The Mangaluru Chapter of the Indian National Trust for Art and Cultural Heritage (INTACH), in association with HECS-INTACH and the INTACH Heritage Club of Government High School, Manchi-Kolnadu, organized a one-day workshop on traditional mask-making and face painting for schoolchildren from the Manchi-Kolnadu cluster on Saturday, September 12, 2026, at the Government High School, Manchi-Kolnadu.

Addressing the gathering, Subhash Chandra Basu, Convener of INTACH Mangaluru Chapter, said there is a responsibility to preserve the traditional arts and cultural heritage of the region. “If students develop an interest in these traditions from a young age, it will contribute to preserving our history and heritage,” he observed. INTACH Mangaluru Chapter executive committee member and artist Rajendra Kedige said mask-making and face painting not only develop artistic skills among students but also nurture creativity and personality.

“When children grow up with an appreciation of art, they develop a deeper awareness and sensitivity towards it,” he said. Artist Harish Kodialbail, one of the resource persons, conducted a practical demonstration on mask-making and introduced the students to the process of creating facial moulds using plaster of Paris and cloth. Around 60 students from different schools participated in the workshop and worked in groups to create their own masks. Artist Reshma S., the other resource person, briefed the students on the face painting process, preparation and use of natural colours. The students learned how colours could be prepared using naturally available materials and experimented with different shades and patterns.

They then painted their masks using colour schemes inspired by various Yakshagana characters, turning the creative exercise into an engaging hands-on experience. The workshop explored the relationship between mask-making and the living traditions of Tulunadu, where face painting has an important place in Bhootakola and Yakshagana. Through the hands-on activities, the students were introduced to how colour, form and pattern can help communicate character, identity and cultural meaning. Students from Government High School, Manchi-Kolnadu; Noojibailu Aided School; Monthimaru School; Ira Primary School and Puddottu School participated in the workshop. Certificates were presented to all participants.

Among those present were INTACH Mangaluru Chapter member Sharvani Bhat, School Development Committee President Shivashankar Rao Manchi, Vijayalakshmi Kateel, teacher at Kolnadu High School, Yashodha, teacher at Monthimaru School, Rekha, teacher at Puddottu School and teachers of the host school. Teacher Jagannath Purusha welcomed the gathering, Taranath Kairangala conducted the programme and Headmistress Sushila Vittal proposed the vote of thanks.

Students and artisans during the Endangered Craft Workshop on traditional Changki pottery organised by INTACH Nagaland Chapter in collaboration with NEZCC, Ministry of Culture, in Dimapur on October 7. Ninety-seven students from eight schools got hands-on experience with Changki’s traditional pottery craft at an Endangered Craft Workshop organised by the INTACH Nagaland Chapter in collaboration with the North East Zone Cultural Centre (NEZCC), Ministry of Culture, in Dimapur. The workshop, according to a press release from INTACH Nagaland Chapter, aimed to familiarise young people with traditional crafts at risk of disappearing and encourage appreciation of the communities and knowledge systems associated with them.

Students from Charis High Academy, The Maple Tree School, Ram Janaki HSS, Christian HSS, Little Star HSS, Bethesda HSS, Amazing School and Eklavya Model Residential School participated in the workshop. Two artisans from Changki village, known for its earthen pottery tradition, demonstrated traditional techniques and processes, with students also taking part in hands-on pottery-making and interacting with the artisans.

Prof Jungmayangla Longkumer of the Department of Agricultural Extension Education, Nagaland University, Medziphema, who has extensively documented Changki pottery, spoke about the craft’s history, cultural significance and place within the community.

All participating students received certificates from NEZCC Deputy Director Oliver T Pongen. The three best works from the workshop have been selected for submission to INTACH HECS, Delhi, for inclusion in the national archive and consideration for special certificates. The workshop sought to connect young learners with traditional artisans and help keep Changki’s pottery heritage relevant to future generations, the release added.

The Mangaluru Chapter of the Indian National Trust for Art and Cultural Heritage (INTACH) organised a special boat-based programme, ‘A Morning by the River’, on the Gurupura River on Sunday, September 27, to mark World Rivers Day. The one-and-a-half-hour programme began at the Sultan Bathery ferry point and brought together nature lovers, artists and citizens to explore the ecological, historical and cultural significance of the Gurupura River.

The programme also highlighted the gradual loss of traditional knowledge associated with the river, including the seasonal formation of temporary islands that once supported traditional fishing communities. Introducing the programme, INTACH Mangaluru Chapter Convener Subhas Chandra Basu said rivers had played an important role in the region’s heritage and development. He noted that the Gurupura River had been crucial to the development of Mangaluru, with ports and forts built along its banks and water transport serving as an important means of moving people and goods.

He expressed concern over the river’s deteriorating condition and the impact of urban development and waste. Social activist and environmentalist Yatish Baikampady recalled how the river was once an important mode of transport, with people from the Western Ghats travelling downstream by boat to reach coastal towns.

