Bihar is seeing renewed interest in the nearly forgotten 18th-century art form, in which Mughal miniature met European naturalism. Picture watercolours on imported paper, in delicate brushwork on pale, bare backgrounds, and the stark image of two men in dhotis working in a distillery. Or a woman, dressed in blue-and-yellow ghaghra and dupatta, dancing in a palace hall while the musicians play. These artworks are part of an 18th-century Indian painting tradition known as Patna Kalam.

It was a pre-photographic visual documentation of the daily lives of ordinary people, featuring vegetable sellers, blacksmiths and servants fetching groceries, among others. Last December, Patna Kalam paintings were part of an exhibition at the Bihar Museum Biennale 2025, where it witnessed a renewed interest. Which begs the question: why is an art built to capture daily life now surviving only behind glass?

Patna Kalam Hidden away in storage in art colleges, or confined to private collections and the archives of the British Museum and the Victoria & Albert Museum, London, the nearly lost Patna Kalam was reintroduced via the Patna Kalam: Ek Virasat exhibition held at Patna Museum between December 2025 and February 2026, and a workshop for keen students. Art enthusiasts agree that if not for such interest from the State government, they would have had to travel outside India to see this art tradition.

Apart from the Patna Museum paintings, the exhibition featured works lent by Sanjay Kumar, a Dhanbad resident and descendant of the famous Patna Kalam painter Hulas Lal. The regional art style “employed the technique of the Company School of Painting, with distinct characteristics intrinsic to Patna city - its people, culture and day-to-day life,” says INTACH’s (Indian National Trust for Art and Cultural Heritage) Patna chapter convenor Bhairav Lal Das.

In it, Mughal miniature detail blended with European naturalism. Art teacher Dinesh Kumar elaborates that Patna Kalam is bereft of any ornamentation; there’s no play of light and shadow, or any background. Think of a purdah-nasheen woman peeking from her palanquin’s red curtains, painted in gouache on mica (also called sunmica or abrak). Or a roadside baniya (grocer) sitting and weighing seeds or pulses.

Happy with the response and pleasantly surprised by the interest in the workshop, Bihar Museum’s director general Anjani Kumar Singh now hopes to find good art trainers to impart technical skills and help create contemporary Patna Kalam. At Patna University’s College of Arts and Crafts, workshop participants were glued to administrative officer Chanchal Kumar’s Patna Kalam, a reference photobook of paintings. Ironically, the original paintings remained locked in trunks in the same premises, inaccessible to the public. Last July, Aditya Jalan, great-grandson of businessman and art connoisseur Dewan Bahadur Radha Krishna Jalan, opened Planet Patna, a private museum with a large collection of Company Paintings, including Patna Kalam.

“My great-grandfather was passionate about objects of historical significance; he even purchased Napoleon’s bed on a trip to Europe in 1935,” says Aditya, adding that his father, Bal Manohar, exchanged colonial-era stamps for the Patna Kalam paintings. The museum at another site is open to all — with an entry fee of ₹100 — unlike the locked museum at his home, which is one of Patna’s iconic landmarks for art lovers, the century-old Quila house, better known as the Jalan House. Patna Kalam vs. Tikuli

Back in April, Bihar Museum displayed Hidden Treasures of Tikuli Art. Like Patna Kalam, the 800-year-old Tikuli painting tradition, too, originated in Patna. This traditional craft, which gets its name from the tikuli or bindis women wear, is seen in home décor, coasters, and trays, and is known for its bright colours, fine detailing, and use of enamel paint on hard surfaces. Revived in the mid-20th century, Tikuli survives to this day, unlike Patna Kalam, which was lost after Independence.

"Patna Kalam has the influence of Mughal art, Rajasthani miniature painting and European style, while Tikuli art is influenced by Patna Kalam, Rajasthani miniature painting and Mithila painting,” says Tikuli artist Ashok Kumar Biswas, who was awarded the Padma Shri in 2024.

Sporadically, people have attempted to document Patna Kalam. For instance, Padma Shri awardee Shyam Sharma, former principal of Patna’s College of Arts and Crafts, has authored the book Patna Kalam (2011, Lalit Kala Academy). Sanjay Kumar, who comes from an illustrious line of Patna Kalam artists, says, “My grandfather Shyam Bihari Lal pursued Patna Kalam paintings till his end.” Several paintings of his ancestral family are at the Metropolitan and Victoria & Albert Museum in London, and at the Patna Museum.

