Since the 1960s, Saryu V. Doshi has been a formidable presence in the art world, contributing significantly to India’s cultural and artistic dialogue. As India emerged as a newly independent nation during this time, its artists and scholars were focused on expressing the country’s rich civilizational heritage in a way that resonated globally. Doshi’s journey into the art world began in 1956 when she accompanied her husband to the University of Michigan, where she pursued art history. On returning to India’s vibrant intellectual circles in Mumbai, she embarked on a prolific career that continues to influence the art landscape today.
Doshi, now a Padma Shri awardee and respected octogenarian, is celebrated particularly for her scholarly work on Jain art and architecture. Yet, defining the boundaries of her influence is challenging due to her multifaceted contributions. She has graciously served in an honorary capacity as the editor of Marg magazine and was the founding director of the National Gallery of Modern Art in Mumbai. Moreover, she has also held the position of pro tem chairman of the Lalit Kala Akademi. In the 1970s, Doshi further broadened her expertise and influence as visiting faculty at esteemed institutions such as the University of Michigan and the University of California, Berkeley. Her commitment to scholarship is evident in her role as an honorary fellow at the Bombay Asiatic Society and as the editor of the research journal for the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS). Those who have worked with her often speak of her warmth, enthusiasm, and, above all, her meticulous nature.
Recently, Doshi was in Chennai to deliver a series of lectures on Jain art and spirituality, an event organized by the Prakriti Foundation and the Chennai Chapter of INTACH. In a reflective interview, Doshi recounted her involvement in diverse committees, ranging from film scriptwriting to tourism to even telecommunications. She expressed curiosity as to why she was called upon to serve in these roles and concluded that representation from the arts was deemed necessary for the broader conception of cultural affairs. Her genuine interest spans an impressive spectrum—she regularly attends lectures, exhibitions, and a variety of performances in music and dance.
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A conversation with Doshi reveals much about her philosophy on art and her career path. She speaks of art historians as interpreters who analyze what is presented on a canvas, while artists perceive intuitively, each approach offering fascinating insights. Her path to the study of Jain paintings was serendipitous, encouraged by fellow art historian Moti Chandra to explore neglected artworks stored in the bhandars of Jain temples. It was there, amidst centuries-old artifacts, that she discovered a scroll in a Digambara Jain temple near Nagpur that exhibited a rare blend of Rajasthani, Mughal, and Deccan styles. Her research illuminated the influence of Mughal armies in the Deccan region, where Rajasthani generals had established communities that cultivated a unique artistic confluence.
The Chhatrapati Shivaji Maharaj Vastu Sangrahalaya’s library, with its vast repository of knowledge, has been a frequent haunt for Doshi. Here, she works and interacts with scholars, sharing her vast understanding of art while continuously expanding her own. Despite concerns from some quarters about dwindling interest in art exhibitions, Doshi notices a gradual demographic shift that suggests increasing engagement among young people with art history, indicating a positive trend.
In her view, the burgeoning museum landscape in India, with both government and private initiatives, highlights a critical need for passionate and adept museum staff. However, she notes that a structured system for training professionals in this field is still evolving. Doshi advocates for analytic art historical inquiry that questions what evidence reveals, a skill she believes students need to master to enrich their understanding.
With developments such as art fairs, biennales, and the openings of new museums like the Bihar Museum, India’s art scene is vibrant with innovation. Curators are moving beyond merely tracing historical trajectories to exploring civilizational perspectives and debating the merits of retaining artifacts in their original locations versus showcasing them in well-equipped museums. Changes in museum architecture and displays also reflect a more imaginative approach to storytelling in art. Saryu V. Doshi remains a guiding light in this evolving narrative, her versatile career a testament to her enduring impact on Indian art and culture.
