Exploring Shared Heritage: The Museum of Art & Photography (MAP) Launches Chay Reds, Ferrous Black Exhibition on Indian Textiles’ Influence in Sri Lanka

Bengaluru: The Museum of Art & Photography (MAP) Bengaluru has unveiled an extraordinary exhibition, Chay Reds, Ferrous Black, that offers a rare glimpse into the intertwining histories of India and Sri Lanka through the lens of textiles. This fascinating collection of 18th-century Palampores and textile fragments showcases the artistic exchange between these two ancient civilizations, weaving a tapestry of shared cultural heritage that is both beautiful and historically significant.

Pioneering Research in Textile Scholarship

While the historical significance of Indian trade textiles has long been a subject of scholarly research, the intricate connections between India and Sri Lanka have remained relatively under-explored—until now. Chay Reds, Ferrous Black stands as a groundbreaking exhibition that fills this crucial gap, offering a fresh perspective on the region’s shared past. This exhibition is the result of intense research and dedication, redefining how we understand the cultural and artistic exchanges that took place across the Palk Strait, which for centuries served not just as a geographical boundary but as a corridor for rich cultural interactions.

Curated by the passionate and knowledgeable Yash Sanhotra, Chay Reds, Ferrous Black sheds light on the significant role that Indian textiles—specifically hand-printed and hand-painted fabrics—played in Sri Lankan life. These textiles were not mere imports; they were deeply integrated into the daily life, rituals, and religious practices of Sri Lanka, becoming symbols of prestige and cultural continuity.

The Trade Winds of Culture

Historically, the Palk Strait, though a narrow stretch of water, has played a pivotal role in fostering exchange between India and Sri Lanka. Far more than a mere physical barrier, it was a conduit for cultural and artistic transmission. Traders from India, particularly along the Coromandel Coast, brought with them not just goods but artistic traditions, belief systems, and symbols that would become intertwined with the island’s rich cultural fabric.

The textiles on display were used in a variety of contexts—from adorning homes to decorating temples—spreading their symbolism and cultural narratives. Each fabric became a vessel of shared values, carrying the motifs and colors of one civilization while taking on new meanings and significance in another. The exhibition reveals how these textiles evolved, carrying familiar Indian symbols such as the pomegranate, elephant, and peacock across the waters and into the hearts of Sri Lankan culture, where they were embraced and reinterpreted.

Motifs as Messengers: The Cultural Evolution

The intricate motifs found on these textiles—once staples of Indian craftsmanship—offer more than just aesthetic beauty; they act as cultural messengers. The pomegranate, for instance, was universally recognized as a symbol of fertility and prosperity, transcending geographic and cultural boundaries. Similarly, the elephant, revered for its association with divinity and royalty in both India and Sri Lanka, traveled across the seas, subtly altering its context and significance as it was woven into new tapestries.

What is particularly fascinating about the exhibition is how these Indian textiles eventually began to mirror Sri Lanka’s own sacred iconography. Figures from Sri Lanka’s rich pantheon, once exclusive to the island, began appearing on Indian textiles, reflecting the fluid and mutual exchange of artistic and religious ideals between the two regions. This intermingling of imagery illustrates the ease with which art transcends borders, bringing together two distinct but deeply connected cultural identities.

The Art of Craftsmanship: A Legacy in Textiles

At the heart of this exhibition is the exquisite craftsmanship of the textiles themselves. Known by various names over the centuries—such as Sarasse to the Dutch and Chintz to the British—these fabrics were coveted by colonial powers for their beauty, intricacy, and cultural value. The title of the exhibition, Chay Reds, Ferrous Black, refers to two signature hues used in the textiles: the deep red derived from the chay root and the rich, natural ferrous black that adds depth and contrast to the patterns.

In Sri Lanka, these fabrics were much more than decorative items. They were symbols of cultural continuity, status, and reverence. Whether draped in homes or displayed in sacred spaces, they were integral to expressing a sense of belonging and honoring the divine.

Rediscovering a Shared Past

Chay Reds, Ferrous Black is not just an exhibition; it is a rediscovery of the shared past between India and Sri Lanka. It serves as a reminder that history is not a fixed narrative but an ever-evolving story of connections, influences, and shared experiences. This exhibition invites anyone with an interest in history, culture, and textiles to explore the untold stories that lie hidden within the threads of these beautiful fabrics.

Yash Sanhotra, the curator, has described this exhibition as an attempt to bring attention to a lesser-known chapter of South Asian textile history. “The trade of Indian textiles with Sri Lanka has rarely been discussed in academic circles,” he says. “Through this exhibition, we hope to challenge preconceived notions about the regional exchange of art and culture. The collaboration of institutions like MAP is critical to uncovering these untold stories and continuing to document South Asian cultural heritage.”

Yash Sanhotra: The Curator’s Vision

Yash Sanhotra, the curator behind Chay Reds, Ferrous Black, is a designer, researcher, and educator whose work centers on the historical, cultural, and social significance of South Asian textiles. A graduate of NIFT and NID, Yash has dedicated his career to exploring the intersection of design, craftsmanship, and culture. His work goes beyond aesthetics, focusing on how textiles serve as living records of identity, memory, and community values.

Through his research and curatorial work, Yash continues to challenge our understanding of textiles, not just as beautiful objects, but as dynamic expressions of history and culture that shape the present and future. His efforts, alongside MAP’s support, highlight the importance of rediscovering the shared heritage between South Asian cultures and ensuring that these narratives continue to be explored, celebrated, and preserved.