He also spoke about the seasonal formation of temporary islands, locally known as ‘Palke’, during the monsoon. According to him, natural debris carried by the river would accumulate at certain locations to form these islands. “These temporary islands were a boon to traditional fishermen. Fish would breed around them, providing an important source of livelihood during the monsoon when fishermen could not venture into the sea,” Baikampady said. He added that dams and other interventions had contributed to the disappearance of this phenomenon and that younger generations were largely unaware of the traditional knowledge associated with it.

Chartered accountant Giridhar Kamath recalled a time when the river was closely integrated into everyday life, with children swimming and bathing in its waters. He said the region had historically been blessed with abundant water and that rivers had also served as natural barriers against forces approaching from the sea. He observed that while people in the past had learned to live with floods, many of the floods experienced today were linked to human interventions. Participants later shared personal memories of the river, recalling boat journeys, swimming lessons and childhood experiences along its banks.

They also discussed the changes witnessed over the years and the need to protect the river and its ecosystem. The boat journey provided an opportunity for participants to observe the river and its surroundings while reflecting on the communities, landscapes and traditions connected to it. The programme emphasised the need to preserve not only the physical river but also the traditional knowledge, memories and ways of life that have evolved around the Gurupura River. Yatish Baikampady, Giridhar Kamath and artist Kishore were felicitated during the programme.

A three-day exhibition showcasing Patna Kalam paintings, organised by the INTACH Patna Chapter, concluded at Bihar Lalit Kala Akademi on Sunday, drawing enthusiastic participation from artists and visitors. Bapu Tower director Vinay Kumar, the chief guest at the closing ceremony, lauded the participants’ efforts to preserve the traditional art form and suggested that future Patna Kalam training programmes be held at the Bapu Tower Art Gallery. Special guest BK Jain highlighted the exhibition’s blend of traditional Patna Kalam techniques and contemporary artistic approaches, calling it one of its key attractions.

Presiding over the event, INTACH Patna Chapter co-convener Umesh Chandra Dwivedi stressed the need for patience, dedication and commitment among artists to sustain and promote the art form. INTACH Patna Chapter convener Bhairav Lal Das said the participation of young artists reflected a growing interest in Patna Kalam among the younger generation. He also announced that efforts to secure a Geographical Indication (GI) tag for the art form had been initiated and advised artists to obtain artisan cards.

INTACH Bihar co-convener Shiv Kumar Mishra said dates for the next residential training programme and a proposed exhibition in Delhi would be announced soon. He added that a request had been submitted to the Union ministry of textiles to include Patna Kalam in its list of recognised crafts. Certificates were distributed to participants during the closing ceremony.

This year, the Indian National Trust for Art and Cultural Heritage (Intach) honoured three such traditional bonedi bari Durga Pujas — those of the Sabarna Roy Chowdhury family, the Chorbagan Mitra family and the Ray Banerjee family of Harakutir. The awards were presented on Monday. The dazzling community celebrations of Durga Puja are a relatively recent evolution of a much older tradition: the household pujas of Bengal’s aristocratic bonedi bari families.

The courtyards of these homes preserve centuries-old celebrations that remain at the heart of the city’s cultural memory. This year, the Indian National Trust for Art and Cultural Heritage (Intach) honoured three such traditional bonedi bari Durga Pujas — those of the Sabarna Roy Chowdhury family, the Chorbagan Mitra family and the Ray Banerjee family of Harakutir. The awards were presented on Monday. “Long before glowing light arches transformed the festival, Puja’s true soul throbbed within the courtyards of the city’s ancient mansions. While numerous awards are given every year to Puja pandals across the city, the original bonedi bari pujas have not been recognised,” said G.M. Kapur, state convener of Intach.

A committee headed by cultural historian Tapati Guha Thakurta selected the three pujas from a list of contenders. Guha Thakurta played a key role in getting Calcutta’s Durga Puja included in Unesco’s Representative List of the Intangible Cultural Heritage of Humanity.
Sabarna Roy Chowdhury Aatchala Durga Puja (founded in 1610)
Lakshmikanta Gangopadhyay — later known by the honorific Ray Chowdhury — founded the puja with his wife, Bhagabati Devi. They are said to have inaugurated the family’s Durga Puja at Barisha, at what is now called Aatchala Bari, or the “eight-roofed house”, in the autumn of 1610. Lakshmikanta rose through Mughal-era patronage and was granted, in 1608, a land parcel covering eight parganas, including the three riverside villages of Sutanuti, Gobindapur and Kalikata — settlements that would, nearly a century later, be leased to the East India Company and become part of Calcutta. “This puja did not emerge inside an already established city.

It predates the very existence of ‘Calcutta’ as an administrative or commercial entity, since the East India Company’s Charles Eyre (son-in-law of Job Charnock) did not formalise the lease of the three villages from the Sabarna Roy Chowdhury family until November 10, 1698,” says an Intach dossier.

