Development, and Function of Early Rock-cut

Architecture in India ,” a nine-month research project supported by the Fulbright-Hays
Doctoral Dissertation Research Abroad Grant (DDRA), 2003-2004.

Preliminary Dissertation Research, Buddhist cave sites in Mahārāshtra , India , supported

by an International Dissertation Research Travel Grant, Summer 2002.

Ajanta Site Seminar, conducted by Dr. Walter Spink at the Buddhist caves of Ajanta,
Aurangabad, Ellora, and Pitalkhora, Summer 1999.

Korea
Visits to sites in Kyongju, including rock-cut sculptures on Mt. Namsan , the Sokkuram
cave, and Buddhist Monastery Pulguksa, December 2001- January 2002.

Dr. Lisa N. Owen

Assistant Professor of Art History, University of North Texas,
College of Visual Arts and Design, Denton TX

Education
2006 : Ph.D., Art History, The University of Texas at Austin
Dissertation: “Beyond Buddhist and Brahmanical Activity: The Place of the Jain Rock-Cut
Excavations at Ellora.” Advisor: Janice Leoshko; Committee: Patrick Olivelle, Michael
Charlesworth, Penelope Davies, Oliver Freiberger
1997: M.A., Art History, The University of Texas at Austin
Thesis: “Locating the Buddha: Ajanta’s Place in Western India’s Rock-Cut Excavations.”
Advisor: Janice Leoshko; Second Reader: Gregory Schopen
1991 : B.A., Art History, California State University at Long Beach
1988 : A.S., Mt. San Antonio College, Walnut, CA
Publications
Forthcoming : “Kings or Ascetics? Evidence of Patronage in Ellora’s Jain Caves.” Artibus
Asiae (2010-11)

Forthcoming “Representations of Wealth, Fecundity, and Protection at Ellora,” in Steven

E. Lindquist, ed., Essays on South Asia in Honor of Patrick Olivelle, Firenze: Firenze
University Press (2009-10)

Forthcoming “Demarcating Sacred Space: The Jina Images at Kalugumalai,” in Peter

Flügel, ed., Jaina Sacred Places, London: Routledge (2009)

Forthcoming “Absence and Presence: Worshipping the Jina at Ellora,” in Himanshu Prabha
Ray, ed., Archaeology and Text: The Temple in South Asia, Oxford: Oxford Centre for
Hindu Studies (2009)

2006 “ Depicting a Jain Assembly: Representations of the Samavasarana at Ellora,”

Jinamanjari 34, no. 2 (October 2006): 44-60

2001 “Constructing Another Perspective for Ajanta’s Fifth-Century Excavations,” Journal of

the International Association of Buddhist Studies 24.1 (2001): 27-59

1994 Owen, Lisa and Nina Roy, “The Peaceful Liberators: Jain Art from India,” 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,” 37th annual conference on
South Asia, Center for South Asia, University of Wisconsin-Madison, October 2008

2008 “Sculpture or Architecture? Reconsidering Jain Rock-Cut Monuments in Tamil Nadu,”

Jainism in South India, Southern Methodist University, September 2008

2008 “Demarcating Sacred Space: The Jina Images at Kalugumalai,” 10th Jaina Studies
Workshop, Centre of Jaina Studies, School of Oriental and African Studies (SOAS),
University of London, England, March 2008

2007 “Absence and Presence: Worshipping the Jina at Ellora,” Shivdasani Conference on
Archaeology and Text: The Temple in South Asia, Oxford Centre for Hindu Studies,
University of Oxford, England, October 2007

2007 “Representations of Wealth, Fecundity, and Protection at Ellora,” 36th annual

conference on South Asia, Center for South Asia, University of Wisconsin-Madison,
October 2007

2007 “Kings or Ascetics? Evidence of Patronage in Ellora’s Jain Caves,” annual Sri Roop
Lal Jain Lecture, Centre for South Asian Studies, University of Toronto, Canada, April 2007

2007 “Who Pays for Art? The Case of Ellora’s Jain Caves,” Chander Mohan Jain Memorial
Lecture Series, Huron University College, Canada, April 2007

2007 “Carving the Divine/Carving the Liberated: Articulations of ‘Presence’ in Ellora’s

Hindu and Jain Cave-Temples,” College Art Association, 95th annual conference, New
York, Feb 07

2005 “Excavating a Multi-Religious Site: Ellora in the Eighth and Ninth Centuries,”
Association for Asian Studies Annual Meeting, April 2005
2004 “Carving Devotion at Ellora,” Concordia University, Montreal, QC, Shastri Indo-
Canadian Institute lecture series, March 2004

2002 “In Perpetual Homage: Images of Devotees in Ellora’s Jain Excavations,” University
of Virginia, Center for South Asian Studies, February 2002

2001 “Patronage and Practice: Representations of Donors and Devotees at Ellora,”

American Council for Southern Asian Art, Symposium X, Baltimore, MD, November 2001

1998 “Locating the Buddha: Ajanta’s Place in Western India’s Rock-Cut Excavations,”
American Council for Southern Asian Art, Symposium VIII, Charleston, SC, October 1998

Invited museum lectures and gallery talks

2009 “Expressions of Divinity and Liberation in Jain Art,” Norton Simon Museum of Art,
Pasadena, CA. Invited lecture on the museum’s permanent collection of Jain art, Feb 2009

2009 “Seeing the Goddess in Motion: A Processional Image of Parvati,” Kimbell Art
Museum, Ft. Worth, TX. Invited lecture as part of the museum’s Art in Context series,
January 2009

2008 Texas Collects Asia: Indian and Southeast Asian Art, Trammell and Margaret Crow
Collection of Asian Art, Dallas, TX. Invited participant in the scholar’s panel for this
symposium, April 2008

2007 “Articulating Space and Time in Indian Painting,” Dallas Museum of Art, Dallas, TX.
Invited gallery talk for the exhibition Domains of Wonder: Selected Masterworks of Indian
Painting, December 2007

1998 “Other Worldly Visions: Persian and Indian Paintings from the Arthur M. Sackler
Gallery at the Smithsonian Institution,” Jack S. Blanton Museum of Art, UT Austin, March
1998

1997 “Heaven on Earth: Art and Experience at Ajanta,” Amarillo Museum of Art, Amarillo,
TX. Invited lecture for the exhibition Boundaries and Transformations: Masterworks of
Indian and Southeast Asian Sculpture from the Collection of Dr. and Mrs. William T. Price,
September 1997

Academic awards and research grants

2008-09 Faculty Research Grant (REG), UNT, for fieldwork in India during summer 2009
2008-09 Charn Uswachoke International Development Fund Grant, UNT. This award
provides air transportation, food, and lodging for two UNT graduate students to assist me in
fieldwork in India during summer 2009
2008 Junior Faculty Summer Research Fellowship, UNT, for research at the American
Institute of Indian Studies Photo Archive at the University of Pennsylvania
2007 Junior Faculty Summer Research Fellowship, UNT, for fieldwork in India, sum 07

2006-07 Faculty Research Grant (RIG), UNT, for fieldwork in India during summer 2007

2005 Professional Development Award, Office of Graduate Studies, UT Austin

2004-05 Marshall F. Wells Scholarship/ Fellowship Endowment, College of Fine Arts, UT

Austin

2003-04 Dean’s Graduate Research Fellowship, College of Fine Arts, UT Austin

2002-03 Marshall F. Wells Scholarship/ Fellowship Endowment, College of Fine Arts, UT
Austin

2001-02 M.K. Hage Endowed Scholarship in Fine Arts, UT Austin

2000-01 Fulbright-Hays DDRA fellowship for 12 months of research in India, awarded by

the U.S. Department of Education

2000-01 David Bruton Jr. Fellowship, UT Austin

1998-99 Foreign Language Area Studies Scholarship (FLAS) for Hindi, UT Austin

1998 American Institute of Indian Studies Language Program (funded by FLAS) for 3
months of intensive language work in Udaipur, India

1997-98 Foreign Language Area Studies Scholarship (FLAS) for Hindi, 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, University of North Texas, College of
Visual Arts and Design, Denton TX

2005: Adjunct Instructor, Concordia Univ, Department of Religion, Montreal, QC, Canada

2002-03: Assistant Instructor, UT Austin, Department of Art & Art History, Austin, TX

1995-2002: Teaching Assistant, UT Austin, Department of Art & Art History, Austin, TX

1994: Curatorial Assistant, Los Angeles County Museum of Art, Indian and Southeast
Asian Art Department, Los Angeles, CA, 03/94-08/94

1993-94: Curatorial Intern, Los Angeles County Museum of Art, Indian and Southeast Asian
Art Department, Los Angeles, CA

1992-93: Curatorial Intern, Huntington Library and Art Collections, San Marino, CA, 06/92-
06/93

Professional memberships
American Council for Southern Asian Art, College Art Association, Association for Asian
Studies, India Association of North Texas, Dallas Museum of Art, Trammell and Margaret
Crow Collection of Asian Art, Indian Classical Music Circle of Dallas

Languages
Sanskrit (reading), Hindi (reading and limited speaking), and German (reading)
Dr. Chedha Tingsanchali
Qualification: B.A. (History of Art) Silpakorn University , Bangkok Thailand
M.A. (History of Art) Silpakorn University , Bangkok Thailand
Ph.D. (History of Art) National Museum Institute of History of Art, Conservation and
Museology, New Delhi , India
M.A. Thesis: Analysis of Two-Hand Vitarka Mudrā Buddha Images in Dvāravatī Art
Ph.D.Thesis: Saptamahāsthāna: Concepts and the modes of depiction in Indian and
Southeast Asian Art
Profession & Office Lecturer of Department of History of Art, Faculty of Archaeology,
Silpakorn University, Na Pralan Road, Pra Nakorn District, Bangkok Thailand
Subjects: Indian and Southeast Asian Arts

Dr. John C. Huntington

Education :
Ph.D. 1968: University of California at Los Angeles, Specialization: Buddhist Art in East and
Inner Asia
M.A. 1965: University of California at Los Angeles , Specialization: Studio (Ceramics,
Jewelry, Design, etc.)
B.A.1961: University of California at Los Angeles

Honors :
The Ohio State University Distinguished Research Award for 1981 (Included an
undesignated research award of $9,000.00 and an honorarium of $1,500.00). Research
resulted in publications V: 23 and V:17.

Bluett Centenary Award [1884-1984] for the paper contributing the most to Chinese Art
Historical Studies, First Prize of $1,500 for publication V:23.

American Institute of Indian Studies "Superior Scholar/Indologist in the Humanities" award,

8 Dec 1987. Carries a National Endowment for the Humanities grant of $5,520.00.
Elected to Alpha Epsilon Chapter of the Phi Beta Delta Honor Soc for Int Scholars, May
1988

Named the "Bliss M. and Mildred A. Wiant Designated Professor in Chinese Literature and
Culture" for the term 1 October 1988 through 30 September 1992.

