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Mukhowta: Unveiling the Soul Behind the Mask in Raj Shahani’s Sculpture Exhibition

Step into the enchanting world of Raj Shahani’s exhibition, “Mukhowta,” where wood meets metal, and ancient traditions merge with contemporary art. Until February 29th, Bikaner House serves as the canvas for Shahani’s unique series of sculptures, inviting visitors to explore the intersection of materiality, spirituality, and self-reflection.

A Forest of Stories:
In “Mukhowta,” Shahani crafts a sacred forest using antique wooden corbels arranged in a circular formation. Each piece, adorned with a metal covering of copper, gold, silver, panchadhatu, bronze, German silver, brass, and steel, conceals a deeper narrative. Drawing inspiration from the sacred Snake Groves of Northern Malabar, the exhibition weaves a constellation of wood and metal within the Mughal Fountain Rotundas, offering a visual journey reminiscent of the Snake Groves’ mystical allure.

Reflecting Alter Egos:
Behind the shining plates of metal lies more than meets the eye. Shahani, with a keen artistic touch, repairs and accentuates each wooden object, symbolizing the masks we wear—the “Mukhowta” that hides our authentic selves. The exhibition challenges us to ponder the ethereal presence of sculpture materials and consider the dichotomy of our own adorned exteriors.

Serpentine Guardians:
Central to the exhibition are two fountains adorned with serpent sculptures, dubbed “Sarpa Devtas.” Inspired by the sacred Snake Groves of Kerala, these jute-rope serpents symbolize nature’s protectors, beckoning belief in the sanctity of the environment. As water sprouts toward the sky, the serpents stand as guardians, encouraging us to reflect on our connection with nature and its role in safeguarding our well-being.

Queerness, Gaze, and Catharsis:
Priyanka Kheterpal of AnamKara reflects on Shahani’s art practice as a profound exploration of queerness, gaze, and the therapeutic power of sculpture. In a world grappling with a mental health pandemic, art becomes a soulful companion—a notion beautifully translated as “AnamKara” in Celtic.

Masks and Magical Realities:
Delving into the history of visual culture in India, the exhibition explores the undeniable existence of masks as spiritual tools. Drawing parallels with the Theyyam performances in Northern Kerala, Shahani’s art pays homage to shamans and divine presence, captivating audiences with esoteric and magical experiences.

Dichotomy of Sacredness and Pollution:
Several sculptures, such as ‘Pitala (Brass)’ and ‘Tambra (Copper),’ delve into the memories held within the veins of logs, while others, like ‘Swarna (Gold)’ and ‘Rajata (Silver),’ adorn peacocks with precious metals. Shahani cleverly uses materials like bronze, tin, steel, and aluminum to fill cavities, symbolizing the incomplete nature of our adorned selves. The exhibition challenges us to contemplate the sacredness and pollution inherent in our modern psyche.


“Mukhowta” is not just an exhibition; it’s an immersive journey into the realms of art, spirituality, and self-discovery. As you explore Raj Shahani’s sculptures, let the stories hidden within wood and metal prompt reflection on your own ‘Mukhowta’—the mask you wear—and the profound connection between nature, art, and the human soul.

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Bihar Couture Runway: A Grand Celebration of Fashion, Culture, and Artistry in Patna

In the city of Patna, the capital of Bihar, fervent fashion enthusiasts gathered at the esteemed Gyan Bhawan to participate in the illustrious Bihar Couture Runway. This annual non-profit fashion spectacle, meticulously curated by SR Adventures, unfolded with resolute support from key figures such as Captain Aryan Sinha, Abhishek, and Shubham Rajveer. The runway metamorphosed into a breathtaking showcase, seamlessly integrating accomplished designers from various parts of the country with promising talents emerging from the region.