Durga is depicted in a single unified frame, or ekchala, along with her children. Mahishasura is rendered green, a colour “associated in the family’s iconographic reading with envy and malevolence”, says the dossier. “This year, the puja turns 417. We are honoured by this recognition. We hope to continue the traditions for as long as we can,” said Jaydeep Ray Chowdhury, who represents the 35th generation of the family.
Chorbagan Mitra family (founded in 1669) Chorbagan translates as “garden of thieves”. The area in central-north Calcutta, now called Muktaram Babu Street, was once associated with thieves and bandits. “That a family of this wealth and standing chose — or found itself — rooted in a neighbourhood carrying such a name is itself a small piece of urban-history colour: it speaks to how unevenly respectable and disreputable Calcutta were intermixed geographically,” says the Intach dossier. The puja and the Mitra mansion trace their origins to Ramsundar Mitra, a moneylender. Family history and independent chroniclers say his clientele included Robert Clive.

The Mitra mansion is a striking example of Gothic architectural influence, with a red-coloured facade and six large pillars. The Durga Puja is conducted on a rotating basis between two spaces within the property: the thakurdalan fronting Muktaram Babu Street and a second dalan reached through the narrow adjoining Mitra Lane. In earlier generations, the family’s puja celebrations included music conferences featuring some of the most celebrated names in early 20th-century Bengali classical and film music.

Avishek Mitra, among the current organisers, said: “For us, tradition and continuity are more important than any award. But the recognition is inspiring because home pujas tend to get overlooked amid the grandeur of community pujas.”
Ray Banerjee family of Harakutir (founded in 1692)
The puja was founded by Keshab Chakraborty, who came to Pathuriaghata, then part of Sutanuti, from Bishnupur in search of better opportunities. He made his fortune in the salt trade. The Harakutir mansion was built in the mid-18th century on a site that was once a crematorium. “He discovered an Ashtadhatu idol of the goddess while bathing in a an ekchala Durga idol,” said Archisman Ray-Banerjee, the present organiser. The Ashtadhatu Jagaddhatri idol is worshipped alongside the ekchala Durga idol, made from scratch every year.

Freedom fighters Binoy, Badal and Dinesh are said to have taken shelter at the family home the night before the Writers’ Building attack, while Netaji visited the house, Archisman said. Musicians such as Haraprasad Shastri, Gangacharan Chattopadhyay and Jadu Bhatta, as well as novelist Bankim Chandra Chattopadhyay, are said to have attended soirees at the mansion. “Our doors are open for everyone. The younger generation, Gen-Z, is at the forefront of our puja. Most of them are not related to us by blood but are still an integral part of our celebrations,” said Archisman.

Did you know that Satkhanda Imambara served as a church when Governor-General Lord Canning visited the city, or that the site of present-day Lucknow Zoo was once known as Wingfield Park to honour the Prince of Wales before it was renamed Nawab Wajid Ali Shah Zoological Garden? These questions tested students’ knowledge of India’s history, architecture and cultural heritage at an inter-collegiate quiz organised by the Indian National Trust for Art and Cultural Heritage (INTACH), Lucknow chapter, on Friday at Avadh Girls’ Degree College.

The quiz covered a range of topics, including the city’s historical monuments, architectural styles, traditional mango varieties and India’s intangible cultural heritage. Questions included the architectural significance of Atala Masjid in Jaunpur, the history of Kothi Hayat Baksh, also known as Jan Bhawan, and the village of Dashaari, known for its mangoes. Students were also asked about Ramleela, which was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2008, and the Sankirtana tradition of Manipur.

"The competition saw participation from 20 teams from 10 colleges competed to demonstrate their knowledge of the region’s cultural and historical legacy. The quiz aimed to encourage students to explore India’s architectural heritage and develop a deeper understanding of the historical and cultural traditions associated with the city and the country,” said Neetu Agarwal, convener of the INTACH Lucknow chapter. Babasaheb Bhimrao Ambedkar University's (BBAU) Aajad Pasvan and Tazish secured first position, while Harshita Singh and Prakirti Rana of BBAU finished second. Iqra Javed and Hema Dembla of AGDC secured third position. The winners will now represent Lucknow at the state-level competition.

INTACH workshop in Amritsar highlights the importance of preserving regional dialects, traditional storytelling and the cultural wisdom of older generations. As changing lifestyles and modern communication habits gradually push traditional expressions and oral narratives out of everyday use, a heritage initiative in Amritsar has turned to women as key custodians of Punjab’s linguistic and cultural identity. Nearly 60 women came together at Baba Aya Singh Riarki Public School for a Heritage and Citizens Training Workshop organised by the Amritsar Chapter of the Indian National Trust for Art and Cultural Heritage (INTACH).

