Between the ninth and sixteenth centuries CE, South Asia experienced a significant change in its economy and material conditions. The growth of money circulation, minting techniques, and local trade networks indicated a move from small-scale economies to more connected and monetized systems. Coins, inscriptions, and archaeological discoveries show how economic activities were influenced by political power and business efforts. These developments linked local markets with long-distance trade routes across the Indian Ocean and Central Asia. Instead of viewing this period as a static agrarian or feudal model, this study highlights the active nature of money circulation and its role in enhancing connections between regions. By combining evidence from coins, archaeology, and historical texts, the paper reassesses the economic structure of medieval South Asia. It illustrates how movement, exchange, and innovation changed ideas about value and power. The analysis aims to place South Asia within the wider global economic trends of the medieval world.

Keywords: connectivity, currency, economic networks, medieval South Asia, trade circulation.

The Chola temples are being recast by new narratives in global maritime history not merely as religious monuments, but as the monumental core of a sophisticated Indian Ocean world defined by long-distance trade and cultural fusion. These structures are positioned in this paper not merely as religious monuments, but as the ultimate destination of capital generated by transoceanic networks, which forcibly integrates South India into the broader story of maritime-driven civilization. Although well-established are the art historical and political narratives of these structures, the critical economic pathways that enabled their construction remain underexplored. It is worth stating that a decisive financial conduit was acted upon by the Manigramam merchant guild, with capital accumulated from Indian Ocean maritime trade methodically transformed into the physical and institutional fabric of Chola temple complexes. Moving beyond a simplistic patronage model, the precise mechanisms of this transformation are interrogated in this study. It is demonstrated how the profits from the trade in luxury commodities like spices, textiles, and precious stones were mobilized through direct monetary endowments, land grants, and the sponsorship of specific architectural components by the guild.

This analysis proposes the Manigramam were not merely donors but strategic investors in a “sacred economy,” where social prestige, political favour, and commercial privileges were secured through their contributions within the Chola imperium.

Keywords: Maritime, Trade, Chola Kingdom, Guilds, Economy.

This paper delves into the multifaceted position of women in ancient Kashmiri society, drawing upon historical, cultural and religious perspectives. Through an interdisciplinary approach, it examines various factors shaping women's roles, including socio-religious influences, as well as societal structures and legal frameworks. Utilizing textual sources, artistic depictions and archaeological evidence, the study sheds light on the complexities of women’s lives, exploring both the freedoms and constraints they experienced. By unravelling the intricate tapestry of ancient Kashmiri society, this research contributes to a nuanced understanding of women's status in the region, offering insights into their roles, agency and contributions to cultural and social dynamics.

Keywords: Women, Rajatarangini, Society, Kashmir.

An Afro-Indian community that settled on the western coastline of India, known as Siddis, left behind a great and exceptional legacy as naval and military leaders as well as independent rulers during the 17th-18th centuries. The study presents the case of Siddis from being a slave in East Africa to their ascent as Janjira kings. It aims to discuss their military skills, connections with the contemporary powers and the ways through which their story has been kept alive in people's memory. Digging deeper into the oral traditions and the material culture, finally, it repositions the Siddis in the contexts of African diaspora and Indian Ocean histories by challenging the Eurocentric view and revealing their long-lasting effects on the identity, legacy, and memory in South Asia.

Keywords: Siddis, African diaspora, Indian Ocean, South Asia, Marathas.

This paper introduces and analyzes a newly accessioned Viṣṇu sculpture in the Bangladesh National Museum, discovered in Chandpur District and dated stylistically to the late 11th–early 12th century CE. Carved in dark stone, the image preserves its prabhāvalī, pedestal, and iconographic detailing with remarkable clarity. On the basis of hand-order arrangement (Chakra, Śaṅkha, Gadā, Padma) and supporting programmatic cues, the sculpture is identified as Trivikrama Viṣṇu, one of the twenty-four canonical forms (caturviṁśati-mūrti). Distinctive features include a haṁsa frieze on the pedestal and, uniquely, the addition of a miniature Viṣṇu figure within the Daśāvatāra frieze of the prabhāvalī an element not paralleled in other museum holdings. This article situates the piece within the wider corpus of Viṣṇu images in Bengal, highlighting both continuities and local innovations in style and symbolism, and underscores its significance for the study of regional Vaiṣṇava iconography.

