~ The Art of a Patachitra Artist, Rupsona Chitrakar, 2018
From the collection of Banglanatak, Patachitra of Durga
~ A painting by the acclaimed Patua Anwar Chitrakar.
Here, the priest, worshippers, and the dhaak players have gathered to offer prayers to Maa Durga. ☀️🚩
~ another depiction of Maa Durga in Bengal patachitra paintings.
~ And Goddess Durga is represented differently in Odisha pattachitra art form.
~ Durga slays Mahisasura, Madhubani painting.
~ Krishnachandraji temple, Kalna, Bardhaman, West Bengal (Terracotta art of Bengal)
~ Kalighat painting, Kolkata, 19th century.
~ Maa Durga in pahari paintings. Here, again slaying the demon Mahishasura.
~ Again a Pahari painting where Maa Durga is seen without her lion.
~ Here she is depicted in her fiercest form. (Pahari paintings).
~ In this depiction, she is wearing a thin layer of 'alta'.
~ Mahishasura is drawn here as a buffalo, not as his human form.
~ Here, both the lion (Maa Durga's vehicle) and Mahishasura (buffalo) have a red dot on their foreheads.
~ Single panel pattachitra of Goddess Durga by Anwar Chitrakar
I will keep updating this thread as I come across more depictions of her (Maa Durga) in different art forms.
(All images are from the Internet).
~ Devi Durga slaying Mahishasura, pata painting on canvas.
~ Durga slaying demons, a Himachali miniature painting.
~ depicting a scene from the Ramayana. Ram is shown as offering his eyes to make up the full number - 108 - of lotus blossoms needed in the puja that he must offer to the goddess Durga to gain her blessing.
c 1895, Printed by: Chore Bagan Art Studio, British Museum Collections.
~ Mahiṣāsuramardini, Durgā killing the buffalo demon.
Early 20th century, Raja Ravi Varma, British Museum Collections.
~ Seated Durgā with a standing attendant.
(c. 1790-1810), Rajasthan School
~ Engraving of the goddess Durga slaying the Buffalo Demon, Mahishasura.
Richard Bernard Godfrey, (c. 1770). This artifact, now with the British Museum, sheds interesting light on the early uses of Indian print imagery.
~ The goddess Durgā, riding upon her vehicle, the lion (often depicted as a tiger). The pair are shown vanquishing the demon Mahiṣāsura.
Deccani School: 1800–1805 (on European paper).
~ The goddess Durgā of green complexion and with eight arms, rides on her vehicle.
(c. 1820), Company School, painted in Andhra Pradesh/Tamil Nadu
~ A fierce goddess (Bhavani) is seated in a chariot, led by two tigers.
(c. 1800), Rajasthan School, The British Museum Collections.
• • •
Missing some Tweet in this thread? You can try to
force a refresh
What if Indian academia is not producing knowledge but staging its simulation?
Vivek Dhareshwar calls it intellectual parasitism. A condition where concepts are consumed without being metabolized.
A thread on his radical vision for a new humanities. 🧵
Intellectual parasitism is not mimicry. It is dispossession.
It is when Foucault, Derrida, Butler are recited like mantras, their concepts floating free of the historical and social wounds that made them necessary.
Theory becomes a fetish. Thinking stops.
In this regime, the classroom is not a site of encounter. It is a theatre of citation.
Learning becomes procedural. Texts are mastered but not suffered. Concepts are deployed but never ruptured. Knowledge circulates without consequence.
How did the British and missionaries react to bare-chested women in South India? A story of colonial morality, caste, and cultural erasure that still shapes our thinking on dress and modesty today.
A thread 👇
A company painting of a basket maker and his wife, late 18th century.
In pre-colonial South India, women—across many castes—often went bare-chested. This was not seen as shameful. It was part of local aesthetics, climate, and caste codes. Modesty had a different meaning.
Enter the British and Christian missionaries with their Victorian morality, which equated nudity or partial nudity with "barbarism" or "backwardness".
The bare-chested woman became, to them, a symbol of India’s moral decay.
"The construction of a mosque on a spot regarded as sacred by the conquered population was meant as an insult… an insult to an ancient idea, the idea of Ram.”
"A convert’s deepest impulse is the rejection of his origins.”
In an interview published in Outlook magazine, Naipaul had said;
"You say that Hindu militancy is dangerous. Dangerous or not, it is a necessary corrective to the history I have been talking about. It is a creative force and it will prove to be so."
"So in India at the moment, you have a million mutinies - every man is a mutiny on his own - and I find that entirely creative. It's difficult to manage, it gets very messy, but it is the only way forward."
Ancient Indian texts (Upavana Vinoda, Kathasaritasagara etc.) talk about two types of gardens.
One attached to a royal place and one that was a public garden.
These gardens were spaciously laid out to include water tanks, flowers, orchard, etc.
Then our historians made Mughals synonymous with gardens in India.
Kautilya's Arthasastra confirms that an expertise in planting trees, shrubs and curating gardens was recognised.
Such plantings are also extolled in the Matsya Purana, in the form of dramas, epics, and poems that contain references to well laid out gardens.
Vatsyayana, in his Kamasutra, the 2nd century Sanskrit text, talks about creating a garden around a house with fruit trees, vegetables, flowering plants and herbs.
The 3rd-4th century Sanskrit text Vrikshaayurveda of Parasara classified plants in considerable detail.