Ratan Parimoo Explained

Ratan Parimoo is an Indian art historian from Kashmir, who has worked as an art educator, pedagogue, artist and former director of the Lalbhai Dalpatbhai Museum, Ahmedabad. Ratan Parimoo was one of the founder members of Baroda Group.[1] [2] [3]

He publishes on the arts of Ajanta, Ellora, Jain, Rajasthani, Pahari and Mughal paintings and drawings. He authored Art of Three Tagores- From Revival to Modernity.[4]

Books

Books Authored

  1. Paintings of the three Tagores, Abanindranath, Gaganendranath, Rabindranath – Chronology and Comparative Study (PhD Thesis), MS University of Baroda, Vadodara,1973.
  2. Studies in Modern Indian Art, Kanak Publications-Books India, New Delhi, 1975.
  3. Life of Buddha in Indian Sculpture, Kanak Publications, New Delhi, 1982. Enlarged edition, DK Printworld, Delhi, 2009.  
  4. Sculptures of Sheshashayi Vishnu, MS University of Baroda, Vadodara, 1983.
  5. The Pictorial World of Gaganendranath Tagore, National Gallery of Modern Art, New Delhi, 1995.
  6. Studies in Indian Sculptures, Essays in New Art History, Books & Books, New Delhi, 2000.
  7. Studies on the Art of Raja Ravi Varma, Thrissur (Kerala), 2006.
  8. NC Mehta Collection Vol I, Gujarati School and Jaina Manuscript Paintings, Ahmedabad, 2010.
  9. The Art of Three Tagores, From Revival to Modernity, Kumar Gallery, New Delhi, 2011.
  10. NC Mehta Collection Vol II, Rajasthani, Central Indian, Pahari and Mughal Paintings, Ahmedabad, 2013
  11. Treasures from the Lalbhai Dalpatbhai Museum], Ahmedabad, 2013.
  12. Gaganendranath Tagore, A Retrospective, an Exhibition Catalogue, Victoria Memorial Hall in collaboration with Rabindra Bharati Society, Kolkata, 2014.
  13. From the Earthly World to the Realm of Gods, Kasturbhai Lalbhai Collection of Indian Drawings. Ahmedabad, 2019.

Books Edited

  1. (ed) Proceedings of Workshop in History of Art, 1977, published on behalf of University Grant Commission, New Delhi, by MS University of Baroda, Vadodara, 1979.
  2. (ed) Vaiṣhnavism in Indian Art and Culture, Books & Books, New Delhi, 1987.
  3. (ed) Ellora Caves – Sculptures and Architecture, Books & Books, New Delhi, 1988.
  4. (ed) The Paintings of Rabindranath Tagore, Lalit Kala Akademi, New Delhi, 1989. Revised edition, Lalit Kala Akademi, New Delhi, 2008.
  5. (ed) The Arts of Ajanta – New Perspectives, Books & Books, New Delhi, 1991.
  6. (ed) Creative Arts in Modern India, Books & Books, New Delhi, 1995.
  7. (ed) The Legacy of Raja Ravi Varma – The Painter, Maharaja Fatehsingh Museum Trust, Baroda, 1998.
  8. (edited along with Sandip Sarkar) Historical Development of Contemporary Indian Art 1800 – 1947, Lalit Kala Akademi, New Delhi, 2009.
  9. (ed) Ellora Caves – Sculptures and Architecture, Books & Books, New Delhi, 1988. Revised edition, Aparant Books, Pune, 2018.
  10. (Author) Shridhar Andhare, (ed) Ratan Parimoo, Calligraphy and Art of Writing in Jain Manuscripts, Ahmedabad, 2020.

Felicitations Published in His Honour

  1. Towards a New Art History: Studies in Indian Art, Essays in Honour of Prof Ratan Parimoo, (ed) Shivaji Panikkar, Parul Dave Mukherji, et al, DK Printworld, New Delhi, 2003.
  2. RATNA DiPAh, New Dimensions of Indian Art History & Theory, Essays in Honour of Prof Ratan Parimoo, (ed) Gauri Parimoo Krishnan, RH Kulkarni, Agam Kala Prakashan, 2021.

