The clouds hang low in Sri Lanka. It feels like if you stand on your toes and stretch high enough, you probably can grab a fistful. The skies often look like walls instead of ceilings and while the pretty island hosted us, these walls were various shades of red. Literally a hop away from the mainland, with flight tickets from down South being cheaper, Sri Lanka is an obvious name on the Indian travellers’ list. But it is also one that often comes far below the lot, because, you know...it’s RIGHT there. It’s the ‘right there’ places that we neglect and push away for times when we are short of money but have a few days to travel. And that has also been true for me, till I got to change that. Sri Lanka has been on my go-to list for over a year, and high up enough. And then I flew through a glorious sunset and landed in rain-splashed Colombo. Colombo’s weather reminds you of Kolkata or Mumbai, with a shade less of humidity but infinitely more pleasant and fresh. The wide roads took us to the Airbnb that was hosting us for the next two nights - <a href="https://www.aathma.com/">Aathma Colombo House</a>. Nestled right next to the Diyawanna Lake, this property is cloaked in green. There isn’t a single spot in the house where you don’t feel transported to another space and another time. Cocooned in that space with the colourful tiles, enough trees to cleanse your soul, a lake stretched out ahead and a pool with night jasmine flowers floating across the ripples - a break from the city hustle seemed to have begun. One of the most vital things in Sri Lanka is the food. Of course. Their breakfast spread has very often been called the best in the world and no, they were not exaggerating it in the least. Besides your delectable Sri Lankan tea, juice and a side of fresh fruits a normal breakfast includes a variation of hoppers, string hoppers, pol roti, kiribath, pittu and pongal served with fish, chicken or potato curry, dhal and a sambol. <div type="image" title="Food photo 1" msid="65674130" hostid="261"></div>

Sri Lankan breakfasts are probably one of the best meals we have ever eaten. This was one of the spreads at the Airbnb property that hosted us in Colombo <div type="image" title="Food photo 2" msid="65674131" hostid="261"></div>

