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The Vindhyachal region, located in the southeastern part of Mirzapur district in Uttar Pradesh, is one of North India's prominent sacred sites. Renowned for the Śakti worship, the area features a unique geographical setting-it is bounded by rivers on three sides and the Vindhya mountains on the fourth. The objective of this study is to understand the processes of cultural continuity persisting since ancient times by examining the archaeological remains and sacred geography of the Vindhyachal region. This research focuses on the temples, sculptural remains, and pottery traditions of this naturally abundant zone. When examined together, these physical remains vividly highlight a long, unbroken historical and cultural legacy. A multidisciplinary approach has been employed in this research integrating archaeological field surveys, documentation of physical remains, architectural analysis of temples, and an examination of literary and epigraphic sources. This research contributes to a comprehensive understanding of the sacred landscape of the Vindhyachal region within the context of Indian archaeology and highlights Vindhyachal as a living heritage site where ancient traditions continue to shape contemporary religious practices. Furthermore, the study aims to elucidate the archaeological, historical, and cultural grandeur of Vindhyachal while providing a systematic archaeological framework for future heritage conservation and cultural studies in the region.

Keywords: Sculpture, Architecture, Vindhyachal, Mirzapur, Shivpur.

This research paper presents the findings of recent field surveys conducted within the Ghoramara Gram Panchayat area - specifically Ghoramara Island - located in the Sagar Block of the South 24 Parganas district, West Bengal, India. These surveys have led to the discovery of numerous archaeological artifacts dating from the the Early Medieval era. The artifacts came to light primarily through systematic field exploration and as a result of riverbank (Muriganga River) erosion. The recovered materials include a variety of terracotta pottery, beads, fragments of black stone sculptures (likely serving as religious paraphernalia), votive stupas, traditional earthen lamps and lamp stand, drinking vessels, weights and measures, among other items. These artifacts - particularly the pottery - provide compelling evidence of the historical connectivity and commercial networks that once linked this site with the Middle and Lower Gangetic regions, as well as with the eastern coastal belt of the Bay of Bengal. A comparative analysis of various Early Medieval archaeological sites across India reveals distinct traces of a continuous settlement history at Ghoramara and the nearby areas. Furthermore, the region is significant not merely as a node within a commercial network; it also exhibits unique characteristics regarding the religious and cultural milieu - as well as the technological expertise; that were instrumental in sustaining a continuous pattern of human settlement. An analysis of the recovered artifacts helps us understand that; the nearby archaeological site of Mandirtala on Sagar Island may have exerted a profound influence on this (Ghoramara) location. This evidence confirms that Ghoramara’s unique status as a significant coastal regional site was established as early as the early-historic period. Consequently, Ghoramara holds a distinct and pivotal position within the fields of coastal archaeology and regional historical research.

Keywords: Archaeological Investigations, Coastal Archaeology, Deltaic Region, Ghoramara, Indian Sundarbans, Mandirtala, Sagar Island, Settlement.

Central India, known for its rich heritage of rock art, features numerous representations of bulls, particularly in regions like Madhya Pradesh, Chhattisgarh and Maharashtra. These rock engravings and paintings, dating back to prehistoric and historic times, depict bulls in dynamic poses, emphasizing their significance in daily life, religious beliefs, and the human-animal relationship. The study further considers the role of rock art in preserving and communicating cultural narratives, shedding light on the complex and multifaceted roles that bulls played in the life of ancient Indian societies. Some depictions capture bulls in motion, possibly in hunting or ceremonial scenes, while others appear more static, often used in a symbolic context, potentially reflecting the bull's role as a domesticated animal crucial for agriculture and transport. In many cases, the Art representation of the bull is paired with human figures, reinforcing the bond between mankind and animal, highlighting the bull's central role in the survival and prosperity of early societies. These Art continue to offer a powerful window into the beliefs and values of early societies in India, providing insights into their reverence for animals and their place in the cosmic order. The paper is about to describe the depiction of the bulls in central Indian rock art through the artistic symbolism and its significance.

Keywords: Indian rock art, prehistoric art, Symbolism, Rituals, Archaeological findings, Cultural heritage.

