NAARI | Jan-Mar 2021

V O L U M E 3 | I S S U E 4 | J A N U A R Y - M A R C H 2 0 2 1

INDIGENOUS TRIBES TEACH US TOLIVE INHARMONY WITHNATURE THEWOMEN IN THE

D r Bhha Mukherj MISS ENGLANDWHOSWAPPED THE CROWNFORASTETHOSCOPE DURINGCORONA

MINIATURES IN THE TAPI COLLECTION

c o n t e n t s 01 EDITOR’S NOTE 07 02

E D I TO R ’ S NOT E S

EPIPHANIES FROM THE PANDEMIC

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14

23

 !B Minal Khona, Nivedita Choudhuri, and Mallik T.

#B Kavitha Shanmugam

  #B Fernandez Hospital Educational And Research Foundation

 B editor@naari.info

B (040) 47807300

N A A R I | J A NU A R Y - MA R CH 2 0 2 1 | 1

COV E R S TO RY

MISS CONGENIALITY A young India born beauty queen, Miss England made world news when she cut short her charity work to resume her medical duties in the UK, as the Covid-19 pandemic played out in most countries. She wanted to put her medical degree and training to good use when her country was going through a serious healthcare crisis. NIVEDITA CHOUDHURI interviews Dr Bhasha Mukherjee, Miss England 2019 and is completely charmed by the inner beauty of this doctor

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2;36/-2+%032+;-8,%&)%98=59))2A*)003;.92-36 (3'836->;%2%(-67%=7AU8(3)7238*))0;36/;-8, -772+0%2(@31)A7,)-7.978%1%8)@V!,-0)%238,)6 (3'836)+,:-6-2+,7%=7AU8T7&))2%40)%796);36/-2+ ;-8,6 ,%7,%328,);%6(7@,)'32(9'87,)67)0*;-8, 79',+6%')%2(,91-0-8=@,)-7%869)463*)77-32%0A;,3 %0;%=74987,)64%8-)287æ678@V 'I t is like going to t he baleound, you fl exced to serve t he coury AND FEEL A PRIDE BUT THERE ARE ALSO BUTTERFLIES WHEN YOU ACTUALLY HAVE TO START THE JOB

Dr Bhasha Mukherjee in her two avatars: as a beauty queen and a doctor

2 | N A A R I | J A NU A R Y - MA R CH 2 0 2 1

N A A R I | J A NU A R Y - MA R CH 2 0 2 1 | 3

'I ted mode ing at 16,  a way to ƒove to m„elf THAT I WAS MORE THAN JUST A GEEK

Incidea y, she became Mi…England ju a few ho‡s befˆe she w to begin wˆk  a juniˆ do‰ˆ at P ilim Hospal …. THEN, SHE TOOK TIME OFF FROM MEDICINE TO GET READY FOR MISS WORLD AND DEDICATE THE REST OF THE YEAR TO HUMANITARIAN WORK

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*6))T6392(;%7-2863(9')(-28,)'328)78*368,)æ678 8-1)@,))286%287;)6)%7/)(837)2(8,)-64,383+6%4,7 ;-8,3981%/)O94%2(7%27æ08)67%2()(-8-2+@,) '314)8-8-32A;,-',,%(&))2'6-8-'-7)(*367)88-2+ 92,)%08,=78%2(%6(73*&)%98=A%0737%;%4%68-'-4%28 ;)%6%;)879-8-28,)348-32%0&-/-2-6392(@ ,),%(833:)6'31)',%00)2+)779',%7+3-2+32032+ 86%-2.3962)=732,)63;209++-2+,)%:=&%+7789**)(;-8, ,)61)(-'%08)<8&33/7%2('%79%0;)%683',%2+)-283@ 367,),%(83%88)2(92-:)67-8='0%77)7786%-+,8%*8)6,)6 7,3387%2(7,3;7@ U2')A6)1)1&)6-86%-2)(%2(,%(83'%66= 1=,)%:=&%+838,),38)0;,)6)8,)-772+0%2( '314)8-8-32;%78%/-2+40%')@,),38)0;%7%î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î 7869'/@ 8-723879646-7-2+6 ,%7,%()'-()(83+)8&%'/ 83,374-8%0(98=8,39+,-8;%7(%2+)6397@,)03:)7 ',%00)2+)7A83&)-28,)8,-'/3*8,-2+7%2(&)%&0)83+-:) &%'/83,)6'31192-8=-28,)7)86=-2+8-1)7@ 79%00=A7,)0-/)783/))4,)6-772+0%2(-()28-8=% 7)'6)8&)'%97)7,)46)*)678,%8,)64%8-)287%446)'-%8) ,)6*36,)6;36/@8;%7%40)%7%2879646-7);,)2% 8)61-2%00=O-00'%2')64%8-)28830(,)6&377)7QS#39T:) &639+,88,)+36+)397(3'836;-8,=39A,%:)=39H,)T7 ;32()6*90@,)T78,)/-2(3*=392+0%(==39T(;%28%7% (%9+,8)6O-2O0%;@T,-71%(),)6&097,@