Hope in contemporary stories?
Ashok Kumar Sinha, deputy director of Bihar Museum, hails Patna Kalam as Bihar’s heritage. He says, “We have plans on dedicating a gallery to exhibit Patna Kalam paintings permanently there. Just as we took Sita’s exhibition, Vaidehi Sita, in 2024, to several Indian states and abroad, we may do something similar for the Patna Kalam paintings, which many people are not aware of.” Jitendra Mohan, a Fine Arts professor who conducts Patna Kalam workshops, recalls a childhood that featured the heritage art and wishes that more time were invested in it.

"I live in Patna city, where Patna Kalam originated, and I grew up seeing it in my neighbourhood, visiting the houses of acclaimed artists Mahadeo Lal and Ishwari Prasad Verma, and museums like Jalan House,” says Mohan, who observed in the workshops that the “fresh artists” (young students) performed better than, say, the Madhubani folk artists, in drawing human figures, with appropriate measurement and colour scheme that is required for Patna Kalam paintings. Besides the Bihar Museum, INTACH has organised nine workshops on Patna Kalam since 2023, across different venues, so awareness is spreading.

Student Anurag Kumar Verma wants to pursue Fine Arts and keep practising Patna Kalam. Patna-based arts and culture enthusiast Rachana Priyadarshini, who participated in the INTACH workshops, says, “From copying to incorporating contemporary elements, to drawing freehand, and observing architecture and people, we are on the right path.” Patna, today, is far more chaotic; street paintings are not possible for they require peace and space for nuanced art.

Aditya Kumar Singh, an architect and part of the Urban Sketchers global artists community in Patna, says that sketching a contemporary building takes him half-an-hour while a Patna Kalam painting takes three days to make with full dedication. Singh is doubtful about its sustenance, but Lal Das says that INTACH will provide incentives for budding artists and build a good bank of Patna Kalam paintings through workshops to promote and sell them.

https://www.thehindu.com/society/patna-kalam-revival-india-bihar-forgotten-art/article70711121.ece/amp/, June 1, 2026

Standing in the courtyard of the Qutb complex in Delhi, the Iron Pillar is one of the most extraordinary achievements of ancient Indian metallurgy. Forged during the Gupta period around the 4th or 5th century CE, the monument has stood beneath the open sky for nearly 1,600 years while showing remarkably little corrosion. Historians widely associate it with King Chandra, whom most scholars identify as Chandragupta II, the celebrated Gupta ruler who also bore the title Vikramaditya. Weighing more than six tonnes and rising over seven metres high, the pillar has fascinated generations of historians, archaeologists and scientists.

Its endurance has transformed it from a royal monument into a symbol of ancient India's scientific and engineering achievements, inspiring decades of research into the secrets behind its remarkable preservation. The scientific secret behind the Iron Pillar's remarkable resistance to rusting For centuries, the Iron Pillar's remarkable condition puzzled visitors and researchers alike.

How could a massive iron structure survive nearly sixteen centuries of exposure to rain, humidity and changing weather conditions? Modern scientific research has transformed the pillar from a historical curiosity into one of the world's most celebrated examples of ancient corrosion-resistant metallurgy. Much of this understanding comes from the work of Professor R. Balasubramaniam of IIT Kanpur, whose landmark studies published in Corrosion Science and Current Science examined the monument's composition and corrosion behaviour in unprecedented detail.

Balasubramaniam's research revealed that the answer lies in the way ancient Indian craftsmen produced the iron. Unlike modern blast-furnace iron, the pillar contains unusually high levels of phosphorus. Ancient ironmakers used production techniques that allowed this phosphorus to remain within the metal rather than being removed during processing. The pillar itself was not cast as a single piece.

Instead, Gupta-era metallurgists forged numerous iron blooms and painstakingly forge-welded them together to create the finished structure. The process required extraordinary technical skill, especially considering the monument weighs more than six tonnes and was produced more than 1,600 years ago. The protective layer that guards the pillar Working with metallurgist A.V. Ramesh Kumar, Balasubramaniam investigated the chemistry of the pillar's surface and discovered the secret behind its long-term preservation. Their research showed that the phosphorus in the iron gradually helped create a protective passive film on the pillar's surface. Over centuries, this film developed into a stable barrier that slowed corrosion and shielded the iron beneath.