Published Articles (in English)

Journals

  1. ‘The Technique and the Preservation of Indian Miniature Paintings’. Thesis submitted for the Diploma in Museology Examination in 1957. Synopsis published in the Indian Museums Journal, 1959.
  2. ‘Paintings in Rajasthan’, Information Magazine, Government of Uttar Pradesh, Lucknow, December 1964.   
  3. ‘Words and Paint’, Design Magazine, December 1964, Bombay (Manifesto as Painter).
  4. ‘Recent Paintings of Shanti Dave: Homage to the Wall’ – essay in the catalogue of the artist’s exhibition held in March 1965, New Delhi.
  5. ‘Baroda Painters and Sculptors’, Lalit Kala Contemporary, No 4, New Delhi, April 1966.
  6. ‘Revivalism and After, an Aesthetic Controversy in 20th Century, Indian Aesthetics and Art Activity’, (editors) Mulk Raj Anand and Niharranjan Ray, Indian Institute of Advanced Study, Shimla, 1968.
  7. ‘Aims and Methodology of Teaching Art History in Art Schools’, Proceedings of the Seminar on Art and Craft in Teacher Education, (ed) KS Kulkarni, Jamia Millia, Delhi, 1968.
  8. ‘Paintings of Gaganendranath Tagore (in Gujarati)’, Kumar, Ahmedabad, February 1968.
  9. ‘Notes on Young Baroda Sculptors’, Lalit Kala Contemporary, No 10, September 1969.
  10. ‘Graphic Art in Western India’, A Report, Lalit Kala Contemporary, No 11, 1970.
  11. ‘Evolution of Indian painting since 1850’, Times of India, 20 June 1971.
  12. ‘The Chronology of the Paintings of Gaganendranath Tagore’ in Chhavi – Golden Jubilee Volume, (ed) Anand Krishna, Bharat Kala Bhavan, Banaras Hindu University, 1972.
  13. ‘Cubism, World Art and Indian Art’, Paper read on the Seminar arranged by the Lalit Kala Akademi on the occasion of the 1st Indian Triennial, February 1968, Roopa Lekha, New Delhi, 1972, Times of India, 23 July 1972.
  14. ‘Modern Trends in Indian Sculpture’, Times of India, 2 September 1972, full version titled: ‘Modern Movement in Indian Sculpture’ in Art Since the 1940s – A Quest for Identity, Madras, 1974.
  15. ‘A New Set of Rajasthani Paintings’, Lalit Kala, No 17, New Delhi, 1974.
  16. ‘Kitch, Vulgarization of Art’, Times of India, 16 Nov 1975.
  17. ‘Elephanta in the Context of Evolution and Significance of Saiva Sculpture’, Journal of Oriental Institute, Baroda, March 1977; Also, in reprint of Shastri, Guide to Elephanta by Kanak Publications-Books India, New Delhi, 1978.
  18. ‘New Sculpture from Baroda’, Lalit Kala Contemporary, No 28, New Delhi, 1979.
  19. ‘The Problem of the Popular Mughal Style: Some Fresh Considerations in the Context of Kankroli Paintings’, in Proceedings of Workshop in History of Art, (ed) Ratan Parimoo, Baroda, 1979.
  20. ‘Indigenous Culture and the function of Art Educator’, in Arts in Cultural Diversity, Sydney, Australia, 1979.
  21. ‘Myself, My Art and Indian Art’, Artrends, Vol XV, Nos 3 & 4, July 1980 & October 1980, Vol XVI, Nos 1 & 2, January 1981 & April 1981, Cholamandal Artists Village, Madras.
  22. ‘Dated Ragamala from Radhanpur (Mesakarna and Muftahusarur)’, Journal of the Oriental Institute, Vol XXX, Nos 3-4, March-June 1981.
  23. ‘Ashta-Maha-Pratiharya Prastar, Ek Mūrti Vishyak Adhyayan’, Kala Traimasika, Lucknow, September 1981.
  24. ‘Buddha’s Birth Scenes’, Rangavali, S R Rao, Felicitation Volume, New Delhi, 1982.
  25. ‘The Idea of Form, Style and Development in Indian Sculpture’, S K Saraswati Memorial Volume, (ed) Jayant Chakravarti, New Delhi, 1982.
  26. ‘Mahaparinirvana of Buddha in Indian Sculpture’, Dinesh-Chandrika, D C Sircar Felicitation Volume, (ed) B N Mukherjee et al, New Delhi, 1982.
  27. ‘More Paintings from the Devgarh Thikana’, Lalit Kala, 20, 1982.