Recent research and travel experience

Winter 2002-03, Nepal Additional Photographic documentation

Summer 2007 India, New high resolution digital photos of previously photographed
monuments
Bibliography:
Books and catalogs
I:1. Oceanic Art, exhibition catalog, Fullerton , California,1966.
I:2. The Phur-pa: Tibetan Ritual Daggers, Artibus Asiae Supplementum, vol. XXXIII,
Ascona, 1975
I:3. Co-author (with Susan L, Huntington) Leaves from the Bodhi Tree: The Art of Påla India
(8th - 12th Centuries) and its International Legacy, Dayton Art Institute, Dayton Ohio, 1990.
I:4 Co-curator and co-author (with Dina Bangdel), The Circle of Bliss, Buddhist Meditational
Art, Chicago, Serindia and Columbus, The Columbus Museum of Art, 2003

II. Books and catalogs contributed to

II: 1. The Art of the Indian Subcontinent, exhibition catalog, edited by J. Le Roy Davidson,
Los Angeles, 1968.

II:2. The Art of Ancient India: Buddhist Hindu and Jain, (principal author, Susan L.
Huntington), Tokyo: John Weather hill, 1985.

II:3 Mirrors of the Heart Mind: The Rezk Collection of Tibetan Art from the Permanent
collection of the Southern Alleghenies Museum of Art, Loretto (Pennsylvania), The
Southern Alleghenies Museum of Art, 1998 Co-edited entire catalogue

Prepared essays:
"Introduction", "Popular Buddhism in Tibet" , "Tantric or Yogic Buddhism: the Inner Being
and the Methodology of Salvation", "Vajrasattva, the Practitioner as Adamantine Being",
"Adi Buddha: The Definition of "Highest" Buddha-Nature"

III. Archival publications:

(Principal Investigator/Project Director and primary photographer for the following)
III:1. American Committee for South Asian Art Microfiche Archive, Ku≈å∫a Archive, edited
by Susan L. Huntington, Leiden, 1975.
III:2. Gupta Archive, edited by Susan L. Huntington, Leiden, 1975.
III:3. Western Cave Archive, edited by Walter M. Spink, Leiden, 1975.
III:4. Gandhåra Archive, edited by Susan L. Huntington and Janice L. Dundon (Leoshko),
Leiden, 1980.

(W) Major web publications

(SUPERVISE AND RESPONSIBLE FOR THE CONTENT OF THE WEB PUBLICATION OF THE
FOLLOWING)

W01. MAPS OF ASIA (ALL ORIGINAL JCH DRAWINGS). AT: HTTP://KALADARSHAN.ARTS.OHIO-

STATE.EDU/MAPS/MAPINDEX.HTML. SET UP IN 1997 WITH ONGOING ADDITIONS TO DATE.

W02. LOST AND STOLEN IMAGES OF AFGHANISTAN. AT: HTTP://KALADARSHAN.ARTS.OHIO-

STATE.EDU/LOSTSTOLEN/AFGHAN/GLASS/A1002M.HTML. SET UP IN 1997

W03. NEPALESE BUDDHIST ART. AT: HTTP://KALADARSHAN.ARTS.OHIO-

STATE.EDU/NEPAL/NEPAL.HTML. SET UP IN 1997.

W04. Exhibition: The Art of Doshu Kanayama. At: http://kaladarshan.arts.ohio-

state.edu/exhib/kaney/pgs/kaneintr.html. Set up in 1998.
W05. Mirrors of the Heart Mind: The Rezk Collection of Tibetan Art from the Permanent
collection of the Southern Alleghenies Museum of Art, Posted June 1998 at:
http://kaladarshan.arts.ohio-state.edu/exhib/sama/samaintr.html

W06. Chinese Buddhist Art. At: http://kaladarshan.arts.ohio-state.edu/China/Chnhp.html

Posted in 1999.

W07. (With Dina Bangdel) The Circle of Bliss: Buddhist Meditational Art. At:
http://kaladarshan.arts.ohio-state.edu/exhib/circleofbliss/index.html

V. Articles :

(Note: for purposes of this "short Vitae" only the eight most recent articles are listed and no
forthcoming articles are listed)

V33. "The Lomas Risi Visualization Project," in anon. The Processing of Perception,
Columbus, The Ohio State University Presses, 1995, pp. 18-19.

V:34. "Rebirth in Amitåbha's Sukhåvatª," to be in The Pure Land Tradition: History and
Development, edited by James Foard and Michael Solomon, and Richard K. Payne
Berkeley Buddhist Studies Series, 1996, pp. 43-105.

V:35 With Dina Bangdel, "Recreating an Almost-Lost Subject in Newar Buddhist Art: The
Svayambh¥ Jyotir¥pa," in Orientations, vol. 27:7 July/august 1996, pp. 45-50.

V: 36. "The Study and Teaching of Buddhist Art and Iconography using Computer
Technology." (Invited article) to appear in a special issue of The Pacific World: Journal of
the institute of Buddhist Studies. March 1997

V: 37. Four Articles in: William M. Johnston, ed., Encyclopedia of Monasticism: two vols.,
Chicago and London, Fitzroy and Dearborn publishers, 2000.
“Buddhist Monasteries in Southern Asia,” I:55-66; (With Chaya Chandrasekhar)
“Mandala,” II: 808-815,“Mount Meru,” II: 895-901 “Stupa,” II: 1204-1212

V: 38. The Buddhas of Bamiyan” In Archaeological Odyssey July August 2001 pp. 35-39,
58

V: 39 “A Case Study in Religious Continuity: The Nepal-Bengal Connection,” in

Orientations, vol. 32, N. 7 (Sept 2001, pp. 63-70. (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,” in
Orientations, vol. 34: 8 October 2003, pp. 32-40 and 56-64 respectively

V: 41. “A Broken Date In Paris, A Review of the Catalogue Art of the Ganges Delta”
Orientations, October 2008. Lead article.

IX. Published photographs

Through supplying photographs to various publications, to various authors for use in their
articles and books and through the archival publications listed above (section III), I have
published more than 20,000 photographs. Due to its potential size, no separate list of
published photographs is maintained in the usual manner.
Exhibitions

10. Mirrors Of The Heart-Mind: The Rezk Collection Of Tibetan Art:

Southern Alleghenies Museum of Art, June 13, 1998 through September 1998. Conceived
of managed a project in which 14 students created an exhibition of Tibetan including
condition reports, the didactics, and the essays for the catalog. Fall 1887, through June 13,
1998

11. The Circle of Bliss: Buddhist Meditational Art:

Los Angeles County Museum of Art, October 6 to December 31, 2003 and Columbus
Museum of Art, February 6 to May 15, 2004. Organizing curator and subsequently co-
curator (with Dina Bangdel) project involved 20 students from the OSU Art History program
in writing sections for the catalog.

Dr. Donald M. Stadtner

Walnut Creek, CA.

Education
M.A. l972 University of Michigan, Ann Arbor (Department of Art History - Asian Art)
Ph.D. 1976 University of California, Berkeley (Department of Art History – Indian art)

Professional employment
1976 - 82 Assistant Professor, University of Texas, Austin, Department of Art
1982 - 91 Associate Professor, University of Texas, Austin, Department of Art
1992 - 97 University of London, SOAS (Sotheby’s Education Institute; part-time appointment)
1997 - now Stadtner & Associates (research firm, Indian & Southeast Asian Art)

Awards and grants: (since l981)

Fulbright Fellowship (1981) - India
Smithsonian Institution (l985) - Burma
Smithsonian Institution (1987) - Burma
National Endowment for the Humanities (1987) – India
Regents’ Fellowship – University of Texas (l989-1991) – Burma
Luce Fellowship, Association for Asian Studies (1991-1992) – Burma / U.K.

Publications (partial list, since l990)

Books
Art of Southeast Asia, Abrams, New York, l998, Albert Le Bonheur, (gen. ed.)
Contributed : “The Art of Burma”
The Art of Burma : New Studies. Editor and Contributor, Marg Publications, Bombay, l999
Ancient Pagan, River Books, 2005
Sacred Sites of Burma, River Books (2008, forthcoming)

Articles
“A Fifteenth-Century Buddhist Monument and the Seven Stations in Buddhist Art”,
The Art Bulletin, LXXIII, 2 (1991)
“New Approaches in South Asian Art” The Art Journal, Guest Editor, Special number on Indian
Art, Winter, l990
“The Little Clay Cart in Early Mathura”, Orientations, February, l996
“Revisiting the Shahi Sculpture of Afghanistan”, Orientations, October, l999
“Sharing the Load of the Lord : Crossing the Yamuna”, Ars Orientalis, Supplement I, 2000
“An ‘Extraordinary folly’?”, Archaeology, May-June, 2000
“Two Fifth-Century Bodhisattvas from Afghanistan”, South Asian Studies, XVI, 2000
“Burma on the Eve of the Modern Era”, Orientations, April, 2001
“The Mon of Lower Burma”, Journal of the Siam Society, 2008

Invited lectures (since l995)

The Changing Face of Bodh Gaya and a Buddhist Revival in l5th-century Burma, Society for
South Asian Studies, London, February, l995
Bo-daw-hpaya’s Royal Pagoda at Mingun”, 6th International Conference of European
Association of Southeast Asian Archaeologists, Leiden, l996
The Little Clay Cart in Kushan Mathura, Indian Art Circle, London, l996
A Royal Pagoda in Burma, The Asia Society, New York, l999
Coaxing or Hoaxing: Why Anomalies Matter in the History of Art, College Art Association,
Los Angeles, l999
Two Important Fifth-Century Avalokitesvaras from Afghanistan, 15th International Conference
on South Asian Archaeology, Leiden, July, l999
The Hindu Virus in Burmese Art, Indian Art Circle, London, 2001
The Seven Weeks of the Buddha and Royal Monuments in Thailand and Burma, The Siam
Society, Bangkok, 2002

Dr. Robert Daniel DeCaroli

Associate Professor, George Mason University
Department of History and Art History, Fairfax, VA 22030

Education

1999:Ph.D.: University of California, Los Angeles Department of Art History

1997: Advanced to Candidacy for Doctorate: UCLA Department of Art

History, specialization in the Arts of South and Southeast Asia with a minor specialization in
Buddhist Studies.

1995: Masters Degree: UCLA Department of Art History, major emphasis on the Art of
South and Southeast Asia with minor focuses on Classical Greco-Roman and Chinese art.