Scientists identified phosphate-rich compounds within this layer, including crystalline iron hydrogen phosphate hydrate. The iron also contains microscopic slag particles and unreduced oxides left behind during the forging process. Together, these features encouraged the formation of a natural protective coating that has preserved the monument for centuries.

The findings were published in Balasubramaniam's influential papers, including On the Corrosion Resistance of the Delhi Iron Pillar (2000) and On the Growth Kinetics of the Protective Passive Film of the Delhi Iron Pillar (2002), as well as his books The Story of the Delhi Iron Pillar and Delhi Iron Pillar: New Insights. A monument to Chandragupta II 'Vikramaditya' The Iron Pillar is more than a metallurgical marvel. It is also a monument linked to one of the most powerful rulers of ancient India. A Sanskrit inscription engraved on the pillar praises a king named Chandra. Based on the language, script and historical references contained in the inscription, most historians identify him as Chandragupta II, the Gupta emperor who ruled during the late 4th and early 5th centuries CE and was known by the title Vikramaditya.

Under Chandragupta II, the Gupta Empire expanded significantly and oversaw a period of remarkable cultural, artistic and scientific achievement. The Iron Pillar is widely regarded as one of the most enduring symbols of that era. What is written on the pillar? The inscription, written in Sanskrit and engraved in Brahmi script, celebrates King Chandra's military achievements and religious devotion. According to the Archaeological Survey of India, the text identifies the monument as a Vishnudhvaja, or standard dedicated to Lord Vishnu.

It also refers to a place known as Vishnupada, meaning "the footprint of Vishnu", where the pillar was originally erected. The inscription praises the king's victories and describes how his fame spread across distant regions. For historians, it serves as one of the most important pieces of evidence connecting the monument to the Gupta period. Where the pillar likely began Although the pillar now stands at the Qutb complex, scholars generally agree that it was not originally erected in Delhi.

One of the strongest scholarly theories places its original location at Udayagiri in present-day Madhya Pradesh. Researchers including Meera I. Dass and R. Balasubramaniam have argued that archaeological, inscriptional and iconographic evidence points towards Udayagiri as the monument's first home. The theory fits well with the pillar's association with Vishnu worship and Chandragupta II, both of which were closely linked to the Udayagiri region during the Gupta period. The monument's arrival in Delhi forms an important part of local historical tradition. Delhi's historical traditions associate the pillar with Anangpal Tomar, the 11th-century ruler credited with founding Lal Kot, the earliest fortified settlement of Delhi.

According to these accounts, Anangpal transported the pillar from its earlier location and installed it in his capital.While scholars continue to debate the precise route by which the monument reached Delhi, most agree that it originated elsewhere and was relocated centuries after its creation. Moving a six-tonne iron pillar across hundreds of kilometres of medieval India would itself have been an extraordinary engineering accomplishment. Older than the Qutb Minar itself The Iron Pillar had already stood for centuries before the construction of the Qutb Minar began around 1199 CE under Qutb al-Din Aibak.

Its presence within the complex creates a remarkable historical overlap between the Gupta Empire and the Delhi Sultanate. While the Qutb Minar became one of India's most recognisable monuments, the Iron Pillar remained an even older witness to the country's history. A living monument to ancient Indian science For nearly sixteen centuries, the Iron Pillar has watched empires rise and fall.

It stood during the age of Chandragupta II Vikramaditya, witnessed the emergence of Rajput kingdoms, survived the Delhi Sultanate and Mughal Empire, endured British rule and remains standing in independent India. Professor R. Balasubramaniam, whose pioneering research helped explain the pillar's corrosion resistance, described it as "a living testimony to the skill of metallurgists of ancient India." Few monuments illustrate that achievement more vividly. More than 1,600 years after it was erected, the Iron Pillar continues to stand as a symbol of India's scientific ingenuity, engineering excellence and enduring cultural heritage.

https://timesofindia.indiatimes.com/science/this-magnificent-iron-pillar-at-qutb-minar-has-remained-rust-free-for-1600-years-heres-why/articleshowprint/131479204.cms, June 4, 2026

Madhya Pradesh’s Jal Ganga Samvardhan Abhiyan is gaining international attention as a successful model of water conservation, with the state government claiming that the initiative has evolved into a mass movement driven by public participation. Launched under the leadership of Chief Minister Mohan Yadav, the campaign focuses on the rejuvenation of rivers, ponds and traditional water bodies while promoting sustainable water management practices across the state. The recently concluded seven-day “Sadanira Samagam” at Bharat Bhavan in Bhopal highlighted the integration of water conservation efforts with India’s cultural heritage.