  28. ‘Dr Goetz on Indian Paintings’, Baroda Museum Bulletin, Vol XXVIII, 1982.
  29. ‘Obituary of Shri Sivaramamurti’, Journal of the Oriental Institute, Jan-March 1983.
  30. ‘Kaliya Daman in South India Sculpture’, Shrinidhih: Srinivasan Festschrift Volume, (ed) KV Raman et al, Madras, 1983.
  31. ‘Jagannath Dvara Chitrit Bihari Sat Sai’, Kala Traimasika, March-May 1983.
  32. ‘Paintings, of Nandalal Bose, Style and the Phases’, Nandan, Shantiniketan, 1983.
  33. ‘Coomaraswamy and India Art History’, Journal of the Oriental Institute, Vol 32, Nos. 1-4, September-June 1982-83, Another version, Paroksha, Coomaraswamy Centenary Seminar Papers, (editors Gulam Sheikh et al), New Delhi 1984.
  34. ‘Traditional Paintings in Gujarat’, Gazetteer of Gujarat, Ahmedabad.
  35. ‘The Influence of Indigenous Factors in Contemporary Indian Art’, Silver Jubilee Volume, Lalit Kala Akademi, New Delhi.
  36. ‘Picture Puzzles of Bihari Sat Sai, Painted by Jagannath’, Indian Magazine, Vol 4, No 7, 24 June 1984.
  37. ‘She Sculpts with Words’, Review Article on ‘Selected Writings of Stella Kramrisch’, in Times of India, 24 June 1984.
  38. ‘Paintings and Sketches of Nandanlal Bose’, Marg, Vol XXXV, No 2, 1984.
  39. ‘Sculpture of Sheshashayi Vishnu, Some Iconological Problems in Indian Studies’ – Essays presented in Memory of Prof Niharranjan Ray, (ed) Amita Ray, et al, Delhi 1984.
  40. ‘Revival of Indigenous Values and their Influence on Modern Indian Art’, Journal of MS University, Baroda, Vol XXXIII, No 1, 1984-85.
  41. ‘Naran Murtzagar, The Maker of Images’, The India Magazine, Vol 5, No11, October 1985.
  42. ‘Vishnu’s Weapons and their Representation in Indian Art’, Kala Kshetra, Madras, 1986.
  43. ‘On the Sculptures from Ellora Caves and the Problems of Deccan School’, Smt Pupul Jaykar Felicitation Volume, (ed) Lokesh Chandra and Jyotindra Jain, New Delhi, 1986.
  44. ‘Putana in Indian Art’, Shivaramamurti Memorial Volume, Kusumanjali, (ed) MS Nagaraja Rao, New Delhi, 1987.
  45. ‘Kaliya Daman in Indian Paintings’, K D Bajpai Felicitation Volume, (ed) R K Sharma et al, New Delhi, 1987.
  46. ‘Some Thoughts on Vishvarupa Vishnu’, in Vaisnavism in Indian Art and Culture, (ed) Ratan Parimoo, Books & Books, New Delhi, 1987.
  47. ‘Influence of Henry Moore on Modern Indian Sculpture’, Times of India, Ahmedabad, 17 November 1987.
  48. ‘Bibliography of Research Publications of Dr UP Shah’, Journal of Oriental Institute, Baroda, Vol 37, No 1-4, 1987-88.
  49. ‘Dr UP Shah – In Appreciation’, Ibid.
  50. ‘Some Problems of Ellora from the Point of View of the Buddhist Caves’, Ellora Caves: Sculptures and Architecture, (ed) Ratan Parimoo, Books & Books, New Delhi, 1988.
  51. ‘The Monumental Art of Balbir Singh Katt’, Kala Darshan, Vol 1, No 3, New Delhi, 1988.
  52. ‘The Aihole Sub Style of Chalukyan Sculptures’, in New Trends in Indian Art and Archaeology, S R Rao’s 70th Birthday Felicitation Volume, (editors) Nayak and Ghosh, Delhi, 1989.
  53. ‘Krishna Lila in Sculptural Reliefs and Temples’, Ajaya Mitra Shastri Volume, (ed) Devendra Handa, New Delhi, 1989.
  54. ‘Vidhura Pandita Jataka, from Barhut to Ajanta: A Study on Narrativity, Semiology and Stylistic Aspects’, Dr. Debala Mitra Felicitation Volume, (ed) Gouriswar Bhattacharya, New Delhi, 1991; Also, in the Art of Ajanta, (ed) Ratan Parimoo, Books & Books, New Delhi, 1989.
  55. ‘Inscriptions Related to Ajanta’, Essays on Ideology, Polity and Administration, In Honour of R K Trivedi, (ed) S D Trivedi, Delhi, 1989.