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). Department of History and Art History,
George Mason University.
1999-2005: Assistant Professor. Dept of History and Art History, George Mason
University
1998-1999: Lecturer. Loyola Marymount University.
Sum 1998: Lecturer. UCLA.
Grants and Awards

2007: Getty Research Institute Visiting Scholar Grant

2006, 2002: South and Southeast Asian Art editor for the NEH funded World History
Matters project
2003:GMU University Teaching Excellence Award.
2001:Mathy Junior Faculty Funding for research in Cambodia, Burma (Myanmar) and
Thailand
1997 - 1998: Asian Cultural Council Travel Grant
1995 - 1996: Edward A. Dickson History of Art Fellowship

Publications:
Books

Haunting the Buddha: Indian Popular Religions and the Formation of Buddhism. New York:
Oxford University Press USA, September 2004

In progress: Image Problems: Art, Text and the Development of the Buddha Image in Early
South Asia. (working title)

Articles and Book Chapters

“Shedding Skins: Naga Imagery and Layers of Meaning in South Asian Buddhist
Contexts”in Stupas. A. Shimada and J. Hawkes eds. Oxford University Press, India. (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. David Whitley ed.
Archaeology of Religion series, Alta Mira Press. 2008.

“From the Living Rock: Understanding Images in Early South Asia” in What’s the Use of
Art?: Asian Visual and Material Culture in Context. J Mrazek and M Pitelka eds. University
of Hawaii Press. 2008.

“Buddhist Sculpture” in Encyclopedia of India. Stanley Wolpert ed. Detroit: Charles

Scribner’s Sons - Thomson Gale, 2005.

“Reading Bhaja: A Non-Narrative Interpretation of the Vihara 19 Reliefs.” East and West.
vol. 50. 2000.

“Fertile Images: An Exploration of the Social and Supernatural Functions of Betel in India.”
In the Catalogue of the Fowler Museum’s Chewing Culture: The Art of Betel in Asia and the
Pacific. (pending).

Bibliography of South and Southeast Asian Art and Archaeology 1992-1993. vol. 8. Austin:
American Council for Southern Asian Art. Kurt Behrendt ed. 1998. contributing author.

“Laukika or Folk Religion as an Iconographic Link Between the Indus Culture and Jainism.”
Jinamanjari: International Journal of Contemporary Jaina Reflections. vol. 13. no. 1. April
1996.

“An Analysis of Dandin’s Dasakumaracarita and its Implications for Both the Vakataka and
Pallava Courts.” Journal of the American Oriental Society. vol. 115. no. 4. October 1995.
“Cosmic Geography: An Analysis of Programmatic Decoration in the Buddhist Stupa-Pillar
Caves of Kuca.” Journal of Asian Culture. vol. 17. 1994-95.

Selected Presentations

Invited Discussant and Respondent at “Nativism in Buddhism Conference” held in

Dusseldorf, Germany sponsored by EKO – Haus. September 2008.

Bodhgaya: Pilgrimage at the Seat of Enlightnment: Invited Lecture at the Smithsonian

Institution. Part of the “Sacred Spaces and Spiritual Journeys” series. July 9, 2008

Shedding Skins: Naga Imagery and Layers of Meaning in South Asian Buddhist Contexts.
15th Conference of the International Association of Buddhist Studies. Atlanta, June 2008.

Image Problems: Exploring the Origin of the Buddha Image in South Asia. Invited Lecture at
George Washington Univ Colloquium on "Bringing Buddhism to Varied Lands". April 14,
2008.

Early Buddhist Practices. Invited Lec Mary Washington Univ Fredricksburg, Virginia, Oct.
2007

Picturing the Buddha: Text, Image, and Innovation. Invited Lec UCLA Los Angeles, March
07.

Seeking the Buddha’s Body: Art, Text, and the Crisis of Innovation in 2nd c. CE South Asia.
Invited Lecture at the Getty Center, Los Angeles. Getty Scholar Seminar. March 2007.

Haunting the Buddha: Indian Popular Religions and the Formation of Buddhism. Invited
Lecture at the University of Virginia Museum of Art, Weedon Lecture Series. March 2006.

Portraits and Presence: Understanding Imagery in Early Indian Buddhism. 14th Conference
of the International Association of Buddhist Studies. Panel Organizer and Chair. London,
England. August 2005

Haunting the Buddha. Invited lecture and book signing at the Sackler and Freer Galleries of
the Smithsonian Institution. March 2005.

Text and Image: Physical Evidence and the Recovery of Buddhist History. Society of
American Archaeology, Montreal, Canada. March 2004

Instructing the Gods: Visual Culture and Buddhist Success in Southeast Asia. 13th
Conference of the International Association of Buddhist Studies, Bangkok, Thailand.
December 2002

Getting to Know the Neighbors: Buddhist Art and Expansion in Southeast Asia: Invited
Lecture at the Univ of Colorado at Boulder. South and Southeast Asian Art Sympo April 17-
19 2002.

Pilgrimage, Patronage and the Past: Great Buddhist Centers of India: Invited Lecture at the
Smithsonian Institution. Part of the “Places of Piety: Sacred Sites and Cities of India” series.
October 2001.

Local Gods and Foreign Ideas: Visual Culture as a Mechanism for Buddhist Expansion in
India and Burma. Invited lecture at University of Virginia South Asia Seminar Series.
October 2001.
Monks and Ghosts: the Intersection of Buddhism and Spirit Religion in India. George
Washington University South Asia Seminar. February 2001

Conviction Carved in Stone: the Rock-Cut Temples of Ajanta, Ellora and Mahabalipuram.
Invited lecture at the Smithsonian Institution. October 2000.

Policing the Monastery: The Iconic Presence of Minor Deities at Buddhist Sites
and the Regulation of Monastic Behavior. the American Council of Southern Asian Art
Conference. Philadelphia, Pennsylvania. May 14, 2000.

Pious Ghosts and Troublesome Monks: The Dynamics of Patronage in Early Indian
Buddhism. The Center for Asia Pacific Economic Cooperation. George Mason University.
Fairfax, Virginia. March 2000.

Ghost Stories: Buddhist Appropriation of Sanctity from Popular Indian Funerary Practice.
American Academy of Religion in New Orleans, Louisiana. November 25, 1996

Painting Traditions of the Pahari Hills. Invited Lec at Loyola Marymount University. June
1996.

Patrons, Monks and Yaksas: The Role of Minor Deities in the Formation of Buddhism. at
the American Council of Southern Asian Art Conference in Minneapolis, Minnesota. May
1996.

Converting the Dead: Local Deities, Ancestor Worship and the Emergence of Buddhist
Monasticism in India. 11th Annual South Asia Conference. Berkeley, California. Feb 1996.

The Role of Local Deities in Early Buddhist Patronage. part of the Works in Progress
Lecture Series. University of California, Los Angeles. February 1996.

The Perfect Gift: An Exploration of the Social and Supernatural Uses of Betel in India. 23rd
Annual Conference of South Asian Studies. Madison, Wisconsin. November 1994

Cosmic Geography: An Analysis of Programmatic Decoration in the Buddhist Stupa-Pillar

Caves of Kuca. Artistic Traditions of Buddhist Central Asia Workshop. Los Angeles, Ca
April 1994.

An Analysis of Dandin’s Dasakumaracarita and its Implications for Both the Vakataka and
Pallava Courts. 22nd Annual Conference of South Asian Studies. Madison, Wi Nov 93.

Dr. Leela Aditi Wood

Visiting Assistant Professor in the Department of Liberal Arts, College for Creative Studies,
Detroit, MI 48202

Education:
Ph.D., History of Art, Fall 2005, University of Michigan, Ann Arbor
Dissertation: “The Buddha and the shape of belief: Indic visual jātakamālās.
M.A., History of Art, Winter 1993, University of Michigan, Ann Arbor
Thesis: More, more on, and less of Mahājanaka: A study of a painted jātaka in Ajanta's
Cave 1.
Ph.D. Candidate (ABD): English Literature (Field: English Novel), Winter 1977,
University of Chicago, B.A., English in the School of English and American Studies,
June 1969, University of Sussex, Brighton, England

Professional experience
Visiting Assistant Professor, Dept of Liberal Arts, College for Creative Studies, Detroit, MI
Research assistant to Professor Luis Gomez, Charles O. Hucker Professor of Buddhist
Studies, Dept. of Asian Languages and Cultures, Adjunct Professor of Psychology, Dept. of
Psychology, University of Michigan. November 2007-August 2008.

Research assistant to Professor Walter Spink, Handbook of Oriental Studies. Section 2,

South Asia; Ajanta: History and Development, 6 volumes, 2006-present.
Responsibility for illustrations and photographs in v. 4: (Painting, Sculpture, Architecture)
and plans in v. 5.
Curatorial Assistant, The Arts of Asia and the Islamic World, Detroit Institute of Arts. 2007
Research Assistant to Professor Sussan Babaie, History of Art, Univ of Michigan, Isfahan
and its Palaces: Statecraft, Shi ‘ism and the Architecture of Conviviality in Early Modern
Iran, 2006-7

Editorial and web work for “China Mirror” (On-line Web Project: www.chinamirror.org),
Professor Martin Powers, History of Art, University of Michigan, Sep. 2006-June 2007.

Adjunct Lecturer, History of Art, Wayne State University, Detroit, Fall 2006

Graduate Student Instructor (GSI), History of Art, University of Michigan

Prof. Martin Powers “Painting and Poetry in China” English Composition Board Course 05

Professor Sussan Babaie, “Visual Cultures of Islam,” Fall 2005

Prof. Sussan Babaie “Introduction to the Art and Architecture of the Islamic World,” Fall
2003

Graduate Research Assistant, History of Art, University of Michigan, Visual Resources

Centre, Asian Archives, Fall 2002-Winter 2003

Art Historical Expert and Narrator on the Ajanta paintings in an educational

documentary video, “Ajanta: some kind of miracle.” Produced and directed by Lawrence
Castle, 2002.

Graduate Student Instructor, History of Art, University of Michigan, Professor Martin

Powers, “Painting and Poetry in China,” English Composition Board Course, Fall 1999

Guest Lecturer for Professor Walter Spink’s Site seminar at the Ajanta caves in India,
July 2000, July 1999, July 1997
Guest Lecturer for Professor Walter Spink, History of Art, University of Michigan,
Graduate Seminar: The Ajanta Caves, Fall 1998.
Conference on the Conservation of the Ajanta Caves, February 23-25, 1999, World
Monuments Fund, New York and the Indian National Trust for Art and Cultural Heritage
(INTACH), Aurangabad Branch, at the Ajanta Caves, Maharashtra, India. “Conference
Report”: Authored sections on the conservation of the murals and co-authored the
whole report with Professor Walter Spink and Michael Corfield.

GSI, Asian Languages and Cultures, University of Michigan, Professor Luis Gomez,
Introduction to Buddhism, Fall 1995

GSI, History of Art, University of Michigan, “Little Buddha” and Other Stories: Visual
Narrative in Asia,” Spring 1995. (I had sole responsibility for creating this course,
designing the curriculum, teaching and grading it.)