The event was attended by diplomats from Cyprus, Fiji, Mexico, Nepal, Trinidad and Tobago, and Ecuador, who praised the Madhya Pradesh model and described it as a meaningful response to the growing global water crisis. Several foreign envoys expressed interest in adopting similar initiatives in their respective countries. Cyprus High Commissioner Evagoras Vryonides described water scarcity as a major global challenge and stressed the need for greater public awareness. He also announced that a cultural troupe from Cyprus would visit Bhopal later this month.

Fiji High Commissioner Jagannath Sami highlighted climate change as a pressing concern and noted the longstanding ties between India and Fiji, saying both countries share common priorities in environmental protection and human welfare. Vanessa Adrian of the Mexican Embassy praised the initiative’s effort to link water conservation with cultural heritage, noting that India and Mexico, as inheritors of ancient civilisations, could work together to address shared environmental challenges. Nepal’s First Secretary Deepak Porkhire emphasised the responsibility of protecting nature and pointed to the cultural affinities between India and Nepal, adding that his visit to Madhya Pradesh gave him a sense of belonging.

Chandradath Singh of Trinidad and Tobago commended the campaign for communicating environmental concerns through cultural expression, while Ecuador’s Deputy Chief of Mission Jorge Vinicio Anrango said his country plans to organise a similar “Sadanira Sangam” inspired by Madhya Pradesh’s efforts. According to the state government, work has been completed on more than 2.12 lakh water conservation structures under the campaign against a target of 3.66 lakh. By combining environmental stewardship with cultural engagement, the Jal Ganga Samvardhan Abhiyan has emerged as a notable model for water conservation and community participation, drawing interest from countries facing similar resource challenges.

https://ddindia.co.in/2026/06/madhya-pradeshs-water-conservation-model-draws-global-recognition/, June 8, 2026

Heritage experts warn the Sanigaram temple, built during the Kakatiya era, has suffered severe structural decay and may collapse without urgent documentation and scientific conservation. An over 700-year-old Shiva temple built during the Kakatiya period is on the verge of collapse in Sanigaram village, located in the Nallabelli mandal of Warangal district.

The critical state of the structure has raised urgent concerns among heritage conservationists about the fate of one of the region’s lesser-known medieval monuments. Believed to date back to the reign of Kakatiya ruler Ganapatideva, the temple showcases the distinctive architectural style that flourished under the dynasty. Despite its historical significance, the structure lies in advanced decay, choked by thick vegetation, collapsed sections and dislodged stones. The monument’s condition came to light following information from Warangal-based historian Dr Racharla Ganapati. A subsequent site inspection revealed extensive structural damage that directly threatens its survival. “The Shiva temple features a garbhalaya (sanctum sanctorum), an ardha mandapa and a 16-pillared maha mandapa, all built on an elevated platform,” explained archaeologist Dr E Sivanagireddy.

“Architectural features like ornamental doorframes, mouldings in the superstructure, decorated pillars and intricately carved ceilings bear the unmistakable signature of Kakatiya craftsmanship. Built largely with local grey granite, it reflects the engineering excellence of the era,” Dr Sivanagireddy said. However, centuries of weathering and prolonged neglect have pushed the shrine to the brink. Doorways have caved in, roof slabs have fallen and several pillars are dislocated. Many architectural components have shifted from their original positions. “Unchecked vegetation is a major factor in this deterioration. Trees and shrubs have taken root within the structure, forcing stone blocks out of alignment and causing the masonry to lose its balance.

This growth now camouflages large parts of the temple, hiding the true extent of the damage,” Dr Sivanagireddy added. Conservation experts warn that the monument could collapse at any moment. If the upper portions give way, a domino effect will crush the original beams and pillars, destroying valuable architectural elements and making restoration impossible.
Landscape changes worsen structural stability
Speaking to TNIE, the archaeologist stated: “Agricultural operations and water stagnation in nearby fields are believed to have affected the stability of the foundation. Continuous moisture exposure has likely caused parts of the structure to sink gradually, further weakening it.” Experts state that the first step to saving the monument is documentation. This requires clearing the vegetation, exposing buried elements, and making detailed physical and digital records. Every component — flooring, walls, ceilings and decorative elements - needs to be photographed and measured, with each stone numbered to map its original location.

