Mukhowta
Mukhowta
Mukhowta
Mukhowta
Mukhowta
Masks hold an intrinsic place in India's visual narrative, embodying spiritual significance and mystic allure. From the sacred rituals of Theyyam in Kerala to the historic streets of Mumbai's Kalbadevi, masks weave tales of tradition and transition.
Masks hold an intrinsic place in India's visual narrative, embodying spiritual significance and mystic allure. From the sacred rituals of Theyyam in Kerala to the historic streets of Mumbai's Kalbadevi, masks weave tales of tradition and transition.
Masks hold an intrinsic place in India's visual narrative, embodying spiritual significance and mystic allure. From the sacred rituals of Theyyam in Kerala to the historic streets of Mumbai's Kalbadevi, masks weave tales of tradition and transition.
Masks hold an intrinsic place in India's visual narrative, embodying spiritual significance and mystic allure. From the sacred rituals of Theyyam in Kerala to the historic streets of Mumbai's Kalbadevi, masks weave tales of tradition and transition.
Masks hold an intrinsic place in India's visual narrative, embodying spiritual significance and mystic allure. From the sacred rituals of Theyyam in Kerala to the historic streets of Mumbai's Kalbadevi, masks weave tales of tradition and transition.
MAKARA
MAKARA
MAKARA
MAKARA
MAKARA
CORBEL
Corbel
CORBEL
CORBEL
CORBEL
A small corbel has a vine of floral elements emerging from the jaws of the dolphin. He caps this makara with a ‘panchoha’ or ‘panchdhatu’ alloy. The Gangetic dolphin is a very sacred animal that is the vehicle or vahana of the Ganges, India’s sacred river. Panchaloha or Panchadhatu is an alloy of gold, silver, copper, zinc and iron and is used across Hinduism, Buddhism and Jainism to make sacred idols and utensils for worship. Giving the makara of the Gangetic Dolphin a ‘Panchaloha’ embellishment Raj plays on the dichotomy or sacredness and pollution. ‘Makara’ in Ancient Indian texts is revered as the vahana or vehicle of the Mother Ganges, a river that has power to purify but one we often pollute. This dichotomy is inherent in the Modern Indian psyche which is lost to grandstanding and statements.
A small corbel has a vine of floral elements emerging from the jaws of the dolphin. He caps this makara with a ‘panchoha’ or ‘panchdhatu’ alloy. The Gangetic dolphin is a very sacred animal that is the vehicle or vahana of the Ganges, India’s sacred river. Panchaloha or Panchadhatu is an alloy of gold, silver, copper, zinc and iron and is used across Hinduism, Buddhism and Jainism to make sacred idols and utensils for worship. Giving the makara of the Gangetic Dolphin a ‘Panchaloha’ embellishment Raj plays on the dichotomy or sacredness and pollution. ‘Makara’ in Ancient Indian texts is revered as the vahana or vehicle of the Mother Ganges, a river that has power to purify but one we often pollute. This dichotomy is inherent in the Modern Indian psyche which is lost to grandstanding and statements.
A small corbel has a vine of floral elements emerging from the jaws of the dolphin. He caps this makara with a ‘panchoha’ or ‘panchdhatu’ alloy. The Gangetic dolphin is a very sacred animal that is the vehicle or vahana of the Ganges, India’s sacred river. Panchaloha or Panchadhatu is an alloy of gold, silver, copper, zinc and iron and is used across Hinduism, Buddhism and Jainism to make sacred idols and utensils for worship. Giving the makara of the Gangetic Dolphin a ‘Panchaloha’ embellishment Raj plays on the dichotomy or sacredness and pollution. ‘Makara’ in Ancient Indian texts is revered as the vahana or vehicle of the Mother Ganges, a river that has power to purify but one we often pollute. This dichotomy is inherent in the Modern Indian psyche which is lost to grandstanding and statements.
A small corbel has a vine of floral elements emerging from the jaws of the dolphin. He caps this makara with a ‘panchoha’ or ‘panchdhatu’ alloy. The Gangetic dolphin is a very sacred animal that is the vehicle or vahana of the Ganges, India’s sacred river. Panchaloha or Panchadhatu is an alloy of gold, silver, copper, zinc and iron and is used across Hinduism, Buddhism and Jainism to make sacred idols and utensils for worship. Giving the makara of the Gangetic Dolphin a ‘Panchaloha’ embellishment Raj plays on the dichotomy or sacredness and pollution. ‘Makara’ in Ancient Indian texts is revered as the vahana or vehicle of the Mother Ganges, a river that has power to purify but one we often pollute. This dichotomy is inherent in the Modern Indian psyche which is lost to grandstanding and statements.