Dr Bhasha Mukherjee with her proud mother Madhumita Mukherjee

Dr Bhasha with her mother and brother, Arya Mukherjee

Dr Bhasha with her doctor colleagues, who find her a thorough professional

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N A A R I | J A NU A R Y - MA R CH 2 0 2 1 | 5

CON S E RVAT I ON C R U S A D E R

LESSONS FROM INDIGENOUS COMMUNITIES IN THE HILLS At a time, when the world is mulling over how human beings have destroyed their environment, leading to disastrous climate changes, we need to look at indigenous communities and turn to their gentler ways of living in harmony with nature. MALLIK THATIPALLI speaks to Ramya Reddy who has documented the lives of Todas, Badagas and others living in the Niligiris range  ,)=%6)136)%2'-)288,%28,)-603*8=-1%0%=%2 '3928)64%687@ 2(A6)*)6)2')7838,)7)13928%-27 ,%:)&))21%()):)2-28,),30=8)<87%2( 1=8,303+=A%78,)6)%0173*+3(7A%2')78367A%2( 1=78-'%0'6)%896)7@ PHOTOS: COURTESY RAMYA REDDY

Toda women, Pudusin and her friend, Bhuvana Rani, embroidering at Bikapathy Mund

690=A8,)-0+-6-7368,) 09)3928%-27AI%073/23;2 %7%,=%(6-7J03'%8)(-28,);)78)62+,%873*%1-0%(9 -27398,2(-%A%6)73-146)77-:);-8,8,)-6)<8)27-:)A 7;)00-2+'%64)873*+6))2A8))1-2+;-8,(-:)67)0-*)@ %1=%)((=A% %2+%036)O&%7)(4,383+6%4,)6 %2(;6-8)6A,%7032+&))2*%7'-2%8)(&=8,)7)+)280) 13928%-27@-678A%7%',-0(;,)27,)97)(83:-7-88,) -0+-6-732,30-(%=7A0%8)632A%7%4,383+6%4,)683 '%4896)-871%2=6-',)7@)603:)%**%-6;-8,8,),-007;)28 3283'901-2%8)-2%&33/A Soul of the Nilgiris: A Journey through the Mountains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

,)=%6)(%-6=O4)340)A;,37)0-:)7%6)')286)(%6392( 8,)7%'6)(&9**%03B8,)(%-6=-7&38,8,)8)140)%2(8,) 7396')3*%007978)2%2')@,)=0-:)328,),-+,)786)%',)7 3*8,)-0+-6-740%8)%9A-2,%10)87'%00)(192(7A1%() 3*92-59)&%66)0O:%908)(,31)7%2((%-6=8)140)7A%2( 8=4-'%00=7)8-28,)1328%2)+6%770%2(7;-8,8,)%(.3-2-2+ ,30%*36)787@ 74%7836%0-787A8,)3(%73&7)6:)(%1-+6%836= 0-*)78=0)928-0%*);()'%()7%+3@96-2+8,)(6=7)%732 &)8;))2%6',%2(%=A*%1-0-)71-+6%8)(;-8,8,)-6 &9**%03)7831%6/)(7398,O;)78)62%6)%73*8,)-0+-6-7 40%8)%9A;,)6)8,)+6%77;%778-00+6))2I8,%2/7838,) 46)'-4-8%8-32*6318,)1-786-7-2+*6312)%6&='0-**7J%2( :%'%8)(&)*36)8,)327)83*8,)7398,O;)781327332@ )6)A8,)0%2(;%7*9003*4%7896)*368,)-6&9**%03)7@ %1=%238)7AU,)(%-6=-7238.978%23''94%8-32A &98/))4-2+%2(8)2(-2+83&9**%03)7%6)())40=74-6-89%0 %'8-:-8-)7&392(;-8,0-*)T76-8)73*4%77%+)@886%27')2(7 8,)192(%2)'32')6273*3;2)67,-4%2()'3231-'7@V ,);6-8)7-2,)6&33/AU,)3(%4%7836%0(98-)7 -2'09()6-89%07-28)2()(*368,);)00O&)-2+3*8,) )'37=78)1@36)<%140)A8,)(%-6=46-)78+-:)77%08 ;%8)6838,)&9**%03)7-2%')6)132=%88,)327)83* (-**)6)287)%7327@,);%8)6(6%;2*368,-76-89%0-7*631 %4638)'8)(786)%136432(3*,-+,7%2'8-8=@,)7%08

