Explore a sculptural evolution at this art exhibition in Chennai

Few art forms capture eternity like stone carving, where unyielding granite is shaped into something almost alive. Mayan—In the Quiet of Form, the upcoming sculptural exhibition, bridges South India’s ancient sculptural heritage with the sensibilities of contemporary art.

What to expect from Mayan—In the Quiet of Form

At its core, Mayan is a tribute to the sculptor M Durairaj who founded Mayan Handicarfts after completing his diploma in Traditional Sculptures and Architecture in 1974. His vision was simple—to keep alive the ancient craft of South Indian stone carving, an art form that blends spirituality, devotion, and extraordinary technical skill. What began as the creation of temple idols and ritual sculptures has evolved into a legacy that includes architectural elements, decorative pieces, and modern works.

Curator Anahata Sundarmurthy describes Mayan as a journey that “follows the tradition of sculpture from Mahabalipuram—the Pallava heritage, its evolution through time, and what it means in today’s world.” The exhibition, she says, brings together works by Durairaj’s students and his son D Rajesh, tracing the thread of artistry that has been passed down for generations. “Even though the tools have changed, much of the process remains deeply rooted in handwork and patience. Every piece is still finished by hand, no matter its size,” she explains.

The show features around 56 sculptures, from traditional granite deities to contemporary stone works that reinterpret ancient forms. Shruthe Raammohan, who programmed the exhibition, adds that the intention is to “blend the tradition and the modern—where granite sculptures that once belonged solely in temples now find their place in our gardens or our puja rooms.” She believes that this bridge between worlds, between ritual and personal, monumental and intimate, mirrors the evolution of Indian art itself.

For both Anahata and Shruthe, Mayan is not just about the sculptures on display; it’s also a reflection on how interconnected India’s artistic traditions have always been. “No one art form in India exists without the other,” says Anahata. “For dance to thrive, there had to be temples. For temples to exist, there had to be sculpture. It’s all part of one ecosystem.”

Shruthe, a Bharatanatyam dancer herself, finds a parallel between movement and stillness in sculpture. “As a dancer, I’m always trying to capture movement through stillness,” she says. “And sculptures do that beautifully—they freeze rhythm in time. I’ve grown up around temple sculptures, and when I saw Jyotiraj’s work, I could recognise movements that exist even today in the dance forms we practise.”

The exhibition also raises deeper questions about authorship and anonymity in traditional art. Historically, temple sculptures were rarely signed; the names of artisans were often lost to time. In keeping with this idea, Mayan consciously honours both the master and his students without singling out individual authorship. “It’s a nod to history.” Anahata explains. “Historically, the artisans’ names are never part of the pieces. Unlike the paintings, none of the sculptures have the individual artist’s name signed on them. Here, we have made it a point to credit all of them.”

INR 150 onwards. From October 29 to November 25, 2025. 11 am to 7 pm. At Art Kin Centre, Alwarpet, Chennai.