GSI, History of Art, University of Michigan

Professor Ward Bissell, “Introduction to Art: Renaissance to Modern,” Win. 1995

Professor Martin Powers, “Introduction to Asian Art,” Fall 1994
Research Assistant to George Michell and John Fritz, Vijayanagara Project, London, 1986

Assistant Archivist, Archives of the California Institute of Technology, Pasadena, CA, ‘85-86

Teacher, English Department, Loyola High School, Los Angeles, CA, 1983-84

Research Assistant to Professor Jerome J. Mc Gann, English Literature, California

Institute of Technology, Pasadena CA, 1982-83

Teaching or Research Assistant, Department of English, University of Illinois at Chicago

Circle, Chicago, 1969-70

Research Assistant to the Head of Rhetoric, Summer 1970

Instructor, Freshman Rhetoric, Spring 1970

Teaching Assistant, “British Literature from the Restoration to the Romantics,” Winter 1970
Teaching Assistant, American Literature Survey, Fall 1969

Publications
“Replicating the Buddha: The Great Miracle of Śrāvastī, the Divyāvadāna and Ajanta’s
Cave 26.” 96th Annual CAA Conference, Dallas-Fort Worth, 20–23 February 2008. To
be published along with other papers on this panel.

“The Ajanta Cave 17 inscription as a preface to the monastery donated by the local
king: History, Religious Story and Homology.” In The Vākāṭakas: Indian culture at the
Crossroads. Groningen: Egbert Forsten, 2004. (Invited)

Entries in Encyclopaedia of Buddhism, edited by Robert E. Buswell, Jr. Macmillan

Reference USA, 2003 (invited):

“Ajanta,” “Bodh Gayā,” “Jātaka, Illustrations of,” “The Mahābodhi Temple” and “Sāñcī”

Honors and awards

The Institute for the Humanities Graduate Fellowship, University of Michigan, 1997-8
Freer Fellowship, University of Michigan, History of Art for research at the Arthur M. Sackler
Gallery and Freer Gallery of Art, Smithsonian Institution, Washington DC, Fall 1996

Dissertation Grant, University of Michigan, History of Art, winter and summer 1996

Henry Tappan Teaching Award, University of Michigan, History of Art, Fall 1995

American Institute of Indian Studies Junior Fellowship for field research in India, 1992-3

FLAS Fellowship for Hindi, University of Michigan, 1991-2, fall 1992

FLAS Fellowship for Sanskrit, University of Michigan, winter 1989, 1989-91

Rackham Non-Traditional Fellowship, University of Michigan, 1988-89

Kent Fellow, the Danforth Foundation, 1974-8

American Association of University Women International Fellowship 1971-72

The Exchange Scholarship in American Studies at Smith College, Northampton, MA, 67-68

Conferences and symposia:

“Replicating the Buddha: The Great Miracle of Śrāvastī, the Divyāvadāna and Ajanta’s
Cave 26.” 96th Annual CAA Conference, Dallas-Fort Worth, 20–23 February 2008.

“Inscription as preface in Ajanta’s Cave 17: History, historical legend and religious narrative
homologised.” The Groningen Oriental Studies Colloquium on “The Vākāṭakas: Indian
Culture at the Crossroads,” Groningen, The Netherlands, June 6-8, 2002

“Relics and the living presence of the Buddha after the Mahāparinirvāṇa: Icon, index and
image.” CAA Conference, Chicago, IL, February 28-March 3, 2001

“Narrating pūjā (worship) and dāna (giving) in Ajanta’s Cave 17, with especial attention to
the Viśvantara Jātaka.” American Committee for Southern Asian Art Symposium VIII,
Charleston, SC, October 1998

“Narrative frames and narrational modes in monumental texts: Ajanta’s Cave 17.” Lecture,
UCLA April 1998

“Accessing time through space in the Indic tradition: Does Bakhtin’s “chronotope” apply to
Ajanta’s Cave 17?” CAA Conference, Toronto, Ontario, Canada, February 1998

“Monkey as hero and villain: Point of view in the Monkey and Buffalo Jatakas in Ajanta's
Cave 17.” 23rd Annual Conference on South Asia, Madison WI, November 1994

“The absent presence of the Buddha: Looking at ‘aniconism’ from a different perspective.”
23rd Annual Conference on South Asia, Madison WI, November 1994
“The narrative structure of the Mahājanaka Jātaka and its place in the architecture and
painting of Cave 1.” History of Art Graduate Colloquium, University of Michigan, January 28,
1993

“More on and less of Mahājanaka.” 21st Annual Conference on South Asia, Madison WI,
November 1992

“Ajanta's cave-palaces: The politics of piety.” Lecture in an extension course on Indian

architecture at the Arthur M. Sackler Gallery and Freer Gallery of Art, Smithsonian
Institution, Washington DC, January 1992

“Narrative structure and strategy in Ajanta's Cave 1.” Brown bag lecture at the Centre for
South and Southeast Asia Studies, University of Michigan, January 10 1992

“Departures and returns: Kingship in the nāga jātakas of Ajanta's Cave 1.” American
Committee for South Asian Art Symposium, Washington DC April 19-21, 1991

“Painting at Ajanta: An Embarrassment of Riches?” 18th Annual Conference on South Asia,

Madison WI, November 3-5, 1989

Professional Activities
Steering Committee member of the Tappan Association, the graduate student association
of the History of Art, University of Michigan, Winter 1993-Winter 1990

Student Representative on the Graduate Committee, History of Art, University of

Michigan, Winter 1990-Winter 1992

Photography: My slides of the Ajanta paintings in Caves 1, 2, and 17 form one of the
most comprehensive and detailed photographic collections and archival record on that
subject, especially given the fact that the Archaeological Survey of India’s (ASI) pre-
2000 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, their documentation of the paintings and their conservation.
ii) The Huntington Archives of Buddhist Art at Ohio State University has digitized my slides
of Caves 1 and 2. Digitizing Images: Proficiency in Photoshop CS3

Art historical travel

Field Research in India: June-August 1999, 2000,February-March 1999,June-August
1997,Feb 1993-April 1994

Participant, Dunhuang Art and Society International Seminar held at the Mogao Caves,
Dunhuang, Qizil and other sites on the “Silk Route” in Xinjiang Province, China (PRC),
2001 Travelled widely in India, Asia, Europe, USA visiting museums and art historical
sites
Languages
Sanskrit: Proficiency in reading and translating ,Hindi:Fluency in speaking, proficiency in
reading Gujarati: Some proficiency in speaking , French: Fluency in reading, proficiency in
speaking

Dr. Susan L. Huntington

Descriptions of courses taught and service in department, college, and university
committees are not included in this resume, nor are book reviews, exhibit ions, public
lectures and community service

Education
January, 1963 Bachelor’s. University of Michigan
1963-1964 University of California, Berkeley. Art History.
1964-1966 M.A. With distinction. University of Hawaii, East-West Center. Art History (Asia).
Advisor: Prithwish Neogy. Thesis: Landscape Elements in the Ajanta Paintings
June 1972 Ph.D. University of California, Los Angeles. Art History (India). Advisor: J. Leroy
Davidson. Dissertation: Stone and Bronze Sculpture of Bihar and Bengal, 8th - 12th
Centuries

Employment history
2005 Fall: . Mary Jane Crowe Visiting Professor of Art History. Northwestern University.
1998 Fall (Michaelmas) term. Numata Distinguished Visitor in Buddhist Studies. Balliol
College, University of Oxford, Oxford, England.
1995-2005 Dean of the Graduate School, Vice Provost for Graduate Education, The Ohio
State University (Interim Vice Provost and Dean, The Graduate School (1995-1996)
1990-present Distinguished University Professor. The Ohio State University.
1972- present Assistant, Associate, Full Professor. History of Art. The Ohio State
University.

Teaching honors
1976 Distinguished Teaching Award finalist (Arts and Sciences, 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, Multicultural Teaching (The Ohio State University)

Research honors
1985 Distinguished Scholar Award, The Ohio State University
1990-present Distinguished University Professorship, The Ohio State University

PUBLICATIONS:
Books
The "Pala-Sena" Schools of Sculpture. Studies in South Asian Culture, X. Leiden: E.J. Bril l,
1984. 296 pp., 282 photos, 3 maps.
The Art of Ancient India: Buddhist, Hindu, Jain. Tokyo: John Weatherhi l, 1985. With
Contributions by John C. Huntington. 786 pp., 775 illus., 10 maps.
Leaves from the Bodhi Tree: The Art of Pala India and Its International Legacy.
Co-authored with John C. Huntington. Dayton and Seattle: Dayton Art Institute and
University of Washington Press, 1990. 615 pp., 165 plates, 81 text figs.
Art of Asian Cultures. Laurence King, London and Prentice-Hal l/Abrams, U.S.A. [2008].
Edited archival works
Archive of Mathura Art. Kusana Period. Leiden: Inter Documentation Company, 1975.
Archive of Gupta Art. Leiden: Inter Documentation Company, 1975.
Archive of Gandhara Art. With Janice L. Dundon. Leiden: Inter Doc Company, 1979.
Islamic Monuments of Eastern India and Bangladesh. Author, Catherine B. Asher. Leiden:
Inter Documentation Company, 1991.
Buddhist and Hindu Monuments of Eastern India and Bangladesh. Leiden: Inter Doc Co
1995.