Their spirituality is tied onto their land. Their reverence is towards nature, mountains, rivers, rocks, trees, cliffs and streams. Even their pregnancy rites are often held close to a Rhododendron tree, and the flowers are used as offerings

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Mushksin, a Toda woman, in her kitchen with a traditional buttermilk churning stick, which is inspired by the kafezhll plant, an orchid species found in the Sholas

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N A A R I | J A NU A R Y - MA R CH 2 0 2 1 | 7

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The stories, knowledge, and world views of indigenous peoples answer urgent questions about long-term sustenance

Ritual dances at a bow and arrow ceremony or pregnancy rites, which is akin to a wedding

Traditional dotted patterns adorn Toda woman Muthumalli’s arms

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ç3;)67*6318,),30%7A&988)6ç-)7A ,32)='31&7%2(13928%-24)%/7@,%2/7838,)43490%6-8= The Toda women are the keepers of their cuisine, customs and language

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NO S TA LG I A

“I WANTMYART TO MAKE PEOPLE TELL THEIROWN STORIESOF OLDBANGALORE” He is one of India’s most popular cartoonists, illustrators and artists. His art is a cheeky, insouciant take on life, especially of happy bygone times in cities like Bombay, Goa and Mangalore. But, Paul Fernandes’ muse has always been his hometown Bangalore, especially of the swinging ‘70s. KAVITHA SHANMUGAM drops into his studio in Bangalore for a chat with the artist

ALL ILLUSTRATIONS REPRODUCED ARE BY PAUL FERNANDES

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Girish Karnad also paid Paul a big compliment by telling him that he had done for Bangalore, what cartoonist Mario Miranda had done for Goa and Mangalore