  56. ‘Some Aspects of the Decorative Repertoire of Gujarat Temple Architecture’, in Proceedings of the Seminar on Decorative Arts of India, Salargunj Museum, Hyderabad, 1989.
  57. ‘Semiotic Analysis of Damul’, New Quest, Pune, No 57, 1989.
  58. ‘The Sculptural Journey of Mahendra Pandya’, Arts and Crafts, New Delhi, 1989.
  59. ‘Eight Baroda Artists – In Search of a Personal Image’, CMC Gallery, Delhi, 1990.
  60. ‘Modern Movement in Indian Sculpture’, Kalavrit, Jaipur, 1990.
  61. ‘A Nineteenth Century Wood Block Painted Scroll’, The Indian Magazine, New Delhi, 1990.
  62. ‘The Myth of Gupta Classicism and the Concept of Regional Genres, (Seminar on ‘Historiography of Indian Art’)’, New Quest, Pune, Nov- Dec 1990, Jan - Feb 1991.
  63. ‘Khajuraho – the Chandella Sculptor’s Paradise: Is there Chandella Style of Medieval Indian Sculpture? Its Sources and Characteristics’, in Margabandhu, (ed), Indian Archaeological Heritage, K V Soundararajan Volume, Delhi, 1991.
  64. ‘Profile of a Pioneer: N S Bendre’, Lalit Kala Contemporary, No 37, New Delhi, 1991.
  65. ‘Adaption of Folk Tales for Buddhist Jataka Stories and their Depiction in Indian Art, A Study in Narrative and Semiotic Transformation’, Journal of the MS University of Baroda, Humanities Number, 1991/92.
  66. ‘Dasi – A Film Analysis’, New Quest, Pune, Jan - Feb 1992.
  67. ‘The Meaning of Mandhata Jataka’, Roopa Lekha, Vol LXII-LXIII, New Delhi, December 1993.
  68. ‘Vishnu Theme in Indian Miniature Painting, in ‘Vishnu in Art, Thought and Literature, (ed) Kamalakar, Birla Archaeology and Cultural Research Institute, Hyderabad, 1993.
  69. ‘Birth of Prithu: Interpretation of a Rajasthani Painting from Vishnu Purana’, Seminar on Puranas – Vishnu and Markandeya, (ed) R T Vyas, Oriental Institute, Baroda, July 1993.
  70. ‘Notes Towards the Formation of Medieval Style in Malwa Region of Western Madhya Pradesh: A Presentation of Hinglajgarh Sculptures’, Art the Integral Vision: A Volume of Essays in Felicitation of Kapila Vatsyayan, (ed) B N Saraswati, et al, Delhi, Dec. 1993.
  71. ‘Revivalism, Indigenous Factors of Modern Indian Art, Reconsidered in the Context of Post-Modernism’, Lalit Kala Contemporary, No 38, New Delhi, 1993.
  72. ‘Baroda School’s Contribution to Contemporary Art Trends’, Trends & Images, Centre of International Modern Art, Calcutta, 1993.
  73. ‘Some Dilemmas of Interaction with the West in Modern Indian Art’, Santiniketan, 1993.
  74. ‘Towards Possible Theory of Narratives in Indian Painting’, Journal of MS University of Baroda, Humanities, Vol XLIII, No1, 1993-94.
  75. ‘Some Aspects of the Decorative repertoire of Northern Indian (Nagara) Temple Architecture’, Alamkara: 5000 years of Indian Art, (ed), Peter Lee and Pansy Ku, Heritage Board, Singapore, 1994.
  76. ‘Relevance of Aesthetics in the Contemporary Arts: Deconstructing Ananda Coomaraswamy and Indian Aesthetics’ New Quest, Pune, Nov - Dec 1994.
  77. ‘Art Education in India in ‘the ‘Dictionary of Art’, Macmillan Publishers Ltd, London, 1994.
  78. ‘Discourse Analyzes of Visual Arts: Uncovering the Meaning of the Picture Puzzles of Bihari Sat Sai Paintings’, in the Proceedings of the Seminar on Dimensions of Discourse Analyzes, Mysore, Shri Karl Khandalavala Felicitation Volume, (ed) B N Goswamy, a detailed and enlarged version, in East & West, Rome, Vol 45, Nos 1-4, 1995.
  79. ‘A Proposed Methodology for the Study of System of Proportions in Indian Temple Architecture’, Studies in Jaina Art and Iconography and Allied Subjects, UP Shah Commemoration Volume, (ed) R T Vyas, New Delhi, 1995.
