By Ranjit Bhushan
It is more than an exhibition or exposition of Indian antiquities that is drawing accolades around the world – from the diplomatic community and the political elite, to genuine art and cultural aficionados.
Welcome to the Roots and Routes, currently on display at the capital’s fabulous National Gallery of Modern Art (NGMA).
Even in New Delhi, pretty much the cultural nerve centre of the Indian republic, such a display is practically unprecedented. Gandhara sculpture, Buddhist motifs, rare Indian antiquities, pre-modern paintings, and manuscripts from various government museums and galleries – you name it – are housed at the majestic Jaipur House.
The 500-piece exhibition, which coincided with the successful G20 summit that concluded recently, is proving to be the country’s cultural high-water mark. “We need to showcase India’s great heritage. When countries with relatively smaller histories are willing to go to any lengths to exhibit their past, we have everything to display,’’ points out Raghvendra Singh, curator of the exhibition. A former Secretary, Government of India, Singh helmed the Ministry of Culture for several years and has now given the benefit of his experience to curating an exhibition of mega proportions.
That, to be sure, is the case. The exhibition – which is closer to a museum given the sheer variety on display – explores India’s civilizational heritage, ethos and its interconnectedness. It traces cultural marvels through Indian sagas based on archaeological artefacts, literature, numismatics, epigraphy, and paintings, the woven narrative being truly diverse and rich.
Consider some highlights:
*** A 4,000 years old chariot found in Sinauli is considered significant because it sheds light on India’s ancient history and civilization, indicating that it had reached a level of development comparable to Mesopotamia in 2000 BC.
*** A coin from the Samudragupta Maurya period depicting him playing the Veena
*** A piece of jewellery from 2000 BCE
*** A rare 200-year-old lithograph on musical instruments contains artistic images of many instruments, which are now presumed lost.
*** Alexander’s confrontation with Porus. The king of Macedon had established a mint at Bactria, Balkh province in present day Afghanistan, and issued large silver coins. He is seen riding on his chariot in a fight with Porus, who is sitting on an elephant along with his mahout.
*** India’s early societies and governments – Chanakya’s descriptions
While engaging with G20 Summit priorities, the essential tenets of Indian thought – ‘Vasudhaiva Kutumbakam’ or the World is One Family – the core values of which are supremely universal, come through. The chosen themes reflect that ethos – respect for nature and environment, democratic spirit, gender equality and education.
Visitors to Roots & Routes are able to experience how subjects like Shringar, Sangeet and Prakriti have fascinating facets which can together portray the legacies of Indian art and aesthetics. Moreover, it is a transnational history, bringing alive the Vasudhaiva Kutumbakam themes. The way in which Indian literature and art mirror each other, completes the ensemble. It is not usual for India’s great antiquity to come together in such quantity and in such great diversity. The selection of artefacts was carefully undertaken with a focus on historical significance, artistic merit and thematic relevance.
Says Singh, a historian and scholar of modern Indian history who has authored an acclaimed book on the North West Frontier Province of Pakistan, “the curatorial challenge of bringing together these priceless artefacts from all across India was made possible through close collaboration with all partners and meticulous logistical planning.”
“The grandeur of India’s soft power is reflected in this show,’’ he says, admitting it was the Herculean task that lay ahead when the project was conceived in January 2023. The G20 Summit was an incomparable opportunity to showcase India’s soft power on the global stage, for the global community.
In a matter of a few months – with the able assistance of the Union culture ministry – Singh and his team were able to rustle up leading partnering institutions to complete the project on time.
And the institutions are pretty much the crème da la crème – Indian Museum, Kolkata; Government Museum, Chennai; Government Museum, Chandigarh; Asiatic Society, Kolkata; Government Museum, Mathura; National Museum, New Delhi; National Gallery of Modern Art, National Library, Kolkata; Site Museums of ASI: Sarnath, Nalanda, Nagarjunakonda and Sanchi and Indira Gandhi National Center for Arts, New Delhi.
Thanks to such team work and to the credit of these institutions, a rare assemblage of Indian sculpture of the Amravati friezes, the Gandhara and Mathura art pieces, Chola Bronzes, manuscripts and paintings have been brought together for this exhibition.
The result is a continuous dialogue between Roots and Routes, which takes centre stage in this exhibition, presenting voices, thoughts, and relatable stories, as the well-produced catalogue explains.
The story of the country’s cultural renaissance is set to go places – literally. The decision to move priceless artefacts from the Janpath Road-based National Museum to South and North Blocks, is very much the need of the hour, says Singh. “From 35,000 sq. mts. (at the National Museum) to 1,67,000 sq. mts. (South and North Blocks) is a quantum leap. India needs more space to demonstrate its soft power, its artistic and aesthetic history, which is larger than any other country. For that North and South Block are ideal,” he says.
What does this thrust on creating museums do in terms of nation’s identity formation?
Explains Singh: “It is how India perceives itself, civilizationally speaking. Museology is a nascent subject in this country. Curation, visitor experience, art experts, these need a better footing in India. For several decades, there has been no museum work on a scale to involve museum professionals, academicians and the Government of India establishment. There had been a lull. Now it is picking up and Prime Minister Shri Narendra Modi has to be credited for giving a massive boost to museology. He is sensitive and knows the nuances of soft power better than anyone else.”
As India flaunts its `positive attractions’, Singh gives the example of the Roots and Routes detailed exposition on Sanskrit, one of the world’s oldest recorded languages. “It became a language in which great works of literature were composed and helped India attain a social position that no political entity could establish. Sanskrit accorded a sign of participation in a world where one was not a local person. Living in India, you could be quoted in Cambodia,” he points out.
Can technology help in upgrading museums?
According to Singh, technology can help, but it is no substitute for the real thing. “The original artefacts are irreplaceable. Technology can be used not to replace but to add to or enhance the original,” he points out.
Roots and Routes is a definite road-map for the future, charting out new routes in the challenging terrain of global diplomacy.
The author is an independent senior journalist.
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