Following documentation, conservationists propose a scientific dismantling and reconstruction process. “The temple would be carefully dismantled from the top down, with each stone preserved and catalogued,” Dr Sivanagireddy explained. “A modern foundation would then be laid for long-term stability before reassembling the original stones in their exact positions.” According to experts, this method prevents uncontrolled collapse and preserves the monument’s original fabric without causing damage.

It has already been used successfully to save several historic temples across the region. During interactions with local residents, conservationists highlighted the shrine’s importance and stressed the need for community participation. Many villagers were unaware the structure was seven centuries old. Following these discussions, residents expressed a willingness to support rescue measures. As a preliminary step, Aravind Arya, secretary of the Team of Research on Culture and Heritage (TORCH), has stepped forward to digitally document the temple. “Given its fragile condition, proper documentation can play a crucial role in its future restoration,” Aravind said.

"The temple has not been comprehensively documented by the State Archaeology Department, so we took it upon ourselves. Our process includes photography, scaling, mapping and architectural drawings. While we can use 3D documentation, this is a relatively simple Kakatiya structure, so conventional mapping should suffice,” he added. This temple is among nearly 120 monuments in Telangana proposed for protection by the Archaeological Survey of India. The ASI has requested the State Archaeology Department to transfer these sites to its care, but the bureaucratic process remains incomplete, he noted. Heritage experts believe that with timely intervention, the Sanigaram temple can be rescued from ruin and preserved for at least another five centuries.

https://www.newindianexpress.com/states/telangana/2026/Jun/08/choked-by-vegetation-forgotten-by-time-kakatiya-era-temple-in-warangal-in-ruins, June 12, 2026

J&K Chief Minister Omar Abdullah has written a formal letter to Union Minister of Culture Gajendra Singh Shekhawat and pressed for its inclusion in the UNESCO list. Sufiyana Mousiqi, believed to be in practice since the 15th Century in Kashmir with its muqamsor ragas, is for the first time bidding for the inclusion in list of the Intangible Cultural Heritage of Humanity of United Nations Educational, Scientific and Cultural Organization (UNESCO). J&K Chief Minister Omar Abdullah has written a formal letter to Union Minister of Culture Gajendra Singh Shekhawat and pressed for its inclusion in the UNESCO list.

"Given the exceptional heritage value of Kashmiri Sufiyana Music and its relevance to the objectives of UNESCO’s Intangible Cultural Heritage Convention, I shall be grateful if the proposal is examined sympathetically and necessary action initiated for taking the nomination forward through the prescribed channels,” reads the letter of Mr. Abdullah.

In the letter, the J&K Chief Minister sought the Union ministry’s support in "securing global recognition for this priceless cultural legacy of Jammu & Kashmir which shall be a matter of pride for India”. Mr. Abdullah underlined that recognition by UNESCO would “not only ensure international visibility and safeguarding of this invaluable tradition but would also facilitate its preservation, documentation, promotion, and transmission to future generations”. Rooted in the rich traditions of Sufi thought and artistic excellence, Sufiyana music represents a remarkable synthesis of devotional poetry, classical melody, and philosophical depth.

"For centuries, this unique musical tradition has served as a powerful medium for promoting harmony, inclusiveness, and cultural dialogue, reflecting the composite ethos of our society,” reads the letter. A proposal for the UNESCO submission was prepared by the Indian National Trust for Art and Cultural Heritage (INTACH), Kashmir chapter. It termed Kashmiri Sufiyana music as one of the “most distinguished manifestations of the cultural and spiritual heritage of Jammu & Kashmir”. Saleem Beg, who heads the Kashmir chapter of the INTACH, said the inclusion will result in “international visibility and recognition on a global platform”. “Sufiyana music or Sufiana Kalam or Sufiana Mousiqi meets the core criteria for nomination under the ICH framework.

It is a classical music form rooted in Sufi mysticism, representing a unique synthesis of devotional poetry, melody, and rhythm. The tradition embodies Kashmir’s composite culture and its historic ethos of spiritual harmony,” said Mr. Beg. Mr. Beg said Sufiyana Mousiqi emerged between the 14th and 15th centuries, when Kashmir became a cross-cultural link for India, Persia, Central Asia, and the wider Islamic world.

"The arrival of Sufi saints, scholars, artisans, and musicians from regions such as Iran, Bukhara, and Samarkand introduced new musical ideas that blended with existing Kashmiri traditions,” said Mr. Beg. He said rather than replacing local traditions, these influences merged with indigenous Kashmiri musical practices, creating a distinctive classical form that belongs exclusively to Kashmir. “Scholars describe it as a synthesis of Persian, Central Asian, and Indian musical systems shaped by local sensibilities. Sufiyana music of Kashmir is a form of dialogue between civilisations, Persian, Islamic and Shaivite, both classic and folk,” he added.