Selected articles

Contributor to Art of the Indian Subcontinent. Ed. J. Leroy Davidson. Los Angeles: Ward
Ritchie Press, 1968.
"Some Aspects of Bengal Stone Sculpture." Bangladesh Lalit Kala (Jan.1975): 19-28.
"Coomaraswamy's Legacy." Darshana. Colombo, 1977.
"Some Bronzes from Fatehpur, Gaya. " Oriental Art XXV, 2 (Summer 1979): 240-247.
"The Buddhist Stupa at Gyaraspur." In Chhavi-2. Ed. Anand Krishna. Varanasi:
Bharat Kala Bhavan, 1981, pp. 54-58.
"Some Iconographic Reflect ions on the Arjuna Ratha at Mamllapuram." In Kaladarßana.
Ed. Joanna G. Williams. New Delhi: American Institute of Indian Studies and Oxford
Book House, 1981, pp. 57-67.
"Pre- Pala and Pala Period Sculptures in the Mr. and Mrs. John D. Rockfeller 3rd
Collection, The Asia Society. " Apollo (Nov. 1983), pp. 370-78.
"The Pala -Chedi Style of Sculpture." In A.B.M. Habibullah Commemoration Volume.
Dhaka. [n.d. 1983?]
"Epigraphy from Art History: The Pala Period." In Indian Epigraphy: Its Bearing on the
History of Art. Ed. Frederick M. Asher and G.S. Gai. New Delhi: American Institute of
Indian Studies, 1984, pp. 177-184.
"A Metal Image of Visnu Dated in the Reign of Surapala I." In Dinesa-Vandana: D.C.
Sircar Comm Volume (Journal of Ancient Indian History XV, 1-2 [1985-86]):111-119.
Various entries for Macmillan Dictionary of Art. 1996.
"An Unusual Image of the Pala Period Showing the Buddha Converting the Robber
Angulimala. " With John C. Huntington. Shri Krishna Deva commemoration volume.
[n.d. 1996 ?]
"A Pala Image of the Sage Agastya. " In Studies in Art and Archaeology of Bihar and
Bengal, Dr. N. K. Bhattasali Centenary Volume, eds. Debala Mitra and Gouriswar
Bhattacharya. Delhi: Sri Satguru Publications, 1989: 239-242.
"Some Connections Between Metal Images of Northeast India and Indonesia. " Ancient
Indonesian Sculpture Ed. Marijke Klokke and Pauline Lunsingh Scheurleer. Leiden:
KITLV Press, 1994, pp. 57-75.
"Leaves from the Bodhi Tree: The Art of Pala India and its International Legacy."
Orientations (October 1989): 26-46. Co-authored with John C. Huntington.
"Early Buddhist Art and the Theory of Aniconism." Art Journal 49, 4 (Winter 1990): 401-408.
Ten entries for Handbook. Seattle: Seattle Art Museum, 1991.
"Aniconism and the Multivalence of Emblems: Another Look." Ars Orientalis 22
(1992), 111-156.
"Kings as Gods, Gods as Kings: Temporality and Eternity in the Art of India. " Ars
Orientalis 24 (1994): 30-38.
Eight entries Indian Art Treasures: Suresh Neotia Collection. Varanasi: Jnana Pravaha,
Centre for Cultural Studies and Research. 2006.
"Ritual in the Early Buddhist Art of India.” (Forthcoming in conference papers from
Harvard University.)
Presentations (select and last ten years only):
"State of the Field." College Art Association meeting. February, 1995.
“Revising Indian Art History: The Theory of Aniconism and Early Buddhist Art.”
University of California, Berkley, October, 1995.
“Aniconism and Early Buddhist Art.” Mills College, October, 1995.
“Early Buddhist Art of India”. Asian Art Museum, San Francisco, Oct. 1995.
“Pilgrimage and Sacred Places in Early Buddhist Art.” Univ of Minnesota, Nov 95.
"Early Buddhists in the Early Buddhist Art of India." Harvard University. May, 1996.
Conference on the Religious Experience of Buddhist Ritual. Art.
"Buddhist Art and Electronic Media. " International Congress of Asian and North
African Scholars (ICANAS). Budapest, July, 1997.
"Kings as Gods." South Asia Conference, Madison, WI. October 1997.
"Electronic Projects in Art History." Kyoto, Japan, October, 1997.
“Asian Art and Electronic Media.” Heidelberg, Germany. Summer 1998.
"Buddhism and the Arts," Middlebury College. Winter, 1998.
“Electronic Projects in Art History,” Leiden. June, 1998.
“Aniconism and the Early Buddhist Art of India”. University of London, School of
Oriental and African Studies. Fall, 1998.
“Change and Continuity in the Early Buddhist Art of India.” University of London,
Archaeological Institute. Fall, 1998.
“Early Buddhist Art & the Theory of Aniconism”. University of Cambridge. Fall, 1998.
“Iconicity in the Early Buddhist Art of India.” ACSAA conference. Philadelphia, 2001.
“Art Under Attack: Terrorism, Modernization, and Other Threats to Art.” Michigan
State University. Spring, 2002.
“Research in Early Buddhist Art.” Vanderbilt University. Spring, 2002.
“Early Buddhist Art and the Emperor’s New Clothes.” Birmingham Museum of Art.
Spring, 2006.
“Art as Text, Art as Document: Understanding Buddhism through Art.” Harvard
University. Spring 2006.
“Confluence of Cultures, Art of India through the Ages” Minn Institute of Arts.Fall 06.
J. Gonda Lecture. Royal Netherlands Academy of Arts and Sciences, Amsterdam.
December 2007.

Post-doctoral fellowships and grants

Nov.1975-Jan.1976 The OSU Small Grants Program. Travel to India. $3,439.45
Jan. 1977 The OSU College of Arts. Photo documentation project. 600.00
June 1977 Milard Meiss Pub Award. College Art Association of America. Pala book.
6,000.00
June 1977 The OSU Graduate School.Publication subsidy for Pala book. 1,000.00
June 1977 The OSU. College of the Arts.Publication subsidy for Pala art book. 1,000.00
June 1977 The OSU. Development Fund. Publication subsidy for Pala book. 8,000.00
Dec.1979-Jan.1980 OSU Development Fund Supp funds for travel in India. 1,500.00
June-Aug. 1980 The OSU Small Grants Program Travel to India. 4,042.00
June-Aug. 1980 The OSU Office of Academic Affairs Travel funds for India. 2,500.00
June-Aug. 1980 Smithsonian Institution. Travel to India. 1,800.00
Sept.1980-Aug. 1982 National Endowment for the Humanities Bihar and Bengal
archive project. 85,150.00
June 1981- Aug.1982 Aga Khan Program for Islamic Architecture, Harvard
University and M.I.T. Bihar and Bengal archive. Project 14,900.00
July 1982-Sept.1983 Inter Documentation Company, Zurich. Computerization of Bihar and
Bengal archive. 5,000.00
Sept.1982-Aug.1983 Aga Khan Program for Islamic Architecture at Harvard University and
M.I.T. Computerization of Bihar and Bengal archive. 14,050.00
Sept.1982-Aug.1983 The OSU College of the Arts. Computerization of Bihar and Bengal
archive. 1,600.00
Oct.1983-Sept.1984 John Simon Guggenheim Memorial Foundation. Fellowship for the
study of Buddhist art. 19,000.00
Summer 1984 American Institute of Indian Studies. Travel grant to India to study early
Buddhist Reliefs. 6,000.00
Summer 1984 The Samuel H. Kress Foundation (grant shared with John C. Huntington).
Research in Sri Lanka. 6,400.00
Spring 1984 The OSU. College of Arts. Computerization of Index for archive. 1,331.00
Fall 1984 OSU College of Arts. Travel to India. 1,000.00
Spring 1985 Distinguished Scholar Award, OSU.21,500.00
Jan.-Dec. 1986 Smithsonian Institution. For Center for Art and Archaeology, American
Institute of Indian Studies. 204,570.00
1987 Fulbright Grant to Sri Lanka (Research not undertaken due to political situation)
30,000.00
Jan.-June 1987 Smithsonian Institution. For Center for Art and Archaeology, American
Institute of Indian Studies. 138,737.00
July 1987-June 1988 Smithsonian Institution. For Center for Art and Archaeology, American
Institute of Indian Studies. 347,842.50
1987 Supplement to Smithsonian grant. 3,800.00
1987 Supplement to Smithsonian grant. 25,812.00
July 1988-June 1989 Smithsonian Institution. For Center for Art and Archaeology, American
Institute of Indian Studies. 397,391.00
1989-1990 Asian Cultural Council. Research in Indonesia. Held jointly with John C.
Huntington. 21,400.00
1989-1991 Smithsonian Institution. For exhibition, "Leaves from the Bodhi Tree." (Not
used.) 252,276.00
July 1989-June 1990 Smithsonian Institution. For Center for Art and Archaeology, American
Institute of Indian Studies. 366,822.00
July 1989 Office of Research and Graduate Studies, The OSU for research assistance for
"Leaves from the Bodhi Tree' exhibition. 3,600.00
July 1989 College of the Arts, The OSU. For research assistance for "Leaves from the
Bodhi Tree" exhibition. 1,000.00
August 1989 David Nalin. Subsidy for Leaves from the Bodhi Tree. 2500.00
August 1989 The Merck Foundation. Subsidy for publication of Leaves from the Bodhi Tree.
2500.00
Winter 1991 College of the Arts, The OSU For research in Europe. 2000.00
Spring 1991 National Endowment for the Humanities. Travel to Collections. 750.00
1992-1993 National Endowment for the Humanities. Fellowship.27,424.00
1992, summer National Endowment for the Humanities. 4000.00
1992-1993 American Institute of Indian Studies 14,000.00
Fellowship. Research in India. 1992 College of the Arts, The Ohio State University.
Technical study of two Indonesian metal sculptures. 1500.00
1993 College of the Arts, The OSU Research on two Indonesian metal sculptures. 2500.00
1994 American Institute of Indian Studies Fellowship. 14,000.00 Research in India.
1994 Fulbright award for field research in Nepal and Bangladesh. 3 months. 15,320.00
1994 College of the Arts, the OSU 1,000.00 Technical Study of Nepalese Metal Sculptures
1995 Battelle Endowment for Technology and Human Affairs. Cultural awareness through
Art History and Computer Imaging. With John C. Huntington & Janice M. Glowski 29,920.00
1996 Battelle Endowment for Technology and Human Affairs. Cultural awareness through
Art History & Computer Imaging. Part 2. w/ John C. Huntington & Janice Glowski 25,211.00
996-1999 Fund for the Improvement of Post Secondary 183,793.00
Education (FIPSE). Electronic materials for the teaching and research on Asian art and
culture With John C. Huntington and Janice M. Glowski
1998. Office of Academic Affairs. Assessment grants 10,000.00 for FIPSE project. With
John C. Huntington and Janice M. Glowski
1999-2001 National Endowment for the Humanities. With John C. Huntington and Janice M.
Glowski. 184,000.00
2001-2002 Mellon Foundation. With John C. Huntington. 320,000.00 Electronic materials
for teaching and research in Asian art and culture.

Appointed positions (National and International):

2006-2009 College Art Association. Barr Award Committee.
1997-2000 College Art Association, Morey Book Award Committee.
(Chair, 1998 and 1999.)
1998 College Art Association, Planning Committee.
1995-1995 College Art Association, Executive Committee
1994-1997 College Art Association, Program Committee Chair.
1994-1997 College Art Association, Governance Committee
1994-1997 College Art Association, Publications Committee
1994-1997 College Art Association, Finance Committee
1991- Editorial Advisory Board, Eastern Art Report, London
1985-1990 American Institute of Indian Studies, Art and Archaeology Committee, Chair.
1984 American Committee for South Asian Art. Symposium Program Comm member.
1984-1986 American Committee for South Asian Art. Outreach Coordinator.
1984-86 Fulbright (C.I.E.S.) Selection Committee.
1984 The Asia Society, New York. Program Planning Consultant.
1984-85 Council for American Overseas Research Centers. Smithsonian Institution.
1978-85, 1995- Trustee, American Institute of Indian Studies.
1975-78 American Institute of Indian Studies, Art and Archaeology Committee, Member.
1973-77 Editorial Board, Association for Asian Studies, Monographs, Occasional Papers
and Reference Series.