Behind the scenes, the indomitable team members of SR Adventures and Tanaash Media, including Nahid Fatima, Vikas Kumar, and Avinash Ranjan, played pivotal roles in orchestrating a show that exuded grandeur. Their collective efforts transformed the runway into a mesmerizing canvas, displaying Bihar’s rich crafts, culture, and techniques in the realm of fashion. Rooted in a commitment to nurture both established and emerging designers from Bihar and pan-India, the very ethos of Bihar Couture Runway came to life.

Collaborating with national and international partners and sponsors such as TRISTAR MOTORS MERCEDES BENZ, VLCC, SAI ASHIRWAAD CONSTRUCTION PVT. LTD., THE JAWED HABIB BORING ROAD, and many more, the organization created opportunities that served as launchpads for designers to showcase their creativity and craftsmanship. The runway became more than just a fashion showcase; it stood as a jubilation of India’s enduring heritage and the rich crafts of Bihar. Amidst this cultural tapestry, Lakme Academy Raja Bzara’s makeup artistry took center stage, contributing a touch of glamour to the timeless celebration.

The spotlight of the show was captured by the opening presentation from PRITHS, the brainchild of the talented designer Pritam. The collection featured an eclectic mix of textiles, including brocade, velvet, tulle, and satin, expertly crafted into a stunning array of tulle dresses, satin bustiers, and feminine skirts. Pritam ingeniously infused a twist of drapes into the one-piece ensembles, breathing new life into traditional brocade fabric. The show reached its pinnacle as the charismatic Nitika Satya, Mrs. India Galaxy 2023, graced the runway as the showstopper. Dressed in a vibrant red and gold brocade draped dress, complemented by a one-sleeve jacket and a tulle veil attached at one shoulder, Nitika exuded grace and sophistication. The ensemble was further elevated by the dazzling diamond and stone-studded winner’s crown, a masterpiece in collaboration with the esteemed jewelry partner, ‘House of Vedika.’

The collaborative efforts showcased at Bihar Couture Runway underscored the synergy between designers, organizers, and sponsors, all united by a common passion for promoting and preserving Bihar’s cultural tapestry through the lens of fashion. The event seamlessly blended tradition with modernity, creating a platform that not only celebrated the artisans’ craftsmanship but also fostered the growth of emerging talents in the fashion industry. As the curtains closed on Bihar Couture Runway, the audience was left in awe, having witnessed a spectacle that transcended the boundaries of fashion and art. The event, with its unwavering dedication to promoting diversity, innovation, and heritage, has undoubtedly left an indelible mark on the fashion landscape of Bihar. In the years to come, Bihar Couture Runway is poised to be a beacon for emerging designers and a symbol of Bihar’s rich cultural legacy in the world of fashion.

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“Unleashing the Art of Fashion: Exploring the World of Costume Design”- The Legacy of Bhanu Athaiya

Bhanu Athaiya, India’s first Oscar-winning costume designer, left an indelible mark on Indian cinema. Born in 1929 in Maharashtra, she began her career in film as a costume designer in the 1950s and went on to design costumes for over 100 films. Her attention to detail, innovative designs, and vibrant colors earned her a reputation as one of the leading costume designers in India. Athaiya’s work on the 1982 film “Gandhi” won her an Academy Award for Best Costume Design, making her the first Indian to win an Oscar. She used her platform to raise awareness about the importance of costume design in telling a story and bringing characters to life on screen.

Mumtaz and Dharmendra in Aadmi Aur Insaan (1969)
Photo Credits:- Prinseps
Saira Banu in Jhuk Gaya Aasman (1968)
Photo Credits : Prinseps

Throughout her career, Athaiya was known for her ability to blend tradition with modernity in her designs seamlessly. She often drew inspiration from Indian textiles and handicrafts but also incorporated Western influences to create unique and memorable costume designs. Athaiya’s contribution to Indian cinema has had a lasting impact. Her innovative designs and attention to detail inspired future generations of costume designers in India and around the world.