The gathering focused on safeguarding disappearing Punjabi vocabulary, regional dialects and folk traditions that have survived largely through generations of oral storytelling. Held at the school’s General Manekshaw Conference Hall, the programme was conducted under the aegis of INTACH’s Heritage Education and Communication Service (HECS), New Delhi, and INTACH Punjab. It sought to encourage greater community participation in documenting and preserving the region’s intangible cultural heritage.

A central theme of the discussions was the influence of mothers and grandmothers in shaping children’s earliest understanding of language and culture. Speakers observed that traditional lullabies, household conversations, folk songs and bedtime stories have historically served as informal yet powerful means of passing linguistic knowledge from one generation to the next. Prof Manpreet Kaur, the school’s Director of Education, emphasised that language preservation must begin within families rather than remain confined to academic institutions.

She encouraged students to interact with elderly family members and record traditional expressions, forgotten words and stories that rarely find a place in contemporary conversations. Such interactions, she noted, could strengthen intergenerational relationships while creating opportunities for children to discover the richness of their mother tongue beyond textbooks. The workshop also drew attention to the vulnerability of regional dialects, particularly those with limited written documentation.

Delivering the keynote address, Prof Naresh Kumar, Head of the Department of Punjabi and Dogri at Himachal Pradesh University, examined how languages evolve alongside social and cultural changes. He highlighted the need to systematically record dialects such as Dogri and Pothohari, whose distinctive vocabulary and expressions risk fading as younger generations adopt more standardised forms of communication. Referring to the literary legacy of Baba Sheikh Farid, he underscored the historical depth of Punjabi and the importance of protecting its diverse linguistic traditions. The declining practice of family storytelling emerged as another major concern.

Historian Mintu Kumar recalled a time when stories narrated by grandmothers formed an essential part of childhood, introducing young listeners to moral values, imagination, courage and the nuances of spoken language. To revive this tradition, he proposed dedicating one evening every week to storytelling within families. He also suggested that schools organise storytelling competitions to encourage children to engage with narratives inherited from their elders. Addressing the diversity of spoken Punjabi, linguistic expert Prof Gagandeep Kaur Nagra explored the development of the Majhi dialect and its relationship with standard Punjabi.

She explained that differences in pronunciation, vocabulary and conversational expressions across Amritsar, Ludhiana and Jalandhar reflect distinct regional histories rather than any hierarchy of linguistic correctness. Preserving these variations, she indicated, is essential to understanding Punjab’s broader cultural landscape. Gagandeep Singh Virk, Convener of INTACH’s Amritsar Chapter, shared details of ongoing initiatives to compile disappearing Punjabi words associated with farming practices, traditional household items, family relationships, food and social customs.

Efforts are also underway to bring together folk tales that have gradually slipped out of common memory. He emphasised that heritage conservation should extend beyond the protection of monuments and historic structures to include the everyday language, memories and customs that define a community. The workshop concluded with participants committing themselves to preserving and sharing traditional Punjabi expressions and oral narratives. By placing women and families at the centre of this effort, the initiative sought to demonstrate that the survival of a language depends not only on its presence in literature and classrooms, but also on its continued use in homes, conversations and stories passed from one generation to another.

The INTACH Nagaland Chapter, in collaboration with the North East Zone Cultural Centre (NEZCC), Ministry of Culture, conducted an Endangered Craft Workshop on pottery on October 7, bringing together 97 students from eight schools to learn and experience a traditional craft facing the threat of extinction. The participating schools included Charis High Academy, The Maple Tree School, Ram Janaki Higher Secondary School, Christian Higher Secondary School, Little Star Higher Secondary School, Bethesda Higher Secondary School, Amazing School and Eklavya Model Residential School.

The workshop offered students a unique hands-on learning experience under the guidance of two skilled artisans from Changki village, once renowned for its earthen pottery tradition. The artisans demonstrated traditional pottery-making techniques and shared knowledge passed down through generations. Students actively participated in crafting pottery items while gaining insight into the cultural and historical significance of the age-old craft.

A key highlight of the programme was an interactive session by Prof. Jungmayangla Longkumer of the Department of Agricultural Extension Education, Nagaland University, Medziphema. Having extensively documented the Changki pottery tradition, she spoke about the history, cultural heritage and community importance of the craft, helping students better understand its role beyond its practical use. Organisers said the initiative aimed to create awareness among the younger generation about the importance of preserving endangered traditional crafts, along with the communities and knowledge systems associated with them. The workshop also served as a platform for cultural exchange and learning among students from different schools.

At the conclusion of the programme, NEZCC deputy director, Oliver T. Pongen distributed participation certificates to all students. Additionally, the three best pottery creations from the workshop have been selected for submission to INTACH HECS, New Delhi. The selected works will be included in the national archive and their creators will receive special certificates.