  80. ‘On Re-identification of Andhra Buddhist Jataka Relief Sculptures’, in (i) Journal of the MS University of Baroda, Humanities Number 91-92, 1991-1992, (ii) Revised version in Artibus Asiae, Vol LV, 1/2, Zurich, April 1995.
  81. ‘The Myth of Kaliya Daman Krishna in Indian Painting: A Study of Pictorial Narratives’, (Part II), Sri Nagabhinandanam, MS Nagaraju Rao Festschrif, (editors) Srinivasan, Nagaraju, Banglore, 1995.
  82. ‘The Myth of Kaliya Daman Krishna in Indian Painting: A Study in Pictorial Representation – Part II’, Dr MS Nagaraja Rao Festschrift, (ed) L K Srinivasan et al, Bangalore, 1995.
  83. ‘Buddhist Attitude to Women as Reflected in the Jataka Stories and Art’, in Krsna-Smrti - KD Bajpai Commemoration Volume, (editors) RK Sharma, RC Agrawal et al, Delhi, 1995.
  84. ‘Narrative Structure and the Significance of the Snake Jatakas in Buddhist Art’, RR Ganguly Felicitation Volume, (ed) SS Biswas, Calcutta, 1995.
  85. ‘Introduction to Sculptures’, Gyangangotri, Drisyakala Volume of Gujarati Encyclopaedia, (editors) Gulam Mohammed Sheikh and Shirish Panchal, Series 30, Vallabh Vidhyanagar 1996. Also used for UGC lectures on TV. Also, published in Arts & Crafts, New Delhi, 1993, in six instalments.
  86. ‘Foreword, for Deepak Kannal’s book, Ellora, an Enigma in Sculptural Styles’, Books & Books, (ed) Bharati Shelat, New Delhi, 1996.
  87. ‘Vessantara Jataka from Amaravati and Nagarjunakonda’, Vinayatushini – Benoytosh Centenary Volume, (ed) Shyamal Kanti Chakravarti, 1996.
  88. ‘Publications, Magazines, Journals, Polemics: (Supportive critical writing from Charles Fabri to Geeta Kapoor)’, 50 years of Indian Art, NCPA, Mumbai, 1997, (Published in 1998).
  89. ‘The Significance of the Baroda Gaekwad Collection of Ravi Varma Paintings’, Legacy of Raja Ravi Varma, the Painter, (ed) Ratan Parimoo, Baroda, 1998.
  90. ‘The Painter’s Ramayana: Sahibdin’s Paintings of Lanka Kanda’, International Seminar on Ramayana, Journal of Oriental Institute, Baroda, Vol XLVIII, Nos 1-4, September 98 – June 99.
  91. ‘Somanth Hore and His Times’, Bichitra, Vol 2, Kolkata, 2000.
  92. ‘Rasapanchadhyayi Paintings from Pahari School based on the Bhagvat Purana and their Hermeneutic Interpretation’, Proceedings of Seminar on Indian Culture, Philosophy and Art, Ahmedabad, 2001.
  93. ‘Landscape Painting: The Human Recreation of Nature’, Sarjan Art Gallery, Baroda, 2001.
  94. ‘Shanti Dave’s Home Coming’, Sarjan Art Gallery, Baroda, 2001.
  95. ‘The First Baroda Group of Artists in ‘Chitrakala’, MS Nanjunda Rao Felicitation Volume, (ed) SK Ramachandra Rao, Bangalore, 2001.
  96. ‘Thoughts on Concretizing the Abstraction: (Ratan Parimoo’s Honeymoon with Abstraction)’, Kala Dirgha, Vol I, No 2, Lucknow, April 2001.
  97. ‘Wilderness Transformed in a Flower Garden: The Renaissance of Art in Gujarat’, Sarjan Art Gallery, Baroda, 2002.
  98. Jataka Stories at Borobudur in the context of Indian Art/ Sudhana Kumara Kinnari Jataka, International Seminar on Cultural Interface of India with South, South east and East Asia, New Delhi, 2003.
  99. ‘Saundarananda Story – A Sculpture Relief from Goli Stupa and its Hermeneutic Interpretation’, Lalit Kala, No 29, Delhi, 2004.
  100. ‘Interpreting a Pahari Painting: Rasamanjari or Rasikapriya, Inverting a Metaphor’, in the Anand-Vana of Indian Art, Dr. Anand Krishna Felicitation Volume, (ed) Naval Krishna and Manu Krishna, Varanasi, 2004.
  101. The Persistent Quest - The drawings and paintings of Ranjit Singh Gaekwad, in the Exhibition Catalogue, Maharaja Ranjitsinh Gaekwad, The Persistent Quest 6th - 21 December 2007, Priyasri Art Gallery, Mumbai, 2007.
