Some titles are as follows :

Rasamanjari and Rasikapriya - Paradigms of Visual Art :
The two Medieval Texts expressing the various moods and situations of Lover and Beloved, became the Paradigms of a genre of Indian Poetry. Illustrations of these texts in the miniature style established the connection between Indian poetry and Indian art succinctly.

Devi - Goddess :
Worship of the Great Goddess in Indian civilization and culture and its evolvement from pre-historic to modern 20th century avatars is examined through the development of feminine images.

Sakti - The Kinetic Principle : 
Usually translated in such terms as power and might and often personified as a goddess, Sakti represents the tendency of the Divine to Action - to display and play.

Carya :
Man's social and personal conduct defined by injunctions and prescriptions that are based on religious doctrines (Agamas and Tantras) are best seen in Rituals, both communal and personal.

Rasa and Dhvani - Keys to Aesthetic Experience :
The Discourse on Art is examined through two key terms - Rasa and Dhvani. Rasa as both content and goal of art, and Dhvani as inner significance and suggested meaning are explained in detail.

Rasa Theory :
Based on the earliest extant work on Rasa, Bharata's 2nd century treatise on dramaturgy, the Natya Shastra, the theory emerges from an aphorism and goes on to become one of the chief guiding principles of understanding Indian art.

Rasa and Dhvani in Painting :
An application of the tenets of Rasa and Dhvani to the sacred art of Nathadwara, the seat of the Vaishnava sect dedicated to Krishna as Ghild God, is examined.

Rasa and Dhvani in Sculpture :
In this lecture, the famous 6th century cave temple of Elephanta in Maharashtra, dedicated to Shiva, is discussed, keeping in mind the indigenous methodology formulated by this writer.

Nada and Bindu :
The creative principles as enunciated by the Tantras - Nada, Primal sound or a series of vibrations, and Bindu, the Primal drop of matter - are examined.

Yoga - The Body's Vehicle :
For the adept and the practitioner of the Agamic-Tantric system, liberation is not to be experienced only after death, but here and now. Moksha and its Concomitant Ananda can be achieved in this life itself through a process of Yoga - a framework of theory and practice, both spiritual and physical for achieving the ends and values of life.

Rasa - Sacred Spaces and Places :
It examines the relationship of Kasi (Benaras) Shiva and Ganga through the exposition of the 11th century aesthetician from Kashmir, Abhinava Gupta's theory on Shanta Rasa. 

Bhakti Rasa and Ananda :
The paintings of the Radha-Krishna theme are viewed against Chaitanya's Metaphysical propositions. This 15th/16th century saint and devotee of Krishna was pre-eminent in the Bengal Vaishnava movement.

Principles of Classical Indian Aesthetics :
This paper discusses the six forms of classical Indian arts, their inter-relatedness and Inter-Dependence. It examines the principles of line, colour, movement, proportion, design and ornamentation as applicable to Indian classical architecture, sculpture and painting.

Ragamala Paintings and Rasa :
The contentious connection between this genre of paintings that signify miniatures of Indian musical modes and the 'Ragas' they are supposed to be illustrating are discussed. The close affinity of Ragamala paintings with those that illustrate the various types of Nayikas or heroines is also seen.

Parallels between Mysticism and Rasa :
The aesthetic experience of Rasa and its resultant joy has often been equated with the bliss of Brahman. Not surprisingly, rasa experience has been described in terms analogous to the mystical experience of medieval saints such as Mirabai, Tukaram and Gyaneswar, to name a few.

Tantra - An Exiled Pilgrimage
There is perhaps no other word that evokes such compelling responses as "Tantra". At once beguiling and repelling, affirming and negating, transforming and transgressing, this ancient esoteric worldview encompasses philosophy, religion, ritual and art.


Based on the primary objective of an epiphanic experience " here and now", Tantra's premise is the essential interconnectedness and interpenetration of the universal and the individual. The microcosmic human body thus becomes the field of experiment and efforts are garnered towards arousing dormant physic energy.

Central also is the teaching that Reality is unity, an undivided whole, called by various nomenclatures. Siva and Sakti is one such fundamental, eternally conjoined pair. Steeped in intentionally ambiguous and covert terminology, Tantra straddles the worlds of Hinduism, Buddhism, and Jainism with the text often cast as instructional dialogues. The illustrated lecture endeavours to understand some of the basic tenets, symbols and practices.

SriLanka - Serendipity or Nirvana
Replete with world heritage sites, land of two monsoons and a famed hydraulic system, the island currently going by the name of SriLanka has had a string of identities including Serendib leading Horace Walpole to coin serendipity. The lecture attempts to look at some vignettes of this ancient civilization, from the days of history melting into myth, to the colonizers' quest for cinnamon, ending with thoughts and observations of 20th Century artistic achievement.

* All the lectures are illustrated.