Temple architecture in Assam predominantly conforms to the Nāgara tradition, while simultaneously incorporating distinctive regional features. In elevation, most temples are characterized by the śikhara or rekhā deul form, whereas their ground plans exhibit a wide range of geometric configurations, including square, rectangular, stellate, and polygonal forms. These temples are largely associated with Śaiva, Śākta, and Vaiṣṇava modes of worship. The earliest phase of temple construction in Assam may be traced to the Varman dynasty, contemporaneous with the later Guptas in the sixth century CE. Owing to the paucity of reliable historical and epigraphic sources, however, precise information regarding many early structures remains uncertain. Subsequent periods, particularly the Śālastambha and Pāla dynasties, have yielded comparatively limited archaeological remains. A significant expansion in temple-building activity occurred under the Ahoms, who established their authority in eastern Assam in CE 1228 and exercised political dominance over the Brahmaputra valley until their capitulation to British power in CE 1826. The nearly six centuries of Ahom rule witnessed profound political and socio-cultural developments, closely linked to their gradual assimilation into Hindu religious traditions. Numerous temples were constructed across Assam during this period, notably at Biswanāth, Sibsagar, and Kāmrupa. While several of these monuments survive in situ and are protected by the Archaeological Survey of India, others have deteriorated due to neglect. Ahom temple architecture may be broadly divided into two phases: the first extending up to the reign of Sulikpha (Lorarājā) in 1681, and the second from Svargadeva Gadadhar Singha to the end of Ahom rule in 1826. The present paper examines the architectural characteristics of Ahom-period temples in Assam and related dimensions. The objective is to systematically examine the architectural characteristics, spatial organization, and stylistic features of Ahom-period temples in Assam and to situate them within their historical and cultural contexts.

Keywords: Assam, Ahom, Temple, Architecture, Nāgara.

This review examines the technological development, craftsmanship, and decorative traditions of palanquins in Sri Lanka, situating these artefacts within broader histories of mobility, social hierarchy, and cultural expression. Far more than a means of transport, palanquins functioned as symbols of political authority, ritual prestige, and artistic accomplishment. Although previous studies have explored their role in royal processions, ceremonial life, and caste-based labour systems, limited attention has been given to their construction techniques, material composition, and decorative features. This study addresses that gap by synthesizing evidence from historical chronicles, colonial accounts, literary sources, museum collections, and surviving artefacts. The review investigates the evolution of palanquin technology, including the selection of materials, woodworking practices, joinery methods, and metal fittings employed in their construction. It also examines decorative traditions such as carving, lacquer work, textile embellishment, and symbolic ornamentation, considering how these elements reflected social status, regional craftsmanship, and cultural values. Using a qualitative review methodology, the study integrates textual, visual, and material evidence to reconstruct both the technological characteristics and symbolic significance of palanquins in Sri Lankan society. The findings demonstrate that Sri Lankan palanquins embodied a sophisticated combination of indigenous craft traditions, South Asian artistic influences, and local aesthetic preferences. Their construction reveals considerable technical expertise, while their ornamentation reflects complex social, religious, and political meanings. By consolidating dispersed historical evidence, this review contributes a comprehensive understanding of palanquin traditions and highlights their significance as material heritage representing engineering skill, artistic creativity, and cultural identity.

Keywords: Palanquins, Sri Lankan material culture, Craftsmanship and decorative arts, Mobility and elite transport, Woodcraft and metalwork traditions.

This essay looks at Michel Foucault’s idea of power and knowledge to figure out how modern government systems create, control, and spread “truth.” Foucault says that power isn’t just oppressive or hierarchical; it also works through spread-out networks that shape what people think is true knowledge. Foucault’s ideas are becoming more and more important in today’s world of digital surveillance, data-driven decision-making, and algorithmic power. Today’s government depends on a lot of expert opinions, data visualizations, and technological systems that say they are neutral but actually shape norms, behaviours, and public realities in subtle ways. These are the ways that states and organizations create “regimes of truth” that shape policies, affect how people think and feel, and support certain types of authority. This essay takes a critical look at how power and knowledge work in areas like digital government, public health management, and security systems, pointing out how finding the truth becomes a political act. It also looks at times when marginalized groups fight, when they question dominant narratives and offer new ways of knowing. By putting Foucault’s theory in the context of modern government, the study shows that truth is not a fixed thing but a contested area shaped by power dynamics, institutional practices, and ongoing arguments over what something means.

Keywords: Power/knowledge, politics of truth, contemporary governance, regimes of truth, knowledge production, resistance.

Delhi’s archaeological landscape presents a complex urban palimpsest, formed by continuous cultural occupations spanning from the protohistoric to the medieval periods. Despite extensive scholarship on Delhi’s grand political history, comparatively less attention has been paid to its archaeological landscape particularly the vulnerable settlement mounds threatened by rapid urbanization. This paper examines the archaeological significance, current condition, and conservation challenges of the Mandoli site in East Delhi. It is a multi-period settlement yielding evidence from the Late Harappan, Painted Grey Ware, Shunga-Kushan, and Gupta periods. Based on field surveys, historical excavation records, and recent on-site observations, the study identifies three primary threats to the site: encroachment, environmental degradation, and administrative fragmentation. The paper critically evaluates the limitations of existing heritage governance and situates Mandoli within the legal framework of the Delhi Ancient and Historical Monuments and Archaeological Sites and Remains Act, 2004 (DAHMASR Act). Given the site's deteriorating condition, it proposes an integrated adaptive archaeological management plan based on an Adaptive Archaeological Buffer System (AABS). This approach incorporates archaeological sensitivity mapping, legal zoning, digital monitoring, community participation, and mitigation strategies. The study concludes that scientifically informed, legally grounded, and community-based heritage management is essential not only for the protection of Mandoli but also for advancing the broader understanding of Delhi’s archaeological past and fostering sustainable urban heritage governance.