Vyjayantimala in Amrapali (1966)
Photo credits : Prinseps

Rekha in Muqaddar ka Sikandar
Photo Credits: Prinseps

Even today, her work continues to be celebrated and recognized for its excellence and if you want to admire her work than you can visit the exhibitionat the Bikaner house (till 2nd February) showcasing her work. From the beautiful artworks to the sketches and costumes that were actually worn in the flim by the actresses like sharmila tagore, Helen ,Mumtaz and Meena Kumari , everything that you need to know about her is presented in the exhibition. Bhanu Athaiya’s legacy as a trailblazer in Indian costume design will forever be remembered. Her passion and talent have left an indelible mark on Indian cinema, and her work will continue to inspire future generations of costume designers. Here is a glimpses of the exhibition:

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The Fifties Show: Works of Indian Modernism

The Fifties Show revisits a momentous decade of newly-independent India that had just put its colonized past behind it to embrace triumphant modernism.

DAG’s new space at The Claridges, New Delhi, will see the opening of its latest exhibition, titled The Fifties Show. This exhibition encapsulates key highlights in Indian art over a decade of the 1950s, spotlighting how a newly-independent nation put its colonized past behind and embraced triumphant modernism.

Indian art in the twentieth century witnessed two important decades: The first one was the 1910s when the Bengal School saw the establishment of the “revivalist practice” that came to signify Indian modern art in general. Another was the 1950s when Indian artists of independent India embraced modernish that was free of their colonial history.

In 1950, the first copy of the Constitution of India, handcrafted and illustrated by Nandalal Bose and other Santiniketan artists, was dedicated to the republic, the Progressives were at the peak of their oeuvre, and younger artists were challenging their place with bold formats of art-making.

The 1950s was a period of hope and celebration, which saw the creation of works emblematic not just of the decade but of the context and subtexts of modernism itself. A period when the best and brightest in the Indian art world—such as Nandlal Bose, M F Husain, S H Raza, F N Souza, G R Santosh, K K Hebbar, Adi Davierwalla, Shanti Dave, Dhanraj Bhagat, etc—created some of their most significant masterpieces.

The exhibition will be on view from 1 February 2020 – 26th March 2020

Here are a few glimpses of the paintings:-


About DAG

DAG (formerly known as the Delhi Art Gallery) was established in 1993 in New Delhi, and over the past 25 years, has built a reputation for the quality of its collection that represents the expanse of Indian art practice. This extensive collection charts a historic continuum, from the early works of academic artists trained in Bengal and Bombay, to modernists from Baroda, Delhi and beyond, and includes artworks by some of India’s most celebrated artists, including Raja Ravi Varma, Amrita Sher-Gil, Jamini Roy, S. H. Raza, M. F. Husain, Tyeb Mehta, F. N. Souza, Avinash Chandra, and Chittaprosad. With the aim of taking Indian modernism to a wider audience, DAG now has gallery spaces in the historic Kala Ghoda in Mumbai, and the iconic Fuller Building in Manhattan, New York, in addition to its gallery in Delhi. It regularly participates in international fairs such as Art Basel Hong Kong, Armory New York, Art Dubai, Masterpiece London, and India Art Fair.

The mandate of taking art to the people has led to museum-quality exhibition collaborations with stellar art institutions such as the National Gallery of Modern Art, Mumbai, Dr. Bhau Daji Lad Museum, Mumbai, The Nehru Memorial Museum & Library, New Delhi, the Punjab Lalit Kala Akademi, Chandigarh, and the Jawahar Kala Kendra, Jaipur. DAG’s first monumental public-private collaboration with the Archaeological Survey of India—Drishyakala museum at the UNESCO World Heritage Site of Red Fort—was inaugurated by India’s Prime Minister on 23 January 2019, has been widely feted, nationally and internationally and has an average footfall of 4,000 people every day.

With the democratization of Indian art as its core aim, DAG consistently hosts outreach programs for students of schools and colleges and also runs a pioneering program for the visually impaired by allowing them to experience art through tactile aids.

www.dagworld.com