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6)78*368,)132/)=7%2(&-6(7AV,)7%=7@ 1)136=,) ',)6-7,)7-7'0-1&-2+1%2+3)786))7-27911)6;-8, 731)',-00-43;()6%2(7%0883409'/8,)1%2+3786%-+,8 *6318,)86))%2(74-')-894&)*36))%8-2+8,)1@ %9023;-79278344%&0)%7,)(-:)7-283,-7()0-+,8*90 1)136-)783'31)94;-8,7836-)73*%&6))>=A&=+32) %2+%036)@*'='0-2+83837)4,T7 3=T7-+,7',330 ,397)(-2%+6)=%2(;,-8)7832)(&9-0(-2+C3*7-88-2+-2 8,)&%'/&)2',)7-2'0%77%2(7/)8',-2+,-7-2(-1%78)6A ;,-',;%7,-7æ678O):)679'')77*90'%68332%2(&)-2+ 492-7,)(*36-8@ -7()4-'8-327;-001%/)30( %2+%036)%27+3%00 1-78=O)=)(&)'%97)8,%8'-8=,%7032+(-7%44)%6)(@) 43686%=77-+2%896)30( %2+%036),%9287B 6-+%()3%( %78,),-4%2(,%44)2-2+,%2+398*36032+O,%-6)(=392+ %2(238O73O=392+1)232&-/)7C3928 %61)0A8,) *%1397+-60T7'300)+)%78,)40%');,-',%886%'87(63:)7 3*=392+1)283++)(94-28,)-6ç%7,-)78%88-6),%2+-2+ %6392(;-8,,34)C8,)1)1&)673*8,) %2+%036) 09&A ;-8,8,)-6948962)(237)7,)0(,-+,A;%0/-2+-2838,)3,O 73O)<'097-:)46)1-7)7%2(8,)*%˜%()3*37,=T7O%6%() %*)A8,)'-8=T730()78%2(-'32-'6)78%96%287AS;,)6)):)2 6-2') ,%60)7,%((6344)(-2*36%'944%T@ )%073()*80='32:)687S7-140)%2(-223')287836-)7T 8,%8,),%7,)%6(%7%=392+0%(-283,-7%68@36)<%140)A 8,)6)-7%4%68-'90%60=4-59%288%0),)2%66%8)7A;,-',-7 ;3:)2-283,-7;%8)6'30396328,)0%>%,)%86)A%230( '-2)1%,%007-89%8)(32 %2+%036)T7%68)6-%0;-()63%(A 3%(@8-7,)6)%90,%(;%8',)(,-7æ678%(90813:-) Q=%2T)-0T7 Love Story @ 28,-7;36/A%1%2-77))27'966=-2+%;%=;-8, *396;,))073*%'%64%6/)(3987-()8,)0%>%8,)%86)A 7'6))2-2+ Gone with theWind %88,%88-1)@8-77/)8',)( ;-8,8,)7%1)-66):)6)28A492',=78=0)8,%8-7:-7-&0)-2 %00,-7;36/7@ '89%00=A%906)1)1&)678,%832)):)2-2+ 7-88-2+34437-8)8,)0%>%8,)%86)323%(I,),%( %71%00()7-+2789(-32)<8838,)'-2)1%,%00J8%/-2+,-7 '3**))&6)%/A,)7%;8,)&9-0(-2+;%7'3:)6)(;-8,% 03:)0=A2%896%00-+,8@ U978%7;%7%(1-6-2+8,)8%&0)%9%8,)%86)A;,-',;%71=æ678;36/-28,) %2+%036) 7)6-)7AV,)6)'39287,%44-0=@ %90A%2%0912973*8,)46)78-+-397%'908=3*-2) 687AA %63(%,%7;36/)(*36%*);=)%67-2 31&%=;-8,%(:)68-7-2++-%2870-/))6732T 92,% %2(%:-948%3*6-/%=%A&)*36)6)8962-2+83 %2+%036) -2î @U7)8941=3;2789(-3%2(6)1)1&)6A,%(

Our garden was full of mango, chikoo and coconut trees and it was an era of plenty. There would be so much that my mother used to gather them in a basket and send it to the neighbours only to have them refuse because they had plenty of their own. So, we left the rest for the monkeys and birds

%;32()6*90'-6'0)3**6-)2(7@!)00O/23;22%1)7-28,) '6)%8-:)%68779',%7 6.92%.2%2-A6%7%( -(%44%A )8)6 30%'3A-6-7,%62%(Q97)(83(634-2831= 789(-3AV,)6)1-2-7')7@ %62%(;%7%2-274-6%8-32&)'%97)3*,-7463(-+-397 /23;0)(+)%&398):)6=8,-2+%2(,)'390(,30(*368,32 %2=834-'%2(,%(%+6)%8)=)*36()8%-0A7%=7%90@ U2')-6-7,830(1)%*8)67))-2+1=7/)8',32 37,=T7Q=39,%:)(6%;28,)(336%88,);632+40%')@ *8)2A,);390((634&=*36%'943*'3**))A%2(1= :-7-8367;390()2(948%0/-2+83,-1AV6)'39287%90@ %62%(%0734%-(%90%&-+'3140-1)28&=8)00-2+,-1 8,%8,),%((32)*36 %2+%036)A;,%8'%68332-78%6-3 -6%2(%,%((32)*363%%2(%2+%036)@ *8)6%008,)7)=)%67A%90'328-29)783&6-13:)6 ;-8,)2)6+=%2()<'-8)(0=8%0/7%&398,-7*368,'31-2+ 463.)'87@U320=(3463.)'878,%8%14%77-32%8)%&398@ ,%8T7463&%&0=;,=(32T88-6)AV6)%7327%90@ 966)280=A ,)-7;36/-2+32%7)6-)732 %2+%036)T7)678;,-0) 6)78%96%287Q8,)30(A*92,%92873*,-7;-0(=398,0-/)