Elected positions (National):

1993-1997 Board of Directors. College Art Association.
1992-1995 Board of Directors. American Committee for South Asian Art.
1984-85 Vice-President, American Institute of Indian Studies.
1984-85 Executive Committee, American Institute of Indian Studies.
1984-87 Fellowship Selection Comm , American Institute of Indian Studies. (Chair, 85-86).
1983-84 Nominating Comm., American Committee for South Asian Art.
1979-82 Executive Committee, American Institute of Indian Studies.
1976-81 President, American Committee for South Asian Art
1976-79 Association for Asian Studies, South Asia Regional Council.
1976-79 Board of Directors, Association for Asian Studies.
1978 Nominating Committee, Association for Asian Studies.
1974-77 Board of Directors, American Committee for South Asian Art.
1975-76 Secretary, American Committee for South Asian Art.
1973-74 Treasurer, American Committee for South Asian Art.
 The Virtual Vihara
A pilot project by Chitra Shriram and Binita Desai

The Virtual Vihara is a digital simulation of Ajanta Cave # 1. It affords the viewer an
experience of being inside a virtual cave exploring and discovering its richness at a self-
selected pace /pattern.

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. Ajanta is a priceless legacy of
the past and a UNESCO world heritage
monument that must be experienced in
the flesh. Only by really being there can
the full impact of its history, sensuality
and spirituality be felt.

← Digital model of Cave number 4

We see the Virtual Vihara function as a

stimulator of interest and curiosity
among a diverse demographic - for the
Indian diaspora, 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. 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.

On entering the virtual cave, one is free to float about viewing the paintings high on the
walls, at eye level, without the distance and perspective distortion inevitable in the real
cave. One also has control of the lighting and proximity to the murals in a way that one
does not have in the physical space. Finally, a sonic environment with music & hints of
dialogue and narration make the walls even more eloquent but only teasingly so. The idea
is to kindle a passion that will lead the viewer eventually to Ajanta.

Multiple applications with varied purposes can be built atop the basic database of a virtual
cave – e.g. 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. While these kind of expositions can and have been done in documentaries
and multi-media presentations, this new immersive format opens new doors for combining
investigation, pedagogy and experiential learning.

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. We present it as a pilot project and are
honored to be able to showcase it at the “Ajanta: Miracle in the Mountains” conference,
Houston, 2009

Please feel free to contact us with your feedback and ideas: shriram.chitra@gmail.com
and binitardesai@gmail.com
 The Virtual Vihara Team

Chitra Shriram is an Emmy Award Winning Creative

Director in the area of computer animation and visual
effects. Her animation, design and creative direction have
been at the service of broadcast, feature and large format
films. Her clients include McGillivray just to name a few.
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. (www.hellikon.com). She
has an MA in art education from The Ohio State
University wherein she specialized in computer animation
at the premier, pioneering institution: The Advanced
Computing Center for the Arts & Design (1989); She has
a Certificate in Film Animation from The National Institute of Design, Ahmedabad, India
(1983) and a B.A from the MS University of Baroda, wherein she specialized in Painting
(1980).

Binita Desai is a Professor at DAIICT, at Gandhinagar,

Gujarat, India. A traditional Animation Film Maker and
Designer, she worked and taught at the National Institute of
Design, Ahmedabad from 1980 to 1997. She is currently
working on a project on Colour and is a consultant to Bhasha
Academy, Baroda on visualizing a Health Information
System. She has a Certificate in Film Animation from The
National Institute of Design, (1983) and a B.A from the MS
University of Baroda, wherein she specialized in Applied Arts
(1980).

Joo Eun Chi is a graduate of the Art & Technology program at the University of Texas,
Dallas, where she is currently teaching and consulting on projects.

Varun Varshney is working towards a bachelor’s degree at DAIICT, Gandhinagr, India.

His interests span both design and software engineering.
 Visit Ajanta, Ellora, Elephanta and other interesting places in India

PS. This itinerary is suggested by Spirit of India, http://www.spirit-of-india.com and is

included here to give you an idea of the places that will be covered in this trip. This pre-
announcement does not include any price information or travel price details. The tour will be
organized in early 2010; the exact date of departure is not finalized. Dr. Don Statdner will
be the guide for this educational tour. At this time it is included for your information only.

Day 01: Arrive in Mumbai. Met & transfer to hotel Fariyas.

Day 02: Mumbai.

Morning to relax. Afternoon: city tour including Marine Drive, Crawford Market, Malabar
Hill, Hanging Gardens, the Jain Temple and Gandhi Museum.

Day 03: Mumbai.

Morning ferry to explore Elephanta Caves, carved between 450 and 750 A.D.; including a
visit to the Maha Deva Trimurti and the Ardhanareshvara sculptures, famous iconographical
representations of Lord Shiva. Afternoon/ evening free to stroll the markets in Colaba Area.

Afternoon: join Bombay Heritage Walking Club (art & architecture students /professionals).
They organize a 2 hour walk through the old part of Bombay.

Day 04: Mumbai - Aurangabad.

Transfer to airport to connect flight 9W113 dep. 0715 / arr. 0800, transfer to Taj Residency.
Aurangabad is a convenient base for organizing visits to the famous rock-cut temples of
Ajanta & Ellora. The town is named after Aurangzeb, the last of the six great Mughal
Emperors, who built a mausoleum here for his wife. The most notable feature of these
cave temples is that entire hillsides were cut away with the artisan’s chisel to produce these
sculptures, which are some of the world’s most exquisite. Ellora’s 34 caves are over 10
centuries old and represent elaborate sculptures from the Hindu, Buddhist and Jain faiths.
The caves at Ajanta date back to the 5th century and contain paintings and sculptures of
major events in the life of the Buddha.

Today visit the Buddhist, Jain and Hindu caves at Ellora, noted for their sculptures, are
considered to be the finest in India and date between 600 and 1100 AD. The landmark of
this collection of rock-cut sculptures is the magnificent Kailasanatha Temple, 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. It is the most extraordinary free-
standing monolithic temple (there are only two of these in India), with unique carvings of the
Ramayana and Vishnupurana. You will spend the morning visiting the most outstanding of
the 34 cave temples in the area. We will also visit sites in Aurangabad, time permitting.

Day 05: Aurangabad

A full day excursion to the caves at Ajanta which date from 200 BC to 650 AD. All together,
there are 29 caves. These caves or viharas (monasteries) are remarkable for the quality of
their murals, which relate the life story of Buddha and reveal the life and culture of the
people, royal court settings, family life, street scenes of the time, as well as superb
representations of birds and animals. In some of the caves, the murals relate to the
Buddha’s previous births, showing the progress of his soul.
Day 06: Aurangabad - Udaipur
Fly to Udaipur. Flight IT2316 dep. 1215 / arr. 1355hrs. On arrival transfer to hotel Lake
Palace.
Udaipur the Venice of India, the city of Lakes, Palaces and the Gardens. There is no place
in India which appeals more to the imagination of poets and painters, travelers and writers,
than Udaipur, the lovely lake side capital of Mewar. The city's inherent romance and
beauty, and its remarkable past, bristling with episodes of heroism and splendor, continue
to enthrall the visitor. Udaipur, the City of Dawn, looms up like a vision in white. Surrounded
by hills and mountains, and set on the edge of three lakes, which give on to a fertile plain, it
is bewitching in all its details - narrow streets lined by vivid colored stalls, gardens, temples
and palaces - every feature mirrored in the placid blue waters of Lake Pichhola.
Sunset boat ride on Lake Pichhola.

Day 07: Udaipur.

Morning visit the City Palace, the largest Palace complex Museum of Rajasthan. The City
Palace is a blend of stern Rajput military architecture on the outside and lavish Mughal-
inspired decorative art on the inside. Set on a hill overlooking Lake Pichhola, it is a
sprawling edifice made up of at least four separate inter-connecting palaces, built over a
period of nearly 3 centuries. The Palace museum contains a wonderful collection of old
Rajput weaponry. Also visit Crystal Gallery. Afternoon, walking tour with guide of the Old
City and visit studios of miniature painting artists.

Suggest lunch on your own at the excellent and intimate Fateh Prakhash restaurant.
Afternoon independent to stroll the quaint city, take a walk through the colorful Bapu
Bazaar. 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.

Day 08: Udaipur - Jodhpur (290 km)

Drive to Jodhpur, enroute visit the Ranakpur JainTemples, 90 km out of Udaipur.
Surrounded by tangled forests with monkeys abounding in the courtyard, Ranakpur is one
of five important pilgrim centers for the Jain community. Noted for its grandiose scale and
elaborate ornamentation, of the three temples, the Adinatha is the most outstanding. Built
by Daranshah in 1439, the temple is dedicated to the first Jain Tirthankara saint. The whole,
including the extraordinary array of 1144 sculptured pillars each distinct in design, carved
ceilings, and arches decorated with friezes depicting scenes from the lives of the Jain
saints, Jain mythology and cosmology; is fascinating.

Lunch at Maharani Bagh (Mango Orchard of the Maharaja of Jodhpur) near the Temples.
Continue drive to Jodhpur. Overnight at Ajit Bhawan Palace.

Day 09: Jodhpur

Morning city tour including the 15th century Mehrangarh Fort perched majestically on a high
hill and the museum. Entered through gates which bear the evocative handprints of the
Sati queens, women of the royal harem who took their own lives when their men were
defeated in battle. The fort has a series of spectacular palaces, each decorated with
exquisite engravings, lattice and mirror work. Of particular note is the museum that exhibits
a magnificent collection of royal memorabilia
Afternoon excursion to Ossian, a peaceful village north of Jodhpur in the Thar Desert. The
ancient town of Ossian contains the largest group of 8th to 10th century Hindu and Jain
Temples in Rajasthan. The typical temple of this area is set on a terrace whose walls are
finely decorated with moldings and miniatures. The doorways are decorated with river
goddesses, serpents and scrollwork. The 23 temples are grouped in several sites north,
west and south of the town. The best preserved are the western groups which are on a
hillock above the town, while the 12th century Sachiya Mata temple is a living temple of the
Golden Durga. Camel rides in the sand dunes just before sunset.

Day 10: Jodhpur - Pushkar - Jaipur (330 km)

Drive to Jaipur enroute visit Pushkar. Can stop for lunch here and relax by the lake for a
short break. Overnight at Mandawa Palace.

Day 11: Jaipur

Jaipur, popularly known as the Pink City, is the capital of the state of Rajasthan. In the
1720’s, Sawai Jai Singh II began to build the new city of Jaipur. The city turned out to be an
astonishing well-planned one based on the ancient Hindu treatise on architecture, the
Shilpa Shastra. Different streets were allotted for different professions such as potters,
weavers, dyers, jewelers and bankers. Jaipur has a variety of manufacturing industries. It is
especially known for its arts and crafts, jewelry, enamel work, hand-printed fabrics and
stone sculptures. The sprawling City Palace was an integral part of Raja Sawai Jai Singh
II's new city of Jaipur. Today it is a museum that displays art, textiles and armory. Nearby is
the ornate Hawa Mahal (Palace of Winds). It is a delightfully idiosyncratic five-tier
composition of arches and balconies. The Jaipur astronomical observatory built by Raja
Saw Jai Singh II in 1827 is an amazing monument. Wandering through the bazaars of old
Jaipur is an experience in itself. They are colorful, noisy and happily chaotic and you can
buy anything here.

