An ascetic draped in a saffron shawl, prayer beads in hand and sacred ash across his body is among the first works to draw the eye at DAG's The Body of the Ascetic. Rich in symbolism and contradiction, the portrait sets the tone for an exhibition that looks beyond the familiar image of renunciation. Curated by renowned art historian and critic Gayatri Sinha, the exhibition brings together works spanning nearly three centuries to explore how the ascetic has been represented across Indian visual culture, opening conversations around spirituality, identity, gender and the body.
Asked what first drew her to the figure of the ascetic, Gayatri says its presence has remained constant across Indian artistic traditions.
“Classical Indian painting emphasises the presence of the figure of the ascetic. In Basohli painting you see the sadhu in dialogue with Devi, in Sikh painting the figure of Nanak himself, in Jain mandalas and pattas, the presence of the devotee/muni is a constant reminder of the fact that it is the faithful who determine the course of a faith. If there is a single work which has inspired me it is Govardhan’ Jahangir visits the ascetic Jadrup (1620) from the Louvre collection... The Tuzuk-i-Jahangiri records Jahangir as writing how this meeting influenced his attitude towards temple worship,” she shared.
Beyond the man of God
According to Gayatri, the ascetic occupies a place far beyond that of a spiritual seeker, often shaping India's social and cultural history.
“The ascetic is a critical figure in Indian history and thought because he is largely outside the code of normative behaviour. He occupies the space of an intermediary, often stepping in to alter the status quo... Historically ascetics may have also been the custodians of knowledge, interpreters and commentators. Today with the enormous fanfare around the Kumbh mela, and the performative aspect of asceticism, as well as the presence of sadhus on the political stage, we have entered into a different relationship with the ascetic,” she pointed out.
The ascetic in contemporary India
Reflecting on the figure’s continued relevance, Gayatri believes its meaning has evolved with changing times.
“Although the British tended to class sadhus as vagrants, as did the early censuses in India, the ascetic has become increasingly visible. However the asceticism of Ramakrishna, Vivekananda, Gandhi or Vinobha Bhave was of a different order because it was tied in with social reform. Today the appearances of Gurus and mathas is tied in with mass participation which is an entirely new phenomenon.
What: The Body of the Ascetic exhibition
Where: DAG Gallery 2, The Taj Mahal Palace, Apollo Bunder, Mumbai
When: On view until September 4, 2026 | Monday–Saturday, 11 am–7 pm
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