09)3<%2( ')72-+,8'09&@ &33/3*,-7-009786%8-327 328,)4%2()1-'-7-28,)3*æ2+833@U8;-00&)%(-%6=3* ;,%8,%44)2)(AV,)6):)%07@ 2)4%68-'90%6463.)'8,3;):)6-7'037)83,-7,)%68@ 8-7%238,)66)'36(3* %2+%036)3:)68,)0%78í=)%67 Q8,)S6)%8 %2+%036)364,TA;,-',;-0086%'/8,) 86%27*361%8-323*8,)'-8=*631%+%6()2'-8=83%S-00='32T '-8=F%90T77-+2%896)78=0)*9003*4%2%',)A;,-',,%7 '%4896)( %2+%036)-2%00-87)77)2'),%7'%48-:%8)(8,) )4%681)283*3787A%62%8%/%833@,)=6)0)%7)(% 4378%0'3:)6()'36%8)(;-8,,-7'%683327/)8',)70%78=)%6@ %90,%7&))2-2ç9)2')(&=%68-78779',%7 )26-%8-77)%2(361%23'/;)00@)43-287398A U3'/;)00T7-009786%8-327,%:)83(3;-8,,%44-2)77A ;,-',%0731%(),-1%,%44=4)6732@)2):)6(6);8,) 9+0=2%896)3*,91%2&)-2+7@V,-7-7'3140)8)0=-27=2' ;-8,%90T7,)%68;%61-2+4,-03734,=833A%7,)7%=7A U;%281=%68830-+,8)2%(%=*36%4)6732A2381%/)-8 ,)%:-)6@=%68-7%0-+,8O,)%68)(8%/)320-*)A%2(-7%-1)( %81%/-2+4)340)71-0)@V

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CO L L E C T I ON S

Indian miniatures tell stories of their time. So, how were women depicted in these schools of painting, DQGZKRZHUHWKH\FRPPLVVLRQHGIRU"7RÀQGWKHDQVZHUV MALLIK THATIPALLI turns to a new book Court and Courtship: Indian miniatures in the TAPI Collection, which features the extensive miniature collection of art lovers, Shilpa and Praful Shah. He speaks to the collectors and the book’s editor, JP Losty to lift the veil on the identity of women in Indian miniatures THETAPICOLLECTION LIFTING THE VEIL

PHOTOS: COURTESY OF COURT AND COURTSHIP, NIYOGI BOOKS

 *8)2A;)7))&)%98-*904%-28-2+73*;31)2-2 1-2-%896)7-21908-40)7)88-2+7@%:)=39):)6 ;32()6)(;,38,)=%6)H!)()0:)( -283%6)')280=49&0-7,)(&33/8-80)( Court & Courtship: Indian miniatures in TAPI A;,-','328%-21-2-%896)7 *6318,)îOî 8,')2896=A8386=%2(æ2(8,-7%27;)6@ 3&)+-2;-8,A8,) í1-2-%896)7-28,-7&33/A*3614%68 3*8,))<8)27-:))<8-0)7? 683*8,))340)3*2(-% I J'300)'8-32A;,-',%'89%00=6927-2838,397%2(73* 1-2-%896)7@,-7'300)'8-32&)032+783232)38,)68,%2 8,),-+,O463æ0)96%8O&%7)()286)46)2)96'3940)A,-04% %2(6%*90,%,3*8,)%6()2 %6)0-8)<8-0)7*%1)A;,3 ,%:)4%-278%/-2+0=%''9190%8)(8,)7)1-2-%896)73:)6% 4)6-3(3*í=)%67@ 28,)'300)'8-32A,-04%,%,7,%6)7AU!)(-(238 '327'-3970=7)839883%77)1&0)%&3(=3*4%-28-2+7 8,%832)(%=;390(&)'%00)(%'300)'8-32@)-8,)6(-(;) '300)'88,)7)4%-28-2+7;-8,8,)7-2+0)O1-2()(*)6:3963* ()8)61-2)('300)'8367@V,)320='6-8)6-32,3;):)6;,-', 8,)=,%(97)(;,-0)&9=-2+8,)1-2-%896)7;%783*3003; 8,)%(:-')+-:)2&=8,)-60-*)032+*6-)2(%2(1)2836A%68 ,-7836-%2 2%2(6-7,2%@ U),%(8%/)29783 ,%6%8%0% ,%:%297)91-2 %6%2%7-837))8,)86)%796)78,639+,,-7)=)7%2(%8 8,%88-1),),%(830(97AS6978320=32)8,-2+Q;,%8-8 (3)783=39T@,%8;%7396æ6780)773232S&,%:%T@!,)8,)6 ;)'300)'8)(%4%-28-2+36%7'904896)36%-',;%-A;) 2):)6):)603787-+,83*%79&80='32:)=)()138-32%0 -14%'83*%;36/AV7,))<40%-27@ ,),%,7A46-1%6-0=&)-2+03:)67%2('300)'8367 3*,-7836-'%08)<8-0)7A,%(%0737396')(%0383*8,)7) 4%-28-2+7*368,)-66-','37891)7@3-28-2+3988,%8

