Beyond the Page explores how the traditions of South Asian miniature painting have been reclaimed and reinvented by modern and contemporary artists, taken forward beyond the pages of illuminated manuscripts to experimental forms that include installations, sculpture, and film.

The exhibition features work by artists from different generations working in dialogue with the miniature tradition, including Hamra Abbas, David Alesworth, Nandalal Bose, Noor Ali Chagani, Lubna Chowdhary, Adbur Rahman Chughtai, Samuel Fyzee-Rahamin, N.S. Harsha, Howard Hodgkin, Ali Kazim, Bhupen Khakhar, Jess MacNeil, Imran Qureshi, Nusra Latif Qureshi, Mohan Samant, Nilima Sheikh, Willem Schellinks, the Singh Twins, Shahzia Sikander and Abanindranath Tagore.

Contemporary works are shown alongside examples of miniature painting dating as far back as the mid-16th century drawn from major collections including The Victoria & Albert Museum and The British Museum, many on public display for the first time.

Beautifully presented in two volumes, Taklung Painting: A Study in Chronology, establishes a reliable foundation for assigning dates to nearly one hundred paintings associated with Taklung Monastery in Central Tibet and its sister monatery, Riwoche, in eastern Tibet. Using vsual images (the succession of teachers represented in the top, side, and, occasionally, the bottom registers of paintings), inscriptions, narrative scenes (in which principal structures in the Taklung monastery compound may be linked to specific dates), and style analysis, the author identifies fundamental parameters that help create firm chronological designations for these c. twelfth to mid-sixteenth century paintings. The essential two-volume set includes more than 800 images, illustrating Taklung paintings in vivid detail, pointing out key visual comparisons and deciphering their many inscriptions. 

Project Himalayan Art is an interdisciplinary resource for learning about Himalayan, Tibetan, and Inner Asian art and cultures. This three part-initiative—encompassing a digital platform, publication, and traveling exhibition—is designed to support the inclusion of these cultures into undergraduate teaching on Asia. The project focuses on cross-cultural exchange with Tibet at the center and Buddhism as the thread that connects the diverse cultural regions.

Himalayan Art in 108 Objects is an object-centered introduction to Himalayan art and material culture from Neolithic to contemporary times, focusing on cross-cultural exchange with Tibet at the center and Buddhism as the thread that connects these diverse cultural regions.

Ganesha, the son of Shiva and Parvati, is a Brahmanical (Hindu) diety known to clear a path to the gods and remove obstacles in everyday life. He is loved by his devotees (bhakti) for his many traits, including his insatiable appetite for sweet cakes and his role as a dispenser of magic, surprise, and laughter. However, Ganesha is also the lord of ganas (nature deities) and can take on a fearsome aspect in this guise.

The seventh- to twenty-first century works in this exhibition trace his depiction across the Indian subcontinent, the Himalayas, and Southeast Asia. Featuring 24 works across sculptures, paintings, musical instruments, ritual implements, and photography, the exhibition emphasizes the vitality and exuberance of Ganesha as the bringer of new beginnings.

Forms of Awakening: Selections from the Jack Shear Collection of Himalayan Art presents over twenty-five thangkas that demonstrate the multivalent and critical roles of Himalayan artists in the practice of Buddhism. Traditional Tibetan paintings—thangkas—are used as instructional and devotional objects, with Buddhist imagery painted on cloth and typically covered by a curtain of fabric and rolled for storage when not in use. In an ongoing practice that dates back many centuries, thangka paintings have been displayed during rituals and at certain times of year in monasteries, local shrines, and households, as objects of veneration, tokens of blessing, guides for meditation, and tools for teaching and learning.