The building also served colonial-era administrative and postal functions. Originally a two-storey structure, it features thick brick walls, arched openings, timber construction, decorative cornices and traditional wooden ceilings. The Indian National Trust for Art and Cultural Heritage (INTACH) has documented the historic Bargola building at Fancy Bazar, Guwahati, highlighting its architectural, historical and socio-cultural significance.

Established in 1828, Bargola, also known as the Mahasingh Meghraj Bahadur Mercantile and Residential Building, served as the Guwahati branch of the Kuthari family’s trading enterprise. By the 1930s, the enterprise had expanded to 64 warehouses and shops across Assam, making Bargola a major wholesale food-grain trading hub. The building also served colonial-era administrative and postal functions.

Originally a two-storey structure, it features thick brick walls, arched openings, timber construction, decorative cornices and traditional wooden ceilings. Despite subsequent alterations, Bargola retains several original architectural features and remains part of Guwahati’s commercial landscape. INTACH’s assessment assigns it ‘B’ grade for architectural value and ‘A’ grade for historical and socio-cultural value, with an overall heritage grade of II A. The assessment emphasises the need for its protection and sensitive conservation to preserve an important landmark of Guwahati’s mercantile history.

Four historic properties in Madhya Pradesh — Bagh Cave paintings, Ginnorgarh Fort, the Group of Temples of the Chambal Valley comprising Bateshwar, Padavali and Kakarmath, and Udaigiri Caves - have been added to India’s UNESCO Tentative List. The additions bring Madhya Pradesh’s representation to 19 of India’s 78 properties currently on the Tentative List, further expanding the State’s presence within India's heritage inventory.

Madhya Pradesh already has three properties inscribed on the UNESCO World Heritage List: the Khajuraho Group of Monuments, Buddhist Monuments at Sanchi and Bhimbetka Rock Shelters. The State’s growing presence on the Tentative List reflects the range of archaeological, architectural and cultural traditions found across central India.
Bagh Cave Paintings: Buddhist Art and Murals
Located in Dhar district, the Bagh Cave paintings are associated with a group of nine rock-cut Buddhist caves developed between the 4th and 6th centuries CE along the Baghni River. The complex includes monastic and residential spaces, with surviving murals providing an important record of the artistic and cultural traditions of the period.

The paintings depict figures and scenes associated with courtly life, music, dance and everyday society, offering insights into the artistic environment of central India during the Gupta period. The site also reflects connections with the wider tradition of Buddhist mural painting represented at Ajanta, while retaining its own regional characteristics.
Ginnorgarh Fort: A Gond Fortified Capital
Set within a forested hill landscape in the Ratapani area of Sehore district, Ginnorgarh Fort was the principal fortified capital of the Raj Gond rulers of the Garha Kingdom. The fort’s location incorporates the natural terrain into its defensive design, with steep slopes, ravines and surrounding vegetation forming part of its strategic setting. The complex includes fortification walls, gateways, bastions, palace remains, stepwells and reservoirs.

Its extensive water-management system, together with its spatial organization into defensive, administrative and royal areas, provides insight into the political organization, settlement planning and indigenous building practices of the Gond kingdom.
Bateshwar–Padavali–Kakarmath: Temple Architecture in the Chambal Valley The Group of Temples of the Chambal Valley, comprising Bateshwar, Padavali and Kakarmath in Morena district, represents an important concentration of early medieval temple architecture in central India. Dating from the 8th to 11th centuries CE, the three sites illustrate the development of regional Nagara-style architecture under the Gurjara-Pratihara and Kachchhapaghata dynasties.

Bateshwar comprises an extensive group of temples, while Padavali is distinguished by its carved architectural elements and Kakarmath represents a later stage in the development of the regional temple tradition. Together, the three sites demonstrate the evolution of temple architecture, sculpture and construction techniques within the Chambal Valley and provide a record of the region’s early medieval artistic traditions.

Udaigiri Caves: Rock-Cut Heritage of the Gupta Period
Located near Vidisha, the Udaigiri Caves comprise 20 rock-cut caves containing shrines, inscriptions and monumental sculptures associated primarily with the Gupta period. Among the site’s best-known works is the monumental Varaha relief, depicting Vishnu’s boar incarnation. The cave complex also contains Shaiva and Jain elements, while inscriptions associated with Gupta rulers and officials provide evidence of the site’s religious, artistic and political significance.

The caves are also significant for their relationship between architecture, sculpture and the natural landscape. Their arrangement along the hillside and the integration of monumental reliefs, shrines and other features illustrate an important stage in the development of early Indian sacred architecture.

Expanding Madhya Pradesh’s Heritage Landscape
The four additions broaden the representation of Madhya Pradesh’s heritage on India’s UNESCO Tentative List across different periods and traditions - from Buddhist mural art and Gupta-period sculpture to Gond fortification and early medieval temple architecture. For international visitors and heritage researchers, the sites provide further context to Madhya Pradesh's established heritage destinations, including Khajuraho, Sanchi and Bhimbetka.