It’s believed that Sufiyana Mausiki had around fifty-four maqams or ragas and only 20-25 are in practice now. Most Sufiyana Mausiki opens with an instrumental prelude and a short poem sung without rhythm. It uses specific instruments of santoor, ney (a type of flute), harmonium, rabab, tabla and sitar. UNESCO has already included several intangible art forms like Vedic Chanting, Ramlila, Mudiyettu, Buddhist Chanting, Kumbh Mela, Durga Puja and Garba in the list.

https://www.thehindu.com/news/national/jammu-and-kashmir/jk-govt-bids-for-sufiyana-musics-inclusion-in-unescos-intangibleheritage-list/article71142763.ece/amp/, June 15, 2026

What began as a citizen-led effort to identify forgotten stepwells has culminated in the remarkable revival of a 300-year-old heritage well in Mutga, bringing back to life a hidden piece of Belagavi’s history and demonstrating the power of community-driven conservation. The historic well, located at Kanchveer Nagar near Airport Road in Mutga village, was first brought to public attention following the Belagavi Stepwells Campaign initiated by the INTACH Belagavi Chapter in collaboration with Maharashtra Barav Moheem (Maharashtra Step-wells Campaign).

The campaign, which sought information on neglected and forgotten stepwells across the district, was widely amplified by All About Belgaum, leading to a tip-off from a reader about an unusual stone structure opposite Shri Kanchveer Temple. A subsequent site inspection by INTACH members revealed an elongated stone-built well buried under dense vegetation, silt, debris and years of neglect.

The structure’s distinctive design — featuring a rectangular section connected to a circular chamber through an elegant stone archway — immediately highlighted its historical and architectural significance. Recognising its heritage value, Pyaas Foundation stepped forward to undertake the restoration. Supported by a generous grant from Dr. Nitin Khot, the Foundation launched an extensive cleaning and rejuvenation effort. For nearly three decades, the well had remained buried beneath layers of silt, sewage water, plastic waste, rubble and discarded bottles. Volunteers from Pyaas Foundation, assisted by local residents and supporters, painstakingly cleared the accumulated debris and restored the well to its original depth of nearly sixty feet before excavating a further ten feet.

Their efforts yielded an exciting discovery. Fresh water springs were found flowing at the bottom of the structure, confirming that ancient aquifers beneath the well remained active despite decades of neglect. The clear water emerging from the depths stands as a powerful reminder of the effectiveness and sustainability of traditional water conservation systems.

The restoration has also uncovered striking architectural features, including beautifully crafted stone arches, masonry work and columns that reflect the engineering expertise of a bygone era. Historians and local elders believe the structure may date back to the Adilshahi or early Maratha period, making it one of the region’s significant surviving heritage water structures.

Adding to its historical intrigue, local oral traditions suggest that the well once served as a discreet meeting place for freedom fighters and revolutionaries during India’s struggle for independence. Since the completion of the initial restoration phase, the site has attracted a steady stream of visitors. Elderly residents have revisited the well with memories of its past importance, while younger generations have been introduced to a remarkable example of Belagavi’s forgotten heritage. Beyond its historical significance, the revived well has renewed discussions about water conservation and the importance of preserving traditional water sources.

At a time when water scarcity is becoming an increasing concern, conservationists point out that structures such as stepwells, wells and traditional waterways can play an important role in sustainable water management. The Mutga restoration stands as a shining example of what can be achieved when citizens, heritage organisations and community groups work together. From a public appeal for information to the rediscovery and revival of a forgotten monument, the project has transformed a neglected structure into a symbol of heritage conservation, environmental stewardship and community pride.

In restoring the Mutga well, Pyaas Foundation has done more than clean a historic structure—it has revived a forgotten story of Belagavi and reconnected a community with its roots.

https://allaboutbelgaum.com/news/pyaas-foundation-revives-300-year-old-heritage-well-in-mutga-unveils-a-forgotten-chapter-of-belagavis-history/, June 18, 2026

Expressing deep concern over the neglected state of Netaji Subhas Chandra Bose’s statue inside the Bhubaneswar Judicial Complex, INTACH Bhubaneswar chapter convenor Anil Dhir alleged that the monument has been left damaged for years. Dhir said that when the new court complex was built, authorities moved the statue from its original spot in the old premises to a corner, with the understanding that it would be reinstalled once the new building was finished.