Keywords: Heritage Management, Mandoli, Archaeological-Legislation, Urban Archaeology, Encroachment, Urbanization, Preservation.

This research paper analyzes the patriarchy, female voice, and diversity of women’s experiences in the Mahabharata through the status and depiction of women. The Mahabharata was composed between c. 400 BCE and 400 CE and is an encyclopaedic and evolving text that bears the mark of multiple social formations. The paper begins with an analysis of patriarchy through ideological, social, and institutional controls, especially through concepts such as pativrata dharma and stridharma, that shaped women’s roles and identities. It then explores various forms of female agency and resistance, demonstrating how women such as Draupadi, Amba, Gandhari, Kunti, Sulabha, and Savitri question, negotiate, and challenge patriarchal authority through speech, action, and intellectual engagement. Moreover, the research emphasizes the diversity of women and provides a distinction between central and marginal figures. Central women have visibility and influence within the social and political structure, marginal women such as Hidimba, Ulupi, Chitrangada, and culturally othered groups like the women of Madrakas and Bahlikas show alternative forms of identity and agency, though often without recognition. The paper argues that the Mahabharata offers a different perspective on women, one in which patriarchy and agency coexist. The paper concludes that gender roles in the epic were not fixed but were constantly determined by social context, cultural differences, and narrative space, and thus the text is an important source for understanding the dynamics of gender in early Indian society.

Keywords: Gender, Mahabharata, Marginal, Pativrata, Patriarchy.

The Mahabharata began as "Jaya" (meaning "Victory") and had 8800 verses that dealt with the Kurukshetra war. It was attributed to sage Vyasa, (the "author" of the Mahabharata), and originally it was a composition of verses called the "Bharata" with an additional 24000 verses of genealogies and philosophical narratives. The Mahabharata was then expanded to include many different aspects of life and became "Mahabharata" (~100,000 verses), containing the Bhagavad Gita, didactic literature, moral teachings, mythological stories and poetry and became a monumental piece of literature.1 The Mahabharata was transmitted from oral tradition (memorized and recited), via Bards (sūtā), to Manuscript culture (4th century BCE)2. The Mahabharata is represented as sculptures in monuments created during the Gupta, Chalukyan, and Pallava periods; as paintings in the Mughal, Rajput, Pahari, and Kangra schools; as temple art at Mahabalipuram and Pattadakal; and via the Performing Arts such as Terukkuttu, Yakshagana, Kathakali, Bharatanatyam, Odissi, Kuchipudi, and Manipuri3. There are many modern adaptations of the Mahabharata in cinema since the 1920s, the B.R. Chopra television series (1988), animation, video games, museums (Mahabharata Anubhav Kendra), and through digital media4. The Mahabharata has been adapted across Southeast Asia (Wayang Kulit in Indonesia, Angkor Wat in Cambodia, Thailand, Myanmar, Laos) demonstrating the Mahabharata's transformation from its Indian origins to its pan-Asian character5. The Mahabharata continues to be a living cultural text, reinterpreted by different societies over time and its existence is not due to permanence in written form but because of the way it has been adapted and absorbed into the fabric of different cultures.

Keywords: Adaptation, Bhagavad Gita, Bharata, Jaya, Mahabharata, Oral Tradition, Performing Arts

This paper presents three previously unpublished Old Marāṭhī inscriptions from Puṇe district, palaeographically datable between the 11th and 14th centuries CE. The inscriptions originate from the Bārāmatī, Junnar and Purandar talukas respectively. Of the three, the first two are undated, while the third bears a clear chronological attribution. The earliest record, from Loṇī Bhāpkar (probably late 11th century), documents a contribution intended for the decoration of the local temple of Someśvara. The second inscription, from Shiravalī Khurd (probably early 13th century), records a land donation by the Yādava ruler Siṅghaṇadeva II, whose reign witnessed the rigorous implementation of Marāṭhī in official documentation, reflecting its consolidation as an administrative language under royal patronage. The Jawaḷārjun inscription (1347 CE) mentions a local ruler, Rāghava, son of Mahādeva; who dedicated land and funds for the maintenance of the temple of Pāṇḍaveśvara. The cultic affiliation of all the temples referenced in these inscriptions is Śaiva, each being dedicated to Lord Śiva. These records collectively illuminate aspects of temple management and the broader dynamics of local religious economy, as well as the vitality of Old Marāṭhī epigraphic practice during the early Islamic period in Mahārāshṭra. Together, they offer important insights into regional governance, linguistic policy and the enduring traditions of local devotion as well as administration across the Yādava rule and the transitional period that followed their decline.

Keywords: Epigraphy, History of Maharashtra, Marathi inscriptions, Temples, Yadavas of Devagiri.