A small corbel has a vine of floral elements emerging from the jaws of the dolphin. He caps this makara with a ‘panchoha’ or ‘panchdhatu’ alloy. The Gangetic dolphin is a very sacred animal that is the vehicle or vahana of the Ganges, India’s sacred river. Panchaloha or Panchadhatu is an alloy of gold, silver, copper, zinc and iron and is used across Hinduism, Buddhism and Jainism to make sacred idols and utensils for worship. Giving the makara of the Gangetic Dolphin a ‘Panchaloha’ embellishment Raj plays on the dichotomy or sacredness and pollution. ‘Makara’ in Ancient Indian texts is revered as the vahana or vehicle of the Mother Ganges, a river that has power to purify but one we often pollute. This dichotomy is inherent in the Modern Indian psyche which is lost to grandstanding and statements.
Gold, Silver, Copper, Zinc
And Iron
SWARNA
SWARNA
SWARNA
SWARNA
SWARNA
GOLD
GOLD
GOLD
GOLD
GOLD
The ‘Annapakshi’ a common makara corbel seen in
Tamil architecture is formed by a Swan head and beak with a peacock’s bloom. The bird holds a vine in its beak as a symbol of being able to distinguish milk from water or truth from falsehood. ‘Swarna (Gold)’ is one of two anapakshis where the peacocks is embellished with a gold plating.
The ‘Annapakshi’ a common makara corbel seen in
Tamil architecture is formed by a Swan head and beak with a peacock’s bloom. The bird holds a vine in its beak as a symbol of being able to distinguish milk from water or truth from falsehood. ‘Swarna (Gold)’ is one of two anapakshis where the peacocks is embellished with a gold plating.
The ‘Annapakshi’ a common makara corbel seen in
Tamil architecture is formed by a Swan head and beak with a peacock’s bloom. The bird holds a vine in its beak as a symbol of being able to distinguish milk from water or truth from falsehood. ‘Swarna (Gold)’ is one of two anapakshis where the peacocks is embellished with a gold plating.
The ‘Annapakshi’ a common makara corbel seen in
Tamil architecture is formed by a Swan head and beak with a peacock’s bloom. The bird holds a vine in its beak as a symbol of being able to distinguish milk from water or truth from falsehood. ‘Swarna (Gold)’ is one of two anapakshis where the peacocks is embellished with a gold plating.
The ‘Annapakshi’ a common makara corbel seen in
Tamil architecture is formed by a Swan head and beak with a peacock’s bloom. The bird holds a vine in its beak as a symbol of being able to distinguish milk from water or truth from falsehood. ‘Swarna (Gold)’ is one of two anapakshis where the peacocks is embellished with a gold plating.
LOHA
LOHA
LOHA
LOHA
LOHA
STEEL
STEEL
STEEL
STEEL
STEEL
‘Loha (Steel)’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
‘Loha (Steel)’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
‘Loha (Steel)’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
‘Loha (Steel)’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
‘Loha (Steel)’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
PANCHADHATU
PANCHADHATU
PANCHADHATU
PANCHADHATU
PANCHADHATU
PENTA ALLOY
PENTA ALLOY
PENTA ALLOY
PENTA ALLOY
PENTA ALLOY
‘Panchadhatu’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
‘Panchadhatu’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
‘Panchadhatu’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
‘Panchadhatu’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
‘Panchadhatu’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
PITALA
PITALA
PITALA
PITALA
PITALA
BRASS
BRASS
BRASS
BRASS
BRASS
The beauty of old wood lies in its weathering and not the polish. Taking two long worn-out logs of teak Raj makes facsimile of dents, breakages and fissures in bronze and copper. He displays them in the alcoves, the real wood hiding behind the metal. ‘Pitala (Brass)’ is one of the two sculptures of the logs that in their veins hold memory of the forests.