Tailangi ragini Page from a ragamala series, by an artist working in Nurpur or Basohli, 1680 ï 5 Opaque pigments and gold and silver on paper Painting 17 x 17.2 cm

Two ladies embracing at a jharoka Jodhpur, 1820 ï 30 Opaque pigments and gold and silver on paper Painting 35.5 x 30 cm

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8,)8)<8-0)%683*2(-%-7%&92(%280=6)ç)'8)(-2-87 1-2-%896)7A,-04%%((76)ç)'8-:)0=AU,-71%=,%:) -2ç9)2')(39679&.)'8-:)8%78)36,%(731)&)%6-2+32 8,)%44)%03*731)4%-28-2+7@V ,)1-2-%896)7-28,)&33/')0)&6%8)%;-()6%2+) 3*78=0)779',%79+,%0A)''%2-A%.498%2(%,%(-@ 28)6)78-2+0=A%1%.36-8=3*8,)7)1-2-%896)7-28,)&33/ ()4-'8;31)2@,)=%6)()'/)(94-26)740)2()28

-2(-**)6)287)88-2+7Q;31)2-28,)>)2%2%A-1%+)73* %(,%4-2-2+*366-7,2%A2%=-/%7(6)77-2+94%2(63=%0 ;31)24)6*361-2+49.%3638,)6(98-)7@ ''36(-2+83378=A%68,-7836-%2%2(8,)%98,363* 8,)&33/A8,)430-8-'%043;)63*8,)9+,%07,%(*%()( -28,)î 8,')2896=%2(1-2-%896)7;)6)23843686%=-2+ +6%2((96&%67')2)7%2=032+)6%2(,%(13:)(3283 38,)6*36173*43686%-896)83()ç)'8%88)28-32@U,)= 78%68)(83*3'97136)32()4-'8-2+;31)2@%2=

Women of the zenana playing Holi, Lucknow or Faizabad,

1760 í 70 Opaque

%88-6)8)%1)(94;-8,)'0)'8-'.);)00)6=A%2(43686%=)( We know very l i t t l e abo‘ any of these women pˆt rayed in miniat‡es wh’her  is Mughal ˆ Rajp‘. The so-ca ed pˆt ras, where a paied woman h a name aached, e very re since tis had no a—e…to the˜ subje‰s. MANY OF THE FEMALE IMAGES EMBODY CONCEPTS SUCH AS RAGINIS OR SEASONS, WHICH WAS THE TREND IN THOSE DAYS – J P LOSTY, ART HISTORIAN AND AUTHOR pigments and gold on paper Painting 17.5 x 22.8 cm

A princess at her toilette Bundi, c.1790 Opaque pigments and gold on paper Folio 32 x 23 cm

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A pensive lady by a pool Deccan, perhaps Aurangabad, 1700 ï 20 Opaque pigments and gold on paper Painting 21.4 x 13.8 cm

