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News18
a day ago
- General
- News18
India Pavilion at Japan expo showcasing heritage, sustainability draws crowd
New Delhi, Jun 7 (PTI) The India Pavilion at the ongoing World Expo in Osaka is a celebration of the country's rich heritage, and its design with sustainability at core draws inspiration from the image of Bodhisattva Padmapani in the ancient Ajanta Caves. A top official of the Indira Gandhi National Centre for the Arts (IGNCA) here on Saturday said, the pavilion with its iconic facade with blue lotus motif, is currently among the 'top five most-visited pavilions" at the mega fair in Japan. Later, the IGNCA, in a statement, said that the other four countries in the top five list, whose pavilions are drawing huge crowd are — the US, Italy, Japan and France. The India Pavilion stands as a testament to the nation's ancient wisdom, modern ambitions and global partnerships, officials said. Strategically placed in the 'Connecting Lives' zone at the World Expo 2025 in Osaka, the pavilion captures India's civilisational depth while highlighting its technological advancement and commitment to sustainable development. 'It embodies the nation's values of inclusivity, sustainability and progress, serving as a bridge between its spiritual heritage and its ambitious future," according to a booklet on the pavilion shared by the IGNCA. The IGNCA is an autonomous institution under the Ministry of Culture. Sachchidanand Joshi, Member Secretary, IGNCA during an interaction with reporters said the the blue lotus with 24 petals, also carries the message of Lord Buddha while adhering to the idea of sustainability as they are made of a type of fibre that is biodegradable. The imagery is drawn from a mural at the ancient Ajanta Caves in Maharashtra depicting the Bodhisattva Padmapani, holding a lotus in his right hand. 'The design of the pavilion is a tribute to Bodhisattva Padmapani (the Bodhisattva of Compassion) from the iconic Ajanta Caves, symbolising compassion, enlightenment and knowledge," the booklet says. Through a seamless blend of architecture, storytelling and immersive experiences, the pavilion creates a dynamic space for cultural exchange, reinforcing its role in fostering global connections, it adds The Pavilion comprises diverse sections dedicated to innovation, heritage, Ayurveda, ISRO, and sustainable development, offering a compelling narrative of India's journey from its subterranean treasures to outer space. While paying homage to the past, the Pavilion also envisions the possibilities of the future, IGNCA officials said The cost incurred on the construction of the pavilion was around Rs 225 crore, exclusive of ancillary operational costs, they said. Joshi said a huge 'Bodhi Tree' installation is inside the pavilion, besides sections on Indian textile heritage, terracotta artworks and a brass gallery. 'The pavilion spans 1,751 sq m, the indoor display is in an 'x-box' category structure allotted by the expo authorities to which not even a nail can be added. So, we wrapped a simple looking box with a blue lotus artwork, thereby both enhancing its appeal and projecting India's cultural heritage," he said. Besides, plaques made of soils brought from different states and UTs and mixed in India, depicting cultural elements of different states have also been showcased, to depict the spirit of 'Ek Bharat Shreshth Bharat', the member secretary said. Other zones inside the pavilion include bilateral spaces for diplomatic engagements, the Bharat Bazaar, Indian food zone showcasing the country's street food besides a corporate hub. Sources said the huge petals of the blue lotus were manufactured in Bengaluru, and along with other artefacts and civil material were transported by air from Chennai to Japan via Hong Kong. Since, some of the structures were very huge and had a massive weight, they had to be transported in parts in different flights, which were reassembled in Japan, they said, emphasising the challenges faced in putting together the pavilion. This initiative is being spearheaded by the Ministry of Commerce, with the guidance of the Ministry of Culture, and is being realised with institutional collaboration from the India Trade Promotion Organisation (ITPO) and the IGNCA. 'The creative vision and intricate cultural design of the pavilion were executed by IGNCA in a remarkably short span of time, demonstrating not only institutional agility but deep-rooted cultural sensibility," the IGNCA said. The World Expo 2025, currently underway in the city of Osaka, began on April 13 and will continue till October 13. Over 160 countries and 9 international organisations are participating in the exposition, which is expected to attract nearly 28 million visitors, the IGNCA said. PTI KND NB NB First Published:
Time of India
12-05-2025
- Entertainment
- Time of India
Anveshana 2025 showcases Indian knowledge systems
's School of Performing Arts inaugurated its annual International , , at the in New Delhi. A landmark initiative in the field of Indian arts and academia, the conference opened with great enthusiasm, drawing a confluence of eminent scholars, artists, educators, and students from across the country. Tired of too many ads? go ad free now This year, Anveshana focused on the theme 'Indian Knowledge Systems and Performing Arts in a Global Context', exploring how traditional Indian artistic frameworks can engage meaningfully with global perspectives. The theme set the tone for reflective and future-facing dialogues around , artistic innovation, and academic inquiry. The inaugural session began with a welcome address by Vice Chancellor Dr. Sanjay Gupta, followed by insightful keynote speeches delivered by Dr. Sachchidanand Joshi (Member Secretary, Executive and Academic Head (IGNCA), New Delhi) and Prabhat Singh (Theatre and Traditional Arts Connoisseur/Eminent Journalist). Their addresses emphasised the timeless relevance of and the urgent need to integrate contemporary innovations within traditional performance frameworks. Reflecting on the significance of the conference, Dr. Sanjay Gupta, Vice Chancellor of the university, said, 'ANVESHANA is not just a celebration of the arts but a commitment to reimagining education through culture, dialogue, and innovation. It is our effort to make the arts central to the national discourse on knowledge and identity.' Convener of the conference Dr. Parul Purohit Vats, Dean of the School of Performing Arts, added 'This conference brought together a wide range of artistic voices, creating a fertile ground for exchange and transformation. Anveshana is a reflection of our vision—to bridge the gap between tradition and the future, research and performance, the local and the global.' The event also witnessed the formal release of the Anveshana 2025 Proceedings—an ISBN publication featuring scholarly contributions and performance articles from across the nation, setting the academic tone for the conference. Adding to the grace of the occasion were the distinguished Guests of Honour—Odissi dancer Sharon Lowen, Kathak expert Pt. Tired of too many ads? go ad free now Rajendra Gangani, and Dhrupad musician Ustad F. Wasifuddin Dagar. Their presence added to the event's importance and supported the idea of connecting traditional arts with today's evolving practices. During the two-day event, paper presentations explored topics ranging from ritual practices in traditional Indian dance, emotional intelligence in art pedagogy, Chhau as a classical-tribal interface, and the acoustic design of temple performance spaces, to the shifting dynamics of gender in Bharatanatyam. Workshops added a practical dimension, including Nikhil Bora's reconstruction of Śuddha Tāṇḍava, Sramana Banerjee's movement lab RASĀTMA, and a participatory keynote on Dance Movement Therapy by Tripura Kashyap. Each evening came alive with performances that showcased the energy and creativity of Indian performing arts. Highlights included Navārcanā by Shimran Zaman, Nritya Samarpanam by Subbulakshmi, and Kathaknatyam by Tribhuwan and Rajni Maharaj's team. Collaborative and experimental works like Kali, Transcultural Affections, I Am the Only Man, and Piya Tori Batiya offered bold, poetic expressions. The conference concluded on a high note with Khayal by Guru Malti Shyam's troupe—a tribute to India's living dance traditions.