He claimed that the statue suffered damage during relocation and has since remained unattended. The new court complex was inaugurated in December 2024 by the President in the presence of the Governor and the Chief Justice of the High Court. But the statue, Dhir alleged, was not restored or re-positioned. Dhir said the issue had been raised several times by the lawyers. He further said that during one of the pre-inspection visits of Odisha Law Minister, attention had also been drawn to the condition of the statue. Dhir said in February 2024, the Odisha chapter of the International Human Rights Commission (IHRC) had filed a police complaint with the Capital police station over the issue. Several media reports had also highlighted the matter, he added.

Describing the present condition of the statue, Dhir said the structure has visible damage and that the surrounding area is littered with garbage and discarded items. He noted that the site, located directly opposite the Odisha State Museum, is clearly visible to commuters on the Bhubaneswar-Puri road. Calling the situation unfortunate and disrespectful to the legacy of Netaji, Dhir urged the authorities to repair and restore the statue and relocate it to a suitable public site.

Meanwhile, members of the Veterans Club of Odisha visited the location and covered the damaged statue with cloth as a mark of protest. Club president Bidyadhar Nayak and members urged the government to take immediate corrective action and warned that they would consider further steps if no action is taken. Dhir said he has written to the authorities requesting restoration of the statue and expressed hope that appropriate measures would be taken at the earliest.

https://www.thehansindia.com/news/national/intach-seeks-netaji-statue-restoration-1089046, June 19, 2026

Human skeletal remains excavated from the archaeological site of Rakhigarhi in Haryana recently have been formally handed over by the Archaeological Survey of India (ASI) to the Anthropological Survey of India (AnSI), a national research institute of repute under Ministry of Culture, Government of India, for detailed scientific investigation. Prof. BV Sharma, Director of AnSI said that the transfer, carried out under a recently signed Memorandum of Understanding (MoU) between the two institutions, is expected to significantly advance multidisciplinary research into one of the most important urban centres of the Indus-Saraswati Civilization.

Rakhigarhi, spread across approximately 550 hectares in Haryana, is widely recognized as the largest known settlement of the Indus-Saraswati Civilization. Archaeological excavations have revealed evidence of continuous habitation from the Early Harappan to the Mature Harappan periods, including planned settlements, drainage systems, craft production centres, trade networks, and burial grounds.

During excavations conducted by ASI’s Excavation Branch-II, Greater Noida, in the 2025–26 field season, archaeologists uncovered eight burials at Mound No. 7, an area previously identified as a cemetery. Three complete human skeletons, along with skeletal fragments recovered from other burials, have now been transferred to AnSI’s ancient human skeletal repository and laboratory in Kolkata for detailed examination.

The remaining skeletal materials obtained at these sites are also expected to be transferred in few days. Several scholars in the fields of Skeletal Biology, archaeology, and Genetics welcomed the initiatives of Anthropological Survey of India in regard to the research on Indus-Saraswati Civilization. Professor Vijay Prakash, former faculty member of Andhra University, described the transfer of skeletal materials as an important step toward ensuring that biological heritage recovered through archaeological excavations is scientifically analyzed and preserved by national institutions for the benefit of future generations.

Professor Udai Pratap Singh of Lucknow University similarly said the transfer marks an important milestone in strengthening India’s palaeoanthropological research tradition. He noted that AnSI’s expertise in human biology and osteology places it in a strong position to reconstruct aspects of population history, health, lifestyle, and cultural adaptation in the Indus Saraswati Civilization. Researchers believe the remains present a rare opportunity to apply modern scientific techniques, including ancient DNA (aDNA) analysis, stable isotope studies, osteological assessments, palaeopathological investigations, and environmental reconstruction. These approaches are expected to provide valuable insights into ancestry, migration patterns, diet, disease prevalence, adaptation strategies, and human-environment interactions during the Harappan period.

According to AnSI, the research will be conducted in collaboration with leading scientific institutions, including the Birbal Sahni Institute of Palaeosciences (BSIP), Lucknow, University College London (UCL), and a team of scholars from Banaras Hindu University (BHU) specializing in ancient DNA research. Welcoming the initiative, Padma Shri awardee Dr. Kumaraswamy Thangaraj, Senior Scientist at the Centre for Cellular and Molecular Biology (CCMB), Hyderabad, said that applying ancient DNA technology to the Rakhigarhi remains could reveal critical information about their genetic history and help scientists understand how human genomes evolved, adapted, and underwent natural selection since around 3000 BCE.