  102. On Defending Raja Ravi Varma's Art: Corroboration of Naturalism in Indian Cultural Manifestations in Journal of Indian Society of Indian Art. Commemorating 100 years of Indian Society of Oriental Art. Editors: Susanto Ganguly, Arundhati Banerjee, New Series, Vol XXVII, Kolkata, 2007-2010.
  103. Suryamukhi: Prodosh Das Gupta's Summum Bonum in Prodosh Das Gupta, Sculpture, Drawings edited by Virendra Kumar Jain, Kumar Art Gallery, New Delhi, 2008.
  104. KS Kulkarni's Enigmatic Pictorial Language in KS Kulkarni, Kumar Gallery, New Delhi, 2008.
  105. ‘Offering the Flesh of the Body: Jataka Stories in Central India and Himalayan Art’, in The Art of Central Asia and the Indian Sub-continent, (ed) Anupa Pande, Delhi, 2009.
  106. ‘A Controversial Set of Pahari School Paintings Based on Ramacharitamanas from Baroda Museum’, in The Diverse World of Indian Painting – Vichitra-Vishva – Essays in Honour of Dr. Vishwa Chander Ohri, (ed) Usha Bhatia, Amar Nath Khanna and Vijay Sharma, New Delhi, 2009.
  107. Mapping the Asian Journey of Vessantara Jataka: Text and Pictorial Images of the Perfect Generosity of Prince Vassantata (unpublished) Conference on Buddhism Across Asia, Singapore, Feb 2009.  
  108. ‘Mapping the Asian Journey of Vessantara Jataka: texts and Pictorial Images of the perfect Generosity of Prince Vessantara’, From Turfan to Ajanta Festschrift for Dieter Schlingloff on the occasion of his Eightieth Birthday, (editors) Eli Franco and Monika Zin, Lumbini International Research Institute Rupandeli, Nepal, 2010.
  109. Art of Francis Newton Souza: A study in Psycho-analytical Approach in Artetc. News & views, Issue 24, Kolkata, January 2012.
  110. Gaganendranath Tagore: Painter and Personality in Artetc. News and Reviews, Volume 3, No 11, Kolkata, July 2011.
  111. Gaganendranath Tagore, Satirical Drawings and caricatures Artetc: News & views, Kolkata, 2012.
  112. E. B Havell: Relentless Campaigner and Interpreter of Indigenism, (keynote address in E B Havell: Reclamation of a Legend Celebration of his 150th Birth Centenary Govt. College of Art and Craft, Kolkata, 2012.
  113. Progressive Artists Group of Bombay, An overview, 'The spirit of late 1940's and early 1950's, Artetc: News & views, Jan. 2012, Issue 24, Kolkata. Also, Guest Editor of two issues devoted to PAG.
  114. Art of Francis Newton Souza: A study in Psycho-analytical Approach in Artetc. News & views, Issue 24, Kolkata, January 2012.
  115. Husain's Zameen, Artetc News & views, Issue 24, Kolkata, January 2012.
  116. ‘Sea Voyages in the Story of Shripala Rasa from the Gujarat Coast, With Supplementary Notes from Shri Jagadu Charita, for “Gujarat and the Sea” International Seminar held at Kucch-Mandvi, Proceedings edited by Lotika Vardarajan, New Delhi, 2012.
  117. ‘Chitravali from Gujarat, An Early Gita Govinda’, in Harsha Dehejia (ed) Radha: From Gopi to Goddess, New Delhi, 2013.
  118. 'Unknown Drawings of Ramayana Uttarakanda in Pahari Style, The Pictorial Version as New Text,' in Mahesh Sharma and Padma Kaimal (editors), Indian Paintings: Essays in Honour of B.N. Goswamy, Mapin Publishing, Ahmedabad, 2013.
  119. Kshemendra and the Pictorial Representation of Jataka Stories in Himalayana Buddhist Art, Advanced Institute of Indian Studies, Rashtrapati Niwas, Shimla. May 2014.
  120. 'Cultural Unity of India as Signified by a Sculptural Icon: the Sheshashayi Vishnu', in Sabyasachi Bhattacharya (ed), Rethinking the Cultural Unity of India, Ramakrishna Mission Institute of Culture, Kolkata, 2014.
  121. ‘Uttaradhyayan Sutra: On Giving Pictorial Form to Mahavira’s Teachings’, in concept of Spirituality in Art: Past, Present and Future, Ramakrishna Mission Institute of Culture, Kolkata, 2014.