The State's heritage landscape extends beyond its three inscribed World Heritage Sites to encompass historic towns, archaeological complexes, rock-cut architecture, temple traditions and cultural landscapes.

The latest additions add further depth to India's Tentative List and highlight the archaeological and architectural diversity of Madhya Pradesh. They also provide additional opportunities for understanding the historical traditions, artistic practices and cultural exchanges that shaped central India over centuries.

Four historic properties in Madhya Pradesh — Bagh Cave paintings, Ginnorgarh Fort, the Group of Temples of the Chambal Valley comprising Bateshwar, Padavali and Kakarmath, and Udaigiri Caves - have been added to India’s UNESCO Tentative List. The additions bring Madhya Pradesh’s representation to 19 of India’s 78 properties currently on the Tentative List, further expanding the State’s presence within India's heritage inventory.

Madhya Pradesh already has three properties inscribed on the UNESCO World Heritage List: the Khajuraho Group of Monuments, Buddhist Monuments at Sanchi and Bhimbetka Rock Shelters. The State’s growing presence on the Tentative List reflects the range of archaeological, architectural and cultural traditions found across central India.
Bagh Cave Paintings: Buddhist Art and Murals
Located in Dhar district, the Bagh Cave paintings are associated with a group of nine rock-cut Buddhist caves developed between the 4th and 6th centuries CE along the Baghni River. The complex includes monastic and residential spaces, with surviving murals providing an important record of the artistic and cultural traditions of the period.

The paintings depict figures and scenes associated with courtly life, music, dance and everyday society, offering insights into the artistic environment of central India during the Gupta period. The site also reflects connections with the wider tradition of Buddhist mural painting represented at Ajanta, while retaining its own regional characteristics.
Ginnorgarh Fort: A Gond Fortified Capital
Set within a forested hill landscape in the Ratapani area of Sehore district, Ginnorgarh Fort was the principal fortified capital of the Raj Gond rulers of the Garha Kingdom. The fort’s location incorporates the natural terrain into its defensive design, with steep slopes, ravines and surrounding vegetation forming part of its strategic setting. The complex includes fortification walls, gateways, bastions, palace remains, stepwells and reservoirs.

Its extensive water-management system, together with its spatial organization into defensive, administrative and royal areas, provides insight into the political organization, settlement planning and indigenous building practices of the Gond kingdom.
Bateshwar–Padavali–Kakarmath: Temple Architecture in the Chambal Valley The Group of Temples of the Chambal Valley, comprising Bateshwar, Padavali and Kakarmath in Morena district, represents an important concentration of early medieval temple architecture in central India. Dating from the 8th to 11th centuries CE, the three sites illustrate the development of regional Nagara-style architecture under the Gurjara-Pratihara and Kachchhapaghata dynasties.

Bateshwar comprises an extensive group of temples, while Padavali is distinguished by its carved architectural elements and Kakarmath represents a later stage in the development of the regional temple tradition. Together, the three sites demonstrate the evolution of temple architecture, sculpture and construction techniques within the Chambal Valley and provide a record of the region’s early medieval artistic traditions.

Udaigiri Caves: Rock-Cut Heritage of the Gupta Period
Located near Vidisha, the Udaigiri Caves comprise 20 rock-cut caves containing shrines, inscriptions and monumental sculptures associated primarily with the Gupta period. Among the site’s best-known works is the monumental Varaha relief, depicting Vishnu’s boar incarnation. The cave complex also contains Shaiva and Jain elements, while inscriptions associated with Gupta rulers and officials provide evidence of the site’s religious, artistic and political significance.

The caves are also significant for their relationship between architecture, sculpture and the natural landscape. Their arrangement along the hillside and the integration of monumental reliefs, shrines and other features illustrate an important stage in the development of early Indian sacred architecture.

Expanding Madhya Pradesh’s Heritage Landscape
The four additions broaden the representation of Madhya Pradesh’s heritage on India’s UNESCO Tentative List across different periods and traditions - from Buddhist mural art and Gupta-period sculpture to Gond fortification and early medieval temple architecture. For international visitors and heritage researchers, the sites provide further context to Madhya Pradesh's established heritage destinations, including Khajuraho, Sanchi and Bhimbetka.

The State's heritage landscape extends beyond its three inscribed World Heritage Sites to encompass historic towns, archaeological complexes, rock-cut architecture, temple traditions and cultural landscapes.

The latest additions add further depth to India's Tentative List and highlight the archaeological and architectural diversity of Madhya Pradesh. They also provide additional opportunities for understanding the historical traditions, artistic practices and cultural exchanges that shaped central India over centuries.