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æ'908834-2(3;28,)-6-()28-8-)7&)'%97) ;)3*8)2037)8,)'328)<8-2;,-',8,)7)4%-28-2+7;)6) '6)%8)(@,)=;)6)3*8)2-27)87%2(;)6)1)%2883 -009786%8)74)'-æ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

%.%78,%2-'39687833A;-8,8,)-643;)6,%:-2+&))2 ()40)8)(&=*6)59)287/-61-7,)7;-8,8,)%6%8,%7A ;)6)*3003;-2+8,-786)2(@,);31)2,)6)%6)7,3;2 ;367,-44-2+A&%8,-2+A8)2(-2+8,)-6,%-6A'32:)67-2+A )1&6%'-2+A40%=-2+30-%2(A3*'3967)A%73&.)'873* 1%0)()7-6)AV7%=7378=@ ,);31)2-28,-7'300)'8-32-2*%'86)%00=78%2(398@ 378='%0078,)1S-()%0-7)(-1%+)7TQ%78,)7);31)2%6) 43686%=)(%7&)%98-*90A;)00O%(362)(%2(-28,)7)6:-')3* %1%2@U,)=7))183æ8-2;-8,8,)43490%6-1%+-2%8-32 3*;,%8%46-2')7736%1)1&)63*8,)690)6T7,%6)1 7,390(7-+2-*=AV,)43-287398@

Two seated ladies in conversation Deccan, perhaps Hyderabad, 1700 ï 25 Opaque pigments and gold on paper Painting 19.3 x 14.5 cm

Abhisarika nayika Kangra, 1820 ï 40 Opaque pigments on paper Painting 11.8 x 6.6 cm

8,)-2(30%6%+%A-7*392(7-8-2+,%0*O2%/)(A&)7))',-2+0= ç988)6-2+,)6)=)0%7,)7A%7,)603:)6A-26)74327)A %1363970=1%77%+)7,)60)*8%61AV7,)238)7@ 238,)6 %7,30-4%-28-2+()4-'87%4%77-32%8)0= ',%6+)(%(,96%+%'%6)77-2+A;-8,,-76-+,8,%2(A 8,)&6)%783*8,)&)%98-*902%=-/%;,37)032+86)77)7 7)2793970=,%2+&)03;,)67,390()67@,)7-89%8-32 -28,)8,-6(4%-28-2+463:-()76-',*3(()6*368,) -1%+-2%8-32@92%7%+%6%6%+%A%66)78-2+0=%88-6)(A %4463%',)7%0%(='0%(-2%86%274%6)28(-%4,%2397 4)7,;%.%2(7,)78347',962-2+,)6&988)61-0/1-(;%=A (-6)'80=033/-2+%8,-1@ 378=T7*%:36-8)-78,)32)-2;,-',8;30%(-)7

)1&6%')03:-2+0=A;,-',-7)<')48-32%00=;)00)<)'98)(@ ))<40%-27AU!,-0)79',+3-2+7O32;)6)463&%&0= 59-8)'31132-2%0%6+)>)2%2%79',%7%,%6%.% %2-2+,T7-23(,496A-8-2863(9')7%238)3*73'-%0 Rece hiˆia™ like Ruby Lal have t ried to explain why women e sccely to be found  s›o subje‰s in imperial Mughal t unlike the˜ male couerpts. BESIDES THE FACT THAT ARTISTS DID NOT HAVE ACCESS TO THE FEMALE SPACE OF THE HAREM OR ZENANA, THE WOMEN WERE SCREENED FROM PUBLIC VIEW AND OBSERVED COURT EVENTS BEHIND THEIR LATTICED SCREENS

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T RA I L B L A Z E R

THE FIRST WOMAN DOCTOR IN GUJARAT She braved old-fashioned prejudices and norms and went abroad to study medicine at a time, when women were not allowed to work. Dr Motibhai Rustomji Kapadia even moved to Gujarat, which was then under the Bombay Presidency, to head a maternity hospital, the Victoria Jubilee Hospital for almost four decades. NIVEDITA CHOUDHURI SURÀOHVWKLV SK\VLFLDQZKRZDVDOVRDVRFLDOUHIRUPHUÀJKWLQJIRUWKHULJKWVRI a Dalit patient to be treated in the hospital

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