  122. 'Badamvadi, Oil on Canvas, Ist Version 1958, II Version 2011, On Reconstructing a lost Paintings,' in Miraas Magazine edited by Pankaj Bhar, Vol 7, No1 & 2, New Delhi, Jan-June 2014.
  123. 'Interpretation and the Leap from Iconography to Iconology,' in Anila Varghese & Anna Dallapiccola (editors), Art, Icon and Architecture in South Asia: Essays in Honour of Dr Devangana Desai, Aryan Books Internationals, New Delhi, 2015.
  124. ‘Cultural Unity of India as signified by a sculptural Icon: The Sheshashayi Vishnu’, (ed) Sabyasachi Bhattacharya, Rethinking the Cultural Unity of India, Ramakrishna Mission, Institute of Culture, Kolkata, 2014.
  125. ‘Adventures in Art Education, NS Bendre in Faculty of Fine Arts in Baroda’, A Cosmopolitan town in Transition, Marg Publication, Mumbai, 2015.
  126. Remembering Maej - The Mother, in, Miraas, Reflecting the Culture and Heritage of Kashmir, A Quarterly Publication of Kasheer Foundation, Vol IX, No III & IV, July-December 2016.
  127. Some Sheshashayi Sculptures from South East Asia, Parul Pandya Dhar, Gerd Mevissen (editors), Temple Architecture and Imagery of South and South East Asia, Papers presented to Prof MA Dhaky, Aryan Books International New Delhi, 2016.
  128. ‘Pictorial Language of the Jain Style Painting from Gujarat and the problem of the Chaurapanchasika style’ in (ed) Anupa Pande, Rajasthani Miniature Painting Tradition and continuity, National Museum Institute, New Delhi, 2016.
  129. Tavdi Paintings, in Calendar 2017, Tavdi by HH Maharaja Ranjitsinh Gaekwad, The Artist 1938 - 2012. Maharaja Fatehsingh Museum, Lukshmi Vilas Palace, 2017.
  130. Paintings of Uttaradhyayana Sutra: On giving Pictorial form to Mahavira's Teachings, in New Horizons in Indology, Prof HG Shastri Commemoration Volume, (Editors) Prof Bharti Shelat, Prof Thomas Parmar, Ahmedabad, 2018.
  131. Metaphorical Sculptures of Asish Das, Introduction in the Artist Catalogue, 2018.
  132. ‘Art of Indian Painting as conceptualized in Chitrasutra of Vishnudharmottara’, Journal of Oriental Institute, Vol 67, Nos 1-4, Sep-Dec 2017 and March-June 2018, Oriental Institute, Baroda, 2017/2018.
  133. ‘Life of Shri Chaitanya as depicted by an artist’ in Journal of the Gujarat Research Society, Vol LXIII, No 1-2-3-4, Dr. Bharati Shelat Commemoration Volume, Ahmedabad, 2018.
  134. ‘Shri Madhusudhan Dhaky – The Outstanding Architectural Historian’, Sambodhi, Vol XLII, L.D. Institute of Indology, Ahmedabad, 2019.
  135. Dr. Umakant P Shah: An Indologist and Art Historian in ICHR Symposium on, 'Intellectual Currents in Colonial Western India' at Oriental Institute, Baroda, 5th/6th January 2019.
  136. ‘Selected Paintings from the Family Collection of Kasturbhai Lalbhai’, (ed) John Seyller, DAKHAN: 2018 Recent Studies on Indian Painting, Jagdish and Kamala Mittal Museum of Indian Art, Hyderabad, 2020.
  137. Gujarati Translation of Mapping the Asian journey of Vessantara Jataka Texts and Pictorial Images of the perfect Generosity of Prince Vessantara, ‘Vessantara Jataka Asiai Pravasno Naksho: Rajkumar Vessantara ni Adbhut Udaratani Kathao ane tene sanlagna Drishya Chhabiyo’, (trans.) Shirish Panchal, Mahavessantara Jataka, (trans.) Yuyutsu Panchal, Vadodara, 2020.
  138. Chapter on ‘Chitra, Chitrakar’, Vol IX, Kalatattva Kosh, Indira Gandhi National Centre for Arts, New Delhi, (in Press).
  139. ‘Revisiting Martand Sun Temple: Lalitaditya and the Kashmir style of Temple Architecture’, Neelamatam, Vol 14, Issue No 02, April-June 2022.