In the morning visit the City Palace complex, the Hawa Mahal (Palace of Winds), Jal Mahal
(Water Palace). There will be opportunities to visit block printing factory, gem cutting,
carpet factory, and silk shops. Afternoon independent for shopping and relaxing.

Day 12: Jaipur

After breakfast, drive to Amber, the ancient kingdom of Jaipur. Amber was also the name
of its ancient capital, situated 7 miles away. Its' history can be traced backed to the 12th
century. Amber Fort is superbly located, protected by wild Arrival Hills on all sides.
Originally built in the 11th Century, it was extended by Raja Mannish in the late 16th
century. The ascent to the Fort will be on elephant backs.

Afterwards drive to Samode Village (40 min). Lunch at Samode Palace on your own. After
lunch visit Palace and walk to the charming village nearby. Evening return to Jaipur.

Day 13: Jaipur - Fatehpur Sikri - Agra (250 km)

After breakfast, drive to Fatehpur Sikri, 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.
Visit the Derviche Saint Mosque, Pir Shaikh Salim Chisti, Wazir Birbal's house, the
Astrologer's Seat and Panch Manzil Mahal. Continue drive to Agra. Check into hotel Taj
View.
Day 14: Agra
Agra is globally renowned as the city of the Taj Mahal, but this royal Mughal city has, in
addition to the legendary Taj, many monuments that epitomize the high point of Mughal
architecture. In the Mughal period, in the 16th and 17th centuries, Agra was the capital of
India. It was here that the founder of the dynasty, Babar, laid out the first formal Persian
garden on the banks of the Yamuna River. Here Akbar, his grandson, raised the towering
ramparts of the great Red Fort. Within its walls, Jehangir built rose-red palaces, courts and
gardens and Shahajahan embellished it with marble mosques, palaces and pavilions of
gem-inlaid white marble.

Sunrise visit to Taj Mahal, return to hotel for breakfast. Afterwards visit Itimad-ud-Daulah,
the first white marble inlaid grave in pure Indo-Persian style, built between 1622 and 1628.
Afterwards, we visit Agra Fort. If interested, also visit Oswald’s Shop, where you can see
the famous marble inlay technique of Agra, pietra dura, which is passed down through
generations within families.

Day 15: Agra - Bhopal - Indore.

Transfer to railway station to connect Shatabdi Exp. dep. 0815 / arr. 1405 to Bhopal. On
arrival visit The Taj-ul-Masajid is one of the largest mosques in Asia, 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. The Quibla wall in the prayer hall is carved with 11
recessed arches, while the member is made of black basalt. The structure is enlivened by
the limpid expanse of water in the tank outside the northern wall. The monumentality of this
structure was much greater originally when it faced the towering bastions of the Fatehgarh
Fort.

Afterwards drive to airport to connect flight 9W3418 dep. 1845 / arr. 1930 or IC134 dep.
2010 / arr. 2040 to Indore. On arrival transfer to hotel President.

Day 16: Indore - Dhar (60 km)

After breakfast drive Dhar. Check into hotel Jhira Bagh Palace. Afternoon excursion to
Mandu (30 km). Mandu is a celebration in stone of life and joy, of the love of the poet-prince
Baz Bahadur for his beautiful wife, Rani Roopmati. The balladeers of Malwa still sing of the
romance of royal lovers. High up on the crest of a hill, Roopmati's pavilion still gazes down
at Baz's palace, a magnificent expression of Afghan architecture. Perched along the
Vindhyan ranges at an altitude of about 2000 feet, Mandu, with its natural defenses, was
originally the fort capital of the Parmar rulers of Malwa. Towards the end of 13th century, it
came under the Sultans of Malwa, first of who renamed it Shadiabad - the city of joy. Its
rulers built exquisite palaces like the Jahaz and Hindola Mahals, ornamental canals, baths
and pavilions. Each of Mandu's structure is an architectural gem. Some are outstanding like
Jami Masjid, and Hoshang Shah's Tomb, which provided inspiration for the master builders
of world famous Taj Mahal centuries later. Under Mughal rule, Mandu was a pleasure
resort, its lakes and palaces the scene of splendid and extravagant festivities. The glory of
Mandu lives on, in its palaces and mosques, in legends and songs.

Day 17: Dhar - Bagh Caves - Dhar (190 km)

Full day excursion to Bagh Caves. 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. From Dhar these are about 90 km. to the south-west.
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. The caves were first discovered in 1818. It seems
that after the extinction of Buddhism in Central India by the 10th Century A.D. these caves
were lost from human memory. 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 village situated at a distance of about 8 km. and the river flowing nearby
the cave came to be known as Bagh village and Bagh river. Another view states otherwise.
It believed that either the name of the river or of the village has given its name to others.
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.D.

Day 18: Dhar - Indore - Delhi

After early breakfast drive to Indore (60 km) to connect flight 9W731 dep. 0945 / arr. 1215.
Transfer to hotel Parkland. Afternoon at leisure.

Day 19: Delhi

Today visit some architectural highlights of Delhi including Qutab Minar, the oldest Indian
Mosque of the 12th century; Safdarjang Maqbarah, the last period of the Mughul
architecture from the 11th century; the Red Fort and Shah Jahan Jami Masjid, the biggest
mosque in the world, built in 1650. Also visit the National Museum, which has a good
collection of Indian bronze, terracotta and wood sculptures dating back to the Mauryan
period (2nd-3rd century BC), exhibits from the Vijayanagar period in south India, miniature
and mural paintings, and costumes of the various tribal peoples.

Day 20: Delhi

Morning visit the Crafts Museum, the most popular museum for daily life utensils, toys,
textiles and unique tribal art exhibition, the only one in the country. The Crafts museum was
designed by leading Indian architect Charles Correa. In a natural setting, there are over
20,000 examples of Indian art and architecture. Most of the exhibits represent some of the
rarer arts in India, especially from the remote tribal belts. Many of these art forms are now
dying, and some of the exhibits are the only examples of particular art forms in existence. In
a bid to encourage the continuance of these skills, the museum invites master craftsman to
display their talents in the open courtyard of the museum. Each month new sets of artisans
are invited, and we can spend time with them after touring the museum.

From here go to the unique Dilli Haat, an upgraded version of the traditional weekly market,
offering a delightful amalgam of craft, food and cultural activities. Spread over a spacious
six acre area, imaginative landscaping, and the traditional village architectural style have
combined to produce the perfect ambience for a Haat or market place. A wide variety of
skillfully crafted handicrafts, intrinsic to each part of the country are available in this exotic
bazaar. These range from intricate rosewood and sandalwood carvings, embellished camel
hide footwear, to sophisticated fabric and drapery. Gems, beads, brassware, metal crafts,
silk and woolens....the range is limitless. The handicraft stalls are allotted on a rotational
basis to craftsmen from all corners of the vast and varied land of India, thus ensuring that
different handicrafts are available to visitors at each visit, and also enabling them to buy
authentic wares at prices that have not been inflated by high maintenance costs. Shows
promoting handicrafts and handlooms are held at the exhibition hall in the complex. The
food plaza enables visitors to savor flavors from the various regions of India. The different
stalls offer a wide choice of ethnic food which is clean, hygienically prepared and
reasonably priced. .Evening transfer to International airport to connect flight to home.
 Commissioned art works created exclusively for this conference

Ajanta caves - A collage: 3 ft x 3 ft x 1.5 ft - Geetha Rau and Madhu Sulladmath

This is a three dimensional mixed media work of art, using polystyrene, paint, glue, paper and
print and some found materials. The 3D collage of the caves brings to life the paintings, pillars,
statues and other architectural details. It highlights jewelry and hair styles of Ajanta period
which are in vogue even to this day.

An ode to Ajanta – 24”x 28” This piece is a relief, based on the wall paintings from the caves
of Ajanta. It is done in the basso-relievo style on Carrera marble.- Cuauhtemoc Murphy

Apsaraas of Ajanta- 40” x 30” alkyd oils with a base coat of acrylic paint on canvas-
Sangeeta Pasrija

Beauty and Grace - George Ty

Among the interesting features of the Ajanta Cave paintings are the female figures and one of
them is the consort of Padmapani. This particular figure caught my eye because of her facial
expression filled with outward beauty, elegance, and inner peace. It seems that she is an
isolated island in the middle of a turbulent sea. This inspired me to make a reproduction of this
painting and hopefully my interpretation does justice to the original work. My paintings are
mostly evocative and I believe that this piece is a fitting representation of my art.

Bodhisattva Padmapani - 3 ft x 2 ft x 1.5 ft (To be mounted on a pedestal)- Sharat Valluri

(3 dimensional Sculpture) Medium: Synthetic Clay surface painted using acrylic paints. This is
an attempt to give three-dimensional form to this most iconic of Ajanta paintings.

Dancing Apsara- 24”x 30” Acrylic on Canvas - Rashmi Murthy

A painting inspired by a mural of a dancing lady surrounded by musicians in the Ajanta caves.
The color palette, the intricate jewellery, the dresses and the line work are inspired by different
Ajanta murals.

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, which adds depth. The painting is about conversion of Nanda, a
cousin of Buddha who gave up worldly comforts to live a simple life and was seen begging for
alms at his own palace. The expression of Nanda and his spiritual journey creates a serene
peacefulness that is emitted from the original artwork. The second part of the diptych depicts
Nanda’s wife Queen Janapada kalyani, whose expression shows, she is greatly disturbed to
know that her husband is outside begging for alms.

Kalakendra- 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, in communicating a multi modal miracle of the beauty, emotion and grace; using a
language of line and color to achieve the Tranquility-Tejas.

King Mahajanaka and Queen Sivali, 24" x 30”, a combination of two paintings using mixed media
on canvas - Bhavana Vaishnav
Kirthimukha carved on a pillar: 18”x15”, 50/50 clay – Rachelle Gomez

Nandi Vardhan, 24" x 30" (framed) oil painting. This is a ceiling painting painted in Cave No.1
at Ajanta – Bharati Venugopal

Shibi - 36”x 48” oil on canvas painting. - Carmen Flores - Mexican Artist
The use of line, the free brushstrokes and the use of warm colors are the main features in this
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. Among the incidents of the Lord’s life, his conversion of
Nanda is one of the favorite themes of Buddhist artists. In this detail (right) we see Nanda after
he has renounced his palace life to become a wandering mendicant (bhikshu). This gentle soul,
who is made so graceful by his divine introspection, is seen here begging for alms in his own
palace door. Nanda with his inward look radiates a serene peacefulness which holds the
attention of the viewer most compellingly. Nanda’s wife Queen Janapada kalyani (left) has been
informed that her husband, once the king, has come to the palace door begging for alms. The
queen is deeply disturbed by these unusual events and wonders how to win back the attention
of her husband.