The beauty of old wood lies in its weathering and not the polish. Taking two long worn-out logs of teak Raj makes facsimile of dents, breakages and fissures in bronze and copper. He displays them in the alcoves, the real wood hiding behind the metal. ‘Pitala (Brass)’ is one of the two sculptures of the logs that in their veins hold memory of the forests.
The beauty of old wood lies in its weathering and not the polish. Taking two long worn-out logs of teak Raj makes facsimile of dents, breakages and fissures in bronze and copper. He displays them in the alcoves, the real wood hiding behind the metal. ‘Pitala (Brass)’ is one of the two sculptures of the logs that in their veins hold memory of the forests.
The beauty of old wood lies in its weathering and not the polish. Taking two long worn-out logs of teak Raj makes facsimile of dents, breakages and fissures in bronze and copper. He displays them in the alcoves, the real wood hiding behind the metal. ‘Pitala (Brass)’ is one of the two sculptures of the logs that in their veins hold memory of the forests.
The beauty of old wood lies in its weathering and not the polish. Taking two long worn-out logs of teak Raj makes facsimile of dents, breakages and fissures in bronze and copper. He displays them in the alcoves, the real wood hiding behind the metal. ‘Pitala (Brass)’ is one of the two sculptures of the logs that in their veins hold memory of the forests.
TANBRA
TANBRA
TANBRA
TANBRA
TANBRA
COPPER
COPPER
COPPER
COPPER
COPPER
The beauty of old wood lies in its weathering and not the polish. Taking two long worn-out logs of teak Raj makes facsimile of dents, breakages and fissures in bronze and copper. He displays them in the alcoves, the real wood hiding behind the metal. ‘Tambra (Copper)’ is one of the two sculptures of the logs that in their veins hold memory of the forests.
The beauty of old wood lies in its weathering and not the polish. Taking two long worn-out logs of teak Raj makes facsimile of dents, breakages and fissures in bronze and copper. He displays them in the alcoves, the real wood hiding behind the metal. ‘Tambra (Copper)’ is one of the two sculptures of the logs that in their veins hold memory of the forests.
The beauty of old wood lies in its weathering and not the polish. Taking two long worn-out logs of teak Raj makes facsimile of dents, breakages and fissures in bronze and copper. He displays them in the alcoves, the real wood hiding behind the metal. ‘Tambra (Copper)’ is one of the two sculptures of the logs that in their veins hold memory of the forests.
The beauty of old wood lies in its weathering and not the polish. Taking two long worn-out logs of teak Raj makes facsimile of dents, breakages and fissures in bronze and copper. He displays them in the alcoves, the real wood hiding behind the metal. ‘Tambra (Copper)’ is one of the two sculptures of the logs that in their veins hold memory of the forests.
The beauty of old wood lies in its weathering and not the polish. Taking two long worn-out logs of teak Raj makes facsimile of dents, breakages and fissures in bronze and copper. He displays them in the alcoves, the real wood hiding behind the metal. ‘Tambra (Copper)’ is one of the two sculptures of the logs that in their veins hold memory of the forests.
RAJAT
RAJAT
RAJAT
RAJAT
RAJAT
SILVER
SILVER
SILVER
SILVER
SILVER
The ‘Annapakshi’ a common makara corbel seen in
Tamil architecture is formed by a Swan head and beak with a peacock’s bloom. The bird holds a vine in its beak as a symbol of being able to distinguish milk from water or truthfrom falsehood. ‘Rajata (Silver)’ is one of two anapakshis where the peacocks is embellished with a silver plating.
The ‘Annapakshi’ a common makara corbel seen in
Tamil architecture is formed by a Swan head and beak with a peacock’s bloom. The bird holds a vine in its beak as a symbol of being able to distinguish milk from water or truthfrom falsehood. ‘Rajata (Silver)’ is one of two anapakshis where the peacocks is embellished with a silver plating.
The ‘Annapakshi’ a common makara corbel seen in
Tamil architecture is formed by a Swan head and beak with a peacock’s bloom. The bird holds a vine in its beak as a symbol of being able to distinguish milk from water or truthfrom falsehood. ‘Rajata (Silver)’ is one of two anapakshis where the peacocks is embellished with a silver plating.