Professor Gyaneshwer Chaubey of Banaras Hindu University, similarly described the collaboration as a major step forward in reconstructing the genomic history of the Harappan Civilization. He noted that integrating ancient DNA research with osteological and isotopic studies would provide important evidence regarding ancestry, health, mobility, and lifestyles of the Indus Valley population, while also helping train a new generation of Indian scientists in palaeogenomics. Officials noted that while AnSI has maintained a long tradition of osteological research on remains recovered from Indus-Saraswati sites since its establishment in 1945, activities in this field had diminished over the years due to various challenges.

In recent years, however, the institution has undertaken efforts to revive palaeoanthropological research through the formation of dedicated research teams and specialized training programmes for scientific personnel. AnSI has recently completed palaeopathological studies on skeletal remains from several Indus-Saraswati sites and is preparing scientific publications based on its findings. The transfer of the Rakhigarhi remains is expected to further strengthen research capabilities, particularly in the field of ancient DNA analysis.

The institution also plans to expand collaborations with organizations such as the Zoological Survey of India, Botanical Survey of India, Geological Survey of India, and research groups working on palaeoclimate. Anthropologist Professor Subhash Walimbe, formerly of Deccan College, Pune, emphasized the importance of intensive anthropological examination of the remains to understand how urbanization influenced human biological and pathological responses.

He added that ongoing genetic studies may contribute to longstanding debates concerning the origins and population history of the Harappan Civilization. Former National Monument Authority Chairman Professor Kishore K. Basa welcomed the revival of skeletal biological research within AnSI, noting that such studies have relevance not only for anthropology but also for history, archaeology, population studies, nutrition, disease history, and genetics. Officials said the collaboration between ASI and AnSI represents a significant effort to integrate archaeology, anthropology, genetics, and environmental sciences in the study of India’s ancient past. The findings from the Rakhigarhi remains are expected to contribute substantially to understanding the origins, health, mobility, and biological history of one of the world’s earliest urban civilizations.

https://www.pib.gov.in/PressReleasePage.aspx?PRID=2276489®=3&lang=1, June 20, 2026

Tamil Nadu school students may soon get to visit the state’s most important archaeological sites as part of their history lessons. The Tourism Department is finalising a heritage tourism circuit, expected to be launched by the end of July, that will connect Keezhadi, Adichanallur, Korkai, Gudiyam Caves, prominent Pallava-era monuments and other heritage sites across the state. Designed initially for schoolchildren, the programme will offer curated tours that introduce students to different phases of Tamil Nadu’s ancient past.

"We are collecting a list of sites and planning a schedule. We working on one-day and two-day packages covering archaeological sites, museums and heritage monuments. The tours will include transport, guides, meals and accommodation, making it easier for schools across the state to participate,” said a senior TTDC official.

Officials said the circuit has been conceived as an extension of classroom learning, allowing students to visit excavation sites and museums that have featured prominently in recent archaeological research. Keezhadi, where excavations revealed evidence of an urban settlement dating back more than 2,500 years, and Adichanallur, known for its rich burial sites and artefacts, are expected to be among the main stops.

The southern route is likely to include Korkai site and the Porunai Museum in Tirunelveli, which houses artefacts recovered from excavations across the Thamirabarani basin, including Adichanallur and Korkai. The department plans to roll out the circuit for school students first before opening it to other visitors. Officials expect the programme to draw more footfalls to museums and archaeological sites that have gained public attention following recent discoveries. School Education Director S Kannapan welcomed the initiative, saying it would broaden students’ exposure to Tamil Nadu’s rich heritage.

“Education department officials already take students to historical and heritage sites in their respective districts. For instance, children in Villupuram are regularly taken to the National Fossil Wood Park at Thiruvakkarai. Similar visits are organised to other heritage sites as well,” he said. “However, if the TTDC takes up such programmes, students will get an opportunity to visit important sites in other districts too. This will help them gain a deeper understanding of Tamil culture and history. It may even inspire some of them to pursue archaeology as a career,” Kannapan added.

https://timesofindia.indiatimes.com/city/chennai/tamil-nadu-to-launch-heritage-circuit-for-students/articleshow/131948779.cms, June 25, 2026