Keywords: Viṣṇu, Iconography, Bangladesh National Museum, Daśāvatāra.

The dramatic works of Vatsarāja provide a nuanced reflection of the socio-religious life of urban society during the Candella period. Far from depicting an idealized order, these rūpakas capture a society in transition, shaped by shifting political realities, evolving social norms, and expanding artistic and material pursuits. While avoiding overt political critique, Vatsarāja’s alignment with Paramardideva underscores the courtly orientation of his dramas. The plays illuminate diverse aspects of city life, households with servants, artisans, courtesans, and performers, alongside the coexistence of Śaiva, Vaiṣṇava, Śākta, and popular cult traditions within a vibrant religious landscape. Equally, they reveal a culture of pleasure and refinement, where betel, liquor, cosmetics, music, and seasonal revels coexisted with hypocrisy, crime, and fractured familial ties. Taken together, these works emerge not only as literary achievements but also as historical testimonies, offering important sources for reconstructing the social and religious life of the Candella period.

Keywords: Vatsarāja, Sanskrit drama, Candella period, urban society, religion, material culture, courtly life, city dynamics.

Art provides a crucial connection to our cultures and Indian art is incredibly rich in traditions dating back hundreds of thousands of years. Madhubani paintings are among the most popular art disciplines. It is typically created by women from diverse communities in Bihar’s Madhubani district. It’s also known as Mithila painting in India and Nepal. It is a type of folk art in which artists make paintings with a range of mediums such as their fingers or twigs, brushes, nib-pens and matchsticks. The painting designs are thought to have started during the Ramayana when king Janaka commissioned artists to portray his daughter Sita’s wedding. Madhubani paintings have a minimum of 2500 years of history and these are also related to Buddha and Mahavira. Its primary feature is individuals and their rituals, including Holi, Kali Puja, Surya Shasti, Durga Puja and Upanayana. These paintings are strongly related to landscapes, natural scenes and deities from ancient epics. Natural sources are usually used to make both the colors and the brushes, the kind of simplicity that has made this Madhubani painting very renowned. Religion, social and natural elements are the three major themes of Madhubani painting. It was traditionally done on freshly plastered mud walls and floors of huts but recently developed on fabric, handmade paper and canvas. Some unique styles of Madhubani paintings are Tantrik, Kohbar, Bharni, Godna and Katchni. It beautifully renders scenes from daily rural Indian life. Despite having been practiced for centuries, Madhubani paintings were come to light by British Colonial Officer William G. Archer in 1934. Now, the government of India is also promoting this traditional painting.

Keywords: Madhubani Painting, History, Culture, Epic, Folk Art, Tradition, Style.

Panchanan is a gram devata (village deity) of Bengal, worshipped among rural communities. Conventionally, he is depicted with a red complexion, matted hair, and an aggressive nature. However, during fieldwork in Nadia district, an unusual icon of Panchanan was identified at Harishpur. Here, the deity is represented with a white, camphor-like complexion, calm demeanor, and five heads. Despite this variation, villagers maintain the same conceptual understanding of the deity as the fierce guardian of liminal spaces, associated with disease, death, and fertility. The Harishpur icon may have been influenced by the Rudrayamala, a tantric text, where Shiva is also referred to as Rudra. It is possible that a local folk deity was assimilated into the scriptural persona of Sadashiva. This paper explores the adaptability and evolution of deities in response to local needs.

Keywords: Harishpur, Nadia, Panchanan, Shiva, Rudra.