The ‘Annapakshi’ a common makara corbel seen in Tamil architecture is formed by a Swan head and beak with a peacock’s bloom. The bird holds a vine in its beak as a symbol of being able to distinguish milk from water or truthfrom falsehood. ‘Rajata (Silver)’ is one of two anapakshis where the peacocks is embellished with a silver plating.
The ‘Annapakshi’ a common makara corbel seen in
Tamil architecture is formed by a Swan head and beak with a peacock’s bloom. The bird holds a vine in its beak as a symbol of being able to distinguish milk from water or truthfrom falsehood. ‘Rajata (Silver)’ is one of two anapakshis where the peacocks is embellished with a silver plating.
TINA GERMAN
TINA GERMAN
TINA
GERMAN
TINA
GERMAN
TINA
GERMAN
SILVER
SILVER
SILVER
SILVER
SILVER
‘Tina’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
‘Tina’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
‘Tina’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
‘Tina’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
‘Tina’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
KANSA
KANSA
KANSA
KANSA
KANSA
BRASS
BRASS
BRASS
BRASS
BRASS
‘Kansa (Bronze)’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
‘Kansa (Bronze)’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
‘Kansa (Bronze)’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
‘Kansa (Bronze)’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
‘Kansa (Bronze)’ is part of a four sculptures where Raj makes the brackets vertical in an upright standing position by giving them legs using bronze, tin, steel and aluminium. Using the same metals, he fills in the cavities left in by the pillars and wooden fixtures that have been taken apart. By filling them in he makes a cosmetic effort at making them complete again using a shining surface. An aesthetic measure is at play - we aren’t ever made to feel complete with our adornments.
In the ancient enclaves of Malabar, Theyyam dancers summon nature spirits, captivating audiences with their ethereal performances. Meanwhile, in Mumbai's Kalbadevi, echoes of bygone eras linger amidst stately mansions, their ornate woodwork bearing witness to a fading heritage.
Raj Shahani breathes new life into forgotten relics, crafting masks that bridge past and present. At Bikaner House in Delhi, amidst Mughal courtyards and colonial echoes, his sculptures evoke a delicate balance between nature and consciousness, reminding us of our shared heritage and enduring truths.
In the ancient enclaves of Malabar, Theyyam dancers summon nature spirits, captivating audiences with their ethereal performances. Meanwhile, in Mumbai's Kalbadevi, echoes of bygone eras linger amidst stately mansions, their ornate woodwork bearing witness to a fading heritage.
Raj Shahani breathes new life into forgotten relics, crafting masks that bridge past and present. At Bikaner House in Delhi, amidst Mughal courtyards and colonial echoes, his sculptures evoke a delicate balance between nature and consciousness, reminding us of our shared heritage and enduring truths.
In the ancient enclaves of Malabar, Theyyam dancers summon nature spirits, captivating audiences with their ethereal performances. Meanwhile, in Mumbai's Kalbadevi, echoes of bygone eras linger amidst stately mansions, their ornate woodwork bearing witness to a fading heritage.
Raj Shahani breathes new life into forgotten relics, crafting masks that bridge past and present. At Bikaner House in Delhi, amidst Mughal courtyards and colonial echoes, his sculptures evoke a delicate balance between nature and consciousness, reminding us of our shared heritage and enduring truths.
In the ancient enclaves of Malabar, Theyyam dancers summon nature spirits, captivating audiences with their ethereal performances. Meanwhile, in Mumbai's Kalbadevi, echoes of bygone eras linger amidst stately mansions, their ornate woodwork bearing witness to a fading heritage.
Raj Shahani breathes new life into forgotten relics, crafting masks that bridge past and present. At Bikaner House in Delhi, amidst Mughal courtyards and colonial echoes, his sculptures evoke a delicate balance between nature and consciousness, reminding us of our shared heritage and enduring truths.
In the ancient enclaves of Malabar, Theyyam dancers summon nature spirits, captivating audiences with their ethereal performances. Meanwhile, in Mumbai's Kalbadevi, echoes of bygone eras linger amidst stately mansions, their ornate woodwork bearing witness to a fading heritage.
Raj Shahani breathes new life into forgotten relics, crafting masks that bridge past and present. At Bikaner House in Delhi, amidst Mughal courtyards and colonial echoes, his sculptures evoke a delicate balance between nature and consciousness, reminding us of our shared heritage and enduring truths.