A museum at Nileshwaram could serve as a permanent repository for archaeological material recovered from Kasaragod and provide facilities for conservation, scientific documentation and research. Forts, temples and palaces have long stood as reminders of Kasaragod’s rich past. But beyond these well-known landmarks, the district may still hold many untold stories of human settlement - buried under the soil, hidden in the landscape or left undocumented.

Keralam’s Archaeology Department has now set out to find them.
The department has launched the Kasaragod Archaeological Survey 2026, a district-wide exercise to identify, document and map archaeological remains, including sites that have so far escaped official attention. A 25-member team comprising archaeology officials, researchers and students has been divided into five groups for the field survey. The exercise matters in a district where evidence of human habitation dates back to the Great Stone Age.

Archaeologists and historians believe that Kasaragod’s villages, laterite hills, riverbanks, fields and coastal stretches could hold clues to settlements and cultures that have not yet found a place on the state’s archaeological map. The survey, therefore, is expected to raise a larger question: what else from Kasaragod’s past remains buried, unnoticed or undocumented? Answers could broaden understanding of the district’s history and, in turn, add new chapters to Keralam’s history. But the search also comes with a caution.

Experts warn that careless digging and removing artefacts from known or suspected sites can cause irreversible damage. Unscientific excavation does not merely disturb a site; it can destroy the context that helps archaeologists understand it.
Survey to uncover Kasaragod’s hidden past

The comprehensive archaeological survey, launched on 1 October, is to document and preserve the district’s visible and lesser-known historical remains. Its findings are expected to help bring newly identified monuments into the tourism circuit and strengthen the protection of existing heritage sites. Archaeology Minister O J Janeesh launching the Kasaragod Archaeological Survey 2026 on 1 October Kasaragod has evidence of human habitation dating back to the Stone Age and has a particularly rich collection of megalithic remains associated with the Iron Age. These include kudakkallu (umbrella stones), muniyaras (dolmens), and laterite caves, along with inscriptions on laterite rock surfaces and several historic forts.

Earlier explorations at Bekkal Fort, Ummichippoyil, Cheemeni-Ariyittapara, and Bandadukka-Manimoola had already brought several important sites to the department’s attention. The latest exercise builds on that work through a systematic survey covering the wider district. The archaeological record of Kasaragod also reflects the successive influence of the Alupa dynasty, local chieftains, the Vijayanagara Empire, the Ikkeri Nayakas and European colonial powers. Archaeology Minister O J Janeesh said, while launching the survey, that Keralam’s history would remain incomplete if it left out Kasaragod’s past.

He described the district, popularly known as the ‘Land of Forts’, as a region whose historical roots stretch back to the Stone Age. “The survey is being conducted as part of the government’s 100-day action plan. Besides documenting archaeological evidence, the department plans to ensure better preservation of the monuments identified during the exercise and explore their inclusion in the district’s tourism map,” he stated.

‘Survey unearths new clues to the past’
A week into the department’s first district-wide archaeological survey in Kasaragod, the field teams, it’s learnt, have already recorded several previously undocumented sites and findings, raising hopes of gaining new insights into the region’s ancient past. K. Krishnaraj of the Department of Archaeology, who is coordinating the survey, told South First that this is the first time the department is undertaking such a comprehensive exercise across an entire district."

The department has conducted extensive surveys in the past, but they were largely confined to individual panchayats or taluks. This time, we are looking at Kasaragod as a whole. We do not yet have an extensive archaeological inventory of the district. There have been several individual discoveries, but there is still much more to uncover,” he said. Fieldwork began a day after the project launched on 1 October. In the first week, the teams found several findings not documented earlier.

At Kodakkad, the survey identified six to seven undocumented umbrella stones, a characteristic feature of ancient megalithic burial practices. At Pilicode, the team also located previously unnoticed caves. The area is known for its single-chambered rock-cut tombs from the Megalithic period. Krishnaraj said the district-wide approach helped overcome some of the limitations of isolated archaeological surveys.

"Individual surveys have their limitations. A wider search is often missing, and documentation can also be inadequate. In this survey, we have the workforce to cover a larger area and document the findings systematically,” he said. The early discoveries, he added, indicated that the survey could throw up evidence that may help archaeologists understand Kasaragod’s past in greater detail.
Call for heritage museum
As the survey is expected to uncover new clues to Kasaragod’s past, a call has been made for a dedicated museum in the district to preserve its archaeological wealth and bring artefacts now housed elsewhere back to their place of origin. Dr Nandakumar Koroth of the Department of History, Nehru Arts and Science College, Kanhangad, told South First that surveys involving residents had proved useful in a district as archaeologically rich as Kasaragod.

But he cautioned that unscientific digging at known sites and the removal of artefacts could permanently damage the heritage the surveys seek to uncover. “Destroying already known sites through unscientific digging and taking away artefacts results in only a partial loss of Kasaragod’s heritage,” he said. He proposed establishing an Archaeological Museum at Nileshwaram, the historic port city, as the first major step towards conserving the district’s archaeological legacy. Kasaragod has yielded prehistoric tools, antiquities, historical objects, and other material that offer important clues to North Keralam’s cultural development. However, Nandakumar said, many of these collections are now preserved outside the district, including in New Delhi, Ernakulam, Thiruvananthapuram, Kozhikode and Payyanur (Kannur).