Art Exhibitions

Artists’ Camp

Participated in Artists’ Camps:

Awards

Collections

Hermitage, Lenningrad; National Gallery of Modern Art, New Delhi; Punjab University, Chandigarh; Air India, Bombay; Shyamal Builders, Baroda; Gujarat State Lalit Kala Akademi, Delhi Sahitya Kala Parishad, Madhavan Nair Foundation, Cochin, Cymroza Art Gallery, Mumbai; Welcome Hotel, Vadodara. & Private Collections.

Major Lecture Series

1980 – Radhakamal Mukherji Memorial Lecture, U.P. State Lalit Kala Akademi, Lucknow.

1983 – UGC National Lectures at Chandigarh, Santiniketan & Madurai.

1989 – Hindi Sahitya Parishad, Ahmedabad.

1990 – Somashekhar Memorial Lecture, Dept. of Archaeology, Govt. of Andhra Pradesh, Hyderabad.

1999 – Abanindranath Memorial Lecture, Calcutta.

2005 – Raja Ravi Varma Death Centenary Lecture, Cochin.

Foreign Travels

1960-61 – Commonwealth Fellowship to study in London University.

1967 – One month's traveling in USSR under Indo-Soviet Cultural Programme.

1974 – JDR Rockefeller IIIrd Fund, New York, USA.

1978 – Invited to participate in the world Congress of International Society for Education Through Art, Adelaide, Australia.

1993 – Travelled to London, Paris, Berlin.

Membership(s) of Societies/ Associates being held

1981-1984 – Member, Executive Board, Lalit Kala Akademi, Delhi.

1982 – Member, UGC Panel Art History / Museology.

1982-1988 – Executive Secretary, Indian Association of Art Historians.

1985 – Member, UGC Pay Scale Revision committee.

1987 – Member, Central Advisory Board of Museums, Govt. of India.

1993-1995 – Member, History of Science Panel, Indian National Science Akademi, New Delhi.

1994-1997 – Member, UGC Panel for Art History / Fine Arts.

1998-2000 – Art Purchase Committee, NGMA, Delhi.

2003-2005 – Programme Advisory Committee, NGMA, Mumbai.

2003- 2005 – Board of Studies, Jawahar Nehru University, New Delhi. Board of Studies, National Council of Educational Research and Teaching, New Delhi.

2011 – Authentication Committee appointed by Archaeological Survey of India, New Delhi, to access the exhibition of 20 fake paintings of Rabindranath Tagore held at College of Arts and Crafts, Kolkata.

2012-2014 – Member, Board of Studies, School of Art and Aesthetics, JNU.

2014-2016 – Member, Acquisition Committee, NGMA, New Delhi.

2015-2020 – Chief Advisor, Textbooks in Fine Arts for class XI and Class XII, National Council of Educational Research and Training.

External links

Notes and References

  1. Web site: His name is listed as Baroda Group of Artists' fifth annual exhibition of paintings by . Asia Art Archive.
  2. Web site: Baroda Group and his name were is listed in contemporary art movements in India. . www.contemporaryart-india.com.
  3. Web site: Baroda Group and his name were listed by saffronart.com. . www.saffronart.com.
  4. Web site: Archive . Asia Art . Art of Three Tagores: From Revival to Modernity . 2023-12-11 . aaa.org.hk . en.

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