The Path – 24”x 48” Mixed Media – Harleen Chhabra

The work centers on Lord Buddha, surrounded by various scenes from the Ajanta paintings of
His previous births. Each scene depicts a human emotion, pleasure or vice- which still envelops
us today- that have to be overcome to follow The Path shown by the Enlightened One.

Timeless Beauty – 48” x 36” Oil on canvas. - Geetha Prakash

The artwork chosen is the figures of Bodhisattva Padmapani and Vajrapani in Cave 1 of the
Ajanta Caves. Together they represent Compassion and a Regal Majesty respectively. The
artwork attempts to capture the spirit of compassion and the subtle but radiant beauty of the
paintings. Towards this end, the painting is embellished with semi-precious stones and gold foil
for the crown, similar to the traditional style of Tanjore painting prevalent in Southern India.

Editorial:

All the art works that you see, are created by these artists exclusively for this conference. 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. Samskriti is extremely thankful to all the artists who
have come forward to share with us their understanding and expression of Ajanta paintings.
These artists deserve our applause.
 The artists

Geetha Rau is a multifaceted artist excelling in Porcelain doll

making, oil painting, embroidery and other fabric arts. She has been
continuously involved in the cultural and social activities in the
community for long time.

Madhu Sulladmath is an entrepreneur with a flair for painting,

design and model making. By virtue of having owned a corporate
gift industry, Madhu has wide experience in design and execution of
projects using different mediums like leather, silk, cotton and faux
fur.

Geetha and Madhu own and operate "Sadagara", an Event

Management Company. They organized a very thematic banquet as
part of the Vijayanagara conference conducted at the Museum of
Fine Arts, Houston in 2005. In 2006 as part of the Royal Legacy
seminar at Museum of Fine Arts, 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

classical approach to color has made his oil paintings very popular--
they are vivid and accurate representations of a unique perspective.
His recent works in watercolor have been applauded; they
successfully capture moments or moods which are otherwise
fleeting. His favorite medium, sculpture, has achieved the most
critical success. He has used the lost wax technique to great effect
with his bronze sculptures, though he frequently works with other
materials as well. In addition to being featured in various art shows,
his works appear in numerous private collections.

Mr. Murphy’s dedication to fine arts makes him a gifted teacher.

Students surprise themselves in his classroom: when allowed to
bring nothing but their best, they find they have more to offer than they ever knew. Now in his
fourth year teaching Art at Bay City High School, a number of his former students have gone on
to study art at colleges. His classes have also participated in community and school projects, in
addition to an annual show at the Matagorda County Museum. While Mr. Murphy also enjoys
teaching adults, he finds the challenges of teaching high school students very rewarding.

Sangeeta Pasrija has earned a degree in Visual Arts and

Advertising after coming to the US. Living in Houston, she is married
to Dr. Arun Pasrija, a technology entrepreneur. Daughter, Nikki is
currently a junior at SMU in Dallas and son Kunal, is a sophomore at
the Kinkaid High School. Painting and drawing are her favorite
hobbies. Her work has been displayed at local art galleries and
received rave reviews. She donates her paintings to local charities to
raise funds at their annual galas and auctions. Her keen interest in
Indian dance and poetry events in Houston are worthy of mentioning.
Sangeeta was the Secretary and board member of the Houston
based Indo-American Charity Foundation, which raises funds for
many local charitable organizations.

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 particular figure caught my eye because of her
facial expression filled with outward beauty, elegance, and inner
peace. It seems that she is an isolated island in the middle of a
turbulent sea.

This inspired me to make a reproduction of this painting and

hopefully my interpretation does justice to the original work. The
title of my piece is "Beauty and Grace". My paintings are mostly
evocative and I believe that this piece is a fitting representation of
my art.

Sharat Valluri, in today's world, is a rare artist. A painter and

sculptor in the tradition of pure romantic school of art. His art is
beauty oriented, joyous and benevolent. His paintings are saturated
throughout with a delicate, noble beauty difficult to find elsewhere -
depicting a universe of serene happiness.
Sharat showed interest in art at from his childhood days. He is
mostly self-taught, and has briefly studied under Ms. Merl Ross at
Berkeley, California. He continued further studies under the
guidance of Mr. Jim Robertson in Houston,Texas.
Sharat currently lives in Houston, USA and is well regarded among
the discriminating in Houston Arts Circle having executed both
private and public commissioned artworks. His work was recently
exhibited by APAHA at the Chase Bank building in downtown Houston. 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.
Inspired by the exquisite sculpture at the Hoyasaleswara temple in Halebidu in Karnataka which
he visited a few years ago, Sharat has created a number of artworks. To enjoy his extensive
collection of photographs from the Halebidu temple please visit www.Halebidu.com and to enjoy
Sharat’s art work, please visit his website, www.SharatValluri.com.

Rashmi Murthy - I was born in Bengaluru, India. Since my

father worked in the Indian Army, I got to travel and live in different
Indian states. Because of this I had the opportunity to experience
first hand, the vast cultural and religious diversity that is India. This
experience has primarily shaped my world-view and has held me in
good stead in my design endeavors. I have a Masters Degree in
Architecture from the University of Houston. I design residential high
rises, religious buildings, schools and commercial interiors just to
name a few.

Sharmyn Ali: Art evolved into my passion. As a child, I was always

interested in coloring, painting, and drawing. It was an honor that my
paintings were appreciated and selected by art authorities for
competitions where I won awards. 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.

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. I started participating
in shows and competitions and won quite a few awards. 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; Mayor David Wallace purchased my painting. I also
won first place on my portrait at the State level. 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.

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. I like to explore and be
creative in my paintings. I paint landscapes, floral, abstract, portraits etc., 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. My website is www.sharmyn.com and e mail
address is sharmynali@gmail.com

Vinod Patel: While aspiring to become a modern artist from earlier

school days and getting recognition from Gujarat state Lalit Kala
academy; Vinod R Patel was gently nudged away to a fulltime
Engineering College, but tenaciously hung in touch with Baroda
school artists like Jayant Parikh and invited art criticism for his works
from Dean K.G. Subramaniyan. Vinod kept on painting and exhibiting in group shows during
vacations, and was also commissioned to art projects by G.S.F.C.Ltd. and B.V.M. Sardar Patel
University annual events for 7 years in a row.
After completing Masters, Vinod worked on nuclear plants for sixteen years, owned a
technology company for fifteen years- but the creative fire still burning deep inside his guts, kept
him in touch with late Bhupen Khakhar, Mr. Jeram Patel and the Baroda group. He recently
exhibited his works in USA group shows for Dravo Corp, .Pittsburgh, the Gujarati Samaj of
Houston, India Culture Center and Shangri La Art Gallery, Houston to name

Bhavana Vaishnav
Growing up in a very creative environment in Indore, India, I began
painting as a kid. With all its colors and activity, Mother Nature
inspired me to paint using my perspective. After my high school
studies, this hobby turned into passion and became the turning point
in my life, my wonderful and creative journey as an artist began. I
attained education in Arts and continued to grow as an artist. After
marriage I moved to Houston, TX and have participated in various
solo and group exhibitions.

Over the course of my journey, I have added various mediums and media to my repertoire. In
addition to using oil color for realistic painting, I now paint more abstract with acrylic colors using
texture. Web site addresses www.artbybhavana.com and www.artquestpearland.com

Rachelle Gomez is a high school junior in ceramics, at the Bay City

Independent School District in Bay City, Texas. Bay City is located
about 70 miles south of Sugarland. Rachelle has produced another
Ajanta art work which is currently being shown in her school as a
part of an exhibition. .

Bharathi Venugopal: Ever since I was a child, I was fascinated by

colors. 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, I enjoyed the coloring part
than the actual drawing I did. 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. Once my husband took early
retirement and decided to move to Houston from New York, I was
very happy to quit my job in Insurance Industry and was dreaming of getting formal art lessons.
I was fortunate to find a teacher who excelled in museum quality luminous oil painting method.
That was 10 years back and since then there is no turning back. I have painted over 100
pictures on variety of subjects and various mediums such as water color, acrylics, colored
pencils and mixed medias also, but still oil painting is my primary choice. Several of my
paintings are sold and several more are in private collection here and abroad.

Carmen Flores - Mexican Artist

Ms. Flores got her bachelor degree in Fine Arts in 2003 at

“Universidad de las Americas-Puebla” Mexico. She won the
Antonio López Sáenz painting award in 2005. 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. She has had seven solo shows; the last one was at the
Gallery of the Artist Alliance of Sugar Land in 2008. This year
she was commissioned by the Sugarland City Hall to participate
in the Sugar Land 50th Anniversary art project. Since 2007
Ms. Flores lives and works in Houston, Texas.

Neil Sen: Neil Sen is a freelance artist, who has exhibited his work
in different parts of the country and produced illustrations for books
and magazine covers. He is currently involved in teaching
numerous classes both for kids and adults and has been doing so
for over 10 years. He is widely known in the community for his
inspirational teaching and his passion for art. 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. He has also been a
consultant and artist for several organizations.

Harleen Chhabra: Harleen’s art subjects capture the coexistence

of the two worlds- the current issues that plague our globe, like
environmental plunder, war & terrorism and the beauty in hope &
cheer that still thrives. Her goal is to create works that inspire
involvement in the viewers, shedding the popular view of apathy.

Harleen showed interest in drawing since childhood and

participated in numerous art shows and competitions in her school
days. Having gone to Engineering and Business schools for formal
education, and currently in a Corporate career, she felt the need to
go back to pursue her interest in the arts. Mostly self-taught, she recently started studies under
the esteemed guidance of Mr Indranil Sen in Houston, Texas-USA.

Geetha Prakash: Post graduate in Textile Designing from

Madras University with University Rank . Won various prizes in art
and craft competitions at the school and collegiate level in Madras.

Moved to the UAE after getting married and was a member of the
Dubai International Art Centre. Was an active member of the Abu
Dhabi Cultural Foundation and was exposed to various Painting
techniques like Oil Painting, Pastels, Water Color, Silk Painting and
Glass Painting. In 2005 and 2006, participated in the Camel
Caravan and Falcon Public Art projects in the UAE. 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 .
Have won various prizes in the Art shows conducted by SLAA , and have picked up new
painting techniques by associating with the artists there.

Raison D’Etre for Painting: I have enjoyed Art from a very early age. I love the creativity that
accompanies artistic abilities and the freedom of expression that it allows. Experimenting with
colors and using different media is what motivates me most. 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.

Editorial:
Ajanta is storehouse of exquisite wall and ceiling paintings created by master painters some
1500 years ago. 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. 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.