A Neolithic stone tool, or celt, recovered from Thimiri is one such example. It is currently preserved at the Pazhassi Raja Archaeological Museum in Kozhikode, he said. Nandakumar said a museum at Nileswaram could serve as a permanent repository for archaeological material recovered from Kasaragod and provide facilities for conservation, scientific documentation and research. It could also preserve historical documents, manuscripts, traditional artefacts and archival records linked to the district. The museum could become a research and reference centre for historians, archaeologists, students, and scholars, while also introducing the district’s archaeological heritage to the wider public.

Its location at Nileshwaram could also add a cultural tourism dimension, given the town’s historical importance as a port. Meanwhile, Nandakumar urged caution in dealing with the numerous rock-cut chambers found at different locations in Kasaragod. The structures are known locally by several names, including muniyara, Pandava guha, Peeranki guha, Swami kundu, muthala petty and kalpathayam. He said searching for such structures using only the term muniyara could miss several sites.

He strongly advised against opening covered rock-cut chambers without proper archaeological assessment. He said the sites needed documentation and scientific study before opening or excavating them. He warned that unscientific intervention could destroy valuable evidence about the district’s past.
Kasaragod’s buried past keeps surfacing

Kasaragod’s past seems to keep emerging from beneath the ground. Archaeological finds reported from different parts of the district in recent years are steadily adding to the picture of an ancient landscape shaped by human habitation. The latest discovery came in September 2026, when archaeologists identified a significant megalithic burial chamber at Nittadukkam in Kanhangad. The structure is believed to be around 2,000 years old and could offer one of the earliest surviving physical clues to human settlement in the area. Researchers said the monument may have survived largely because of local beliefs and customs that discouraged people from disturbing or destroying such ancient structures. Similar traditions have helped preserve megalithic remains elsewhere in northern Keralam.

In March, workers found another laterite rock-cut chamber, also believed to date to the Megalithic period, at Panayal during the construction of a compound wall. The construction was halted after the discovery, with archaeologists expecting further excavation to reveal artefacts and other clues to the region’s past. The district had yielded another intriguing find in October 2024, when a large natural cave was reported at Kundera in Madikkai panchayat. Spanning more than 5,000 square yards, the cave is about 20 feet deep and has ceiling openings resembling those in ancient rock-cut chambers, possibly letting air and sunlight in.

An intact black-and-red ware bowl unearthed along with iron weapons, copper objects and a possible steel sword at Thelunganur in the water spread area of the Mettur dam near Salem could offer vital clues to a writing system that existed more than 3,200 years ago. The bowl, discovered by a Tamil Nadu department of archaeology team, carries five graffiti signs arranged from left to right, making it the longest sequence of such marks recorded in the state. Excavators believe this may be an early form of writing as another bowl bears the same five symbols in a different order. This, they feel, could be a precursor to the advent of the Tamil Brahmi script that dates to sixth century BCE.

The recently found graffiti could be contemporary to Indus Valley Civilization as Thelunganur and Mangadu, twin Iron Age sites near Salem, have been dated to between 1,600 BCE and 1,200 BCE, the final phase of Indus Valley Civilization. “In the 1960s, ASI had found three graffiti signs in different orders at Sanur near Chengalpet. Now we’ve found five symbols in two different orders. We have to decipher the meaning,” said K Rajan, adviser to the TN department and a co-author of a morphological study of Indus signs and graffiti marks found in Tamil Nadu. Archaeologists have so far unearthed around 16,000 graffiti-inscribed potsherds across Tamil Nadu.

According to a recent morphological study, graffiti marks found at sites including Kodumanal, Keeladi, Thulukkarpatti and Kilnamandi in Tamil Nadu and in Indus Valley sites have 90% similarities. Indus Valley Civilization existed between 3,300 BCE and 1,300 BCE. Researchers said Tamil-Brahmi stone inscriptions and inscribed potsherds bear symbols at the ends of letters, suggesting these could represent an earlier form of communication. Among the other artefacts that caught the excavators’ imagination is a 1.9m iron spear. “We also found arrowheads, axes, swords, daggers, knives and iron nails,” said S Paranthaman, excavation director at the site.

“One other object found is suspected to be an ancient steel sword.” Excavators also recovered complete skeletal remains of two Iron Age individuals. “We found four types of burials — pit, cist, urn and sarcophagus — at a single site, reflecting the composite nature of the community. This indicates that the site evolved from the Early Iron Age to the Late Iron Age,” Paranthaman said. The site gained prominence after a steel sword found here was dated to 1,200 BCE, one of the world’s oldest.