Besides your delectable Sri Lankan tea, juice and a side of fresh fruits a normal breakfast includes a variation of hoppers, string hoppers, pol roti, kiribath, pittu and pongal served with fish, chicken or potato curry, dhal and a sambol The majority of the carbs are rice flour-based and have coconut shavings or coconut milk in it, as does the protein curry preparations. The flavours are very similar to a lot of Thai curries and South Indian curries you may have tried but it feels so much more wholesome and comforting. Or perhaps it was just the weather. And worry not, even after that breakfast, you will be more than ready for lunch. But nothing, no other spread could beat what Sri Lanka unleashes for breakfast. Our Day 1 in Colombo was about press conferences, a long lazy lunch and then a drive around the city. The capital city of this island country is historically steeped in stories. While a glance at the beaches being constructed around the lighthouse for new construction might greatly disappoint you, the city has maintained a lot of its old heritage buildings (many of them are being restored) and a walk around them is highly recommended. You need time, and lots of it, to soak in the feel. 
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Nestled right next to the Diyawanna Lake, Aathma Colombo House is cloaked in green 
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Each section of this property is specially curated to suit the mood 
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The common dining area on the property 
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If all this is not chill enough, head over to the pool! 
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Colombo is a whole chapter of stories waiting to unfold 
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 Colombo is a city with picture-perfect properties, great places to dine, party, shop and the best place to explore the rest of the country from. And not just because the airport is here. Colombo prepares you, most gently, for the experience called Sri Lanka. That’s what it did for us as it nudged us on our long drive to Galle on a fresh sunny morning. Roughly 125 kms away from the capital city, Galle is a world away from the bustle. It’s balmy, slow, languid and almost dreamy in its slow-mo pace. This city used to be Sri Lanka’s main port till Colombo took over the title, so as you might have guessed, the sea is everywhere, mostly a stone’s throw away. And that feeling is magical, also borderline terrifying all at the same time. Honestly, that fear (which only I seem to have it seems, at least amongst the other people I know) is not irrational. Galle was one of the cities that was hit hardest by the 2004 tsunami. Most of the people here lost everything they had and had to start their lives again from scratch. Galle is on the mend and has been for a while, but what remains are the stories and nothing, absolutely nothing can take away that tenacity and the will to fight on from this charming coastal haven. The old city of Galle lies ensconced within the walls of the majestic Galle fort. The fort is called a ‘living’ one because there are residential properties, offices, hotels, churches, shops etc that are up and running for years. Parts of the fort have also been transformed to museums, the road pavings are intact, the doors, windows and arches are still the same and some of the oldest offices have been left as they were, still functioning. Galle is a time-warp. You drive through the fort gates and you are suddenly thrown back a good few decades. And each part of the city has a special feeling to it. Right outside the dark-wood Dutch doors of our hosts in Galle, the <a href="https://yarahotels.lk/">Yara Galle Fort</a>, the serene blue sky, the swaying palm trees, the sea in the distance, boys playing football in the evenings - it reminds of you of a slow town where neighbours greet each other in the morning as you have your perfect cup of tea. It feels strangely like home. 
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Galle is laid-back time warp 
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You are always just a breath away from the sea at Galle Walk around the bend into the Dutch Hospital precinct and the yellow walls of the fort on your left and the old courthouse on your right transports you to a chapter in history. There were proceedings going on inside the courthouse while lawyers, in their tiny old offices tapped away at typewriters - there wasn’t a computer in sight. There was something overwhelmingly nice to see piles and piles of documents stacked on shelves. The whole universe seemed to have turned 360 degrees, but Galle was right where it was. 
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Parts of the Galle fort are still used for thoroughfare 
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Other parts of the fort have been turned into museums 
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Built by the Dutch, the fort was eventually taken over by the British who ruled over it till the country got its independence in 1948 
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The views from the fort are spectacular While most people head to Galle for the beaches, you cannot afford to miss a walk around the fort with a local who knows the city like the back of his hand. That’s what Ateeq did for us. This is also the perfect time to point out that the Galle Fort walk is a part of the Airbnb experiences. Experiences are area/location-specific activities that you can book just the way you book a room on the site. For example, Sri Lanka offers experiences like surf lessons, yoga lessons, forest trails etc (you can book a walk with Ateeq <a href="https://www.airbnb.co.in/experiences/257167?source=pdpother">here</a>) . You don’t even need to be staying in an Airbnb to be able to book an experience. 
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Our walk through the Galle Fort The walk conducted by Ateeq includes a long stroll all around the fort as he points out the important sites and anecdotes that only a local can offer - like pointing out the spot where every kid in Galle learns to swim. The walk ends with some incredible gelato in the heart of the fort where all the restaurants and cafes are. 
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One of the oldest jetties in Galle. This is also where the local kids learn to swim After our long, long stroll, we headed to Dewata Beach, a little drive away from Galle, for our first surf lessons. Hosted by Oshan Diluk, these <a href="https://www.airbnb.co.in/experiences/308477?source=pdpother">lessons</a> are your baby steps into an adrenaline overdose. It’s harder than it looks and you will have enough salt water in your system to never need any seasoning in your food again - but you must try this. The lagoon where the lessons are have been chosen because of its shallow waters and small waves. And the instructors are incredibly, incredibly patient - which is a huge plus. 
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You start with the basics 
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Then drag yourselves to the sea 
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 Finally, you try to ride the waves Our first day ended with a laid-back dinner at Unawatuna beach, which is also a short drive away from Galle. And even before we could forget how good the local beer and the fresh-grilled seafood tasted like, we were on the way to the airport. 
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The buzzing Unawatuna beach 
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Yara Galle fort was our host in the city 
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How could we leave without this? 
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And You cannot miss the Sri Lankan teas when you are there Now, the important deets The Sri Lankan currency conversions are easy - one Indian rupee converts to 2.27 Sri Lankan rupee. Withdraw your money at the airport right from one of the ATMs or change it from Dollar/Euro/whatever you please. For an Indian, the Sri Lankan visa will set you back by $20 (₹1,500 roughly). While you can easily get a place on Airbnb starting from ₹2,000 a night, the experiences come from anything between ₹1,500 to ₹5,000 or more. All of this of course depends on the city you are visiting and what you want to try for yourselves. Sri Lanka was a rush. But it was an exhilarating rush that soothed you and pushed you ahead all at the same time. I am certain all of us were making mental plans to plan a longer trip soon, but then, there we were, flying back to our desks and our laptop screens. I am writing this roughly three weeks after returning from the magnificent island. And I can’t wait to go back. The reporter was invited by Airbnb for this trip.

That island in the sun: The Sri Lanka experience

High security is a feature that everyone values on their devices. We do want our photos and messages protected and away from prying eyes. But, what if an unlocked device could help solve a case by extracting information that could be used as proof? Apple prides itself on the high security of its devices but when it comes to an ethical standpoint, they seem to be on dodgy footing. The latest in their we-are-not-going-to-do-this list came when the Cupertino-based company refused to help India’s Central Bureau of Investigation (CBI) by unlocking Narada News CEO’s iPhone. The series of sting operations conducted by <a href="https://indianexpress.com/article/what-is/narada-sting-operation-case-everything-you-need-to-know-trinamool-congress-mamata-banerjee-4579097/">Narada</a> News in West Bengal on All India Trinamool Congress (AITC) politicians in 2011, exposed the political party’s ‘corrupt’ practices and has since been under the CBI probe. Conducted by Narada’s CEO Matthew Samuel for Tehelka Magazine, the footage was released just days before the 2016 Assembly Elections in the state. The AITC had claimed that the money that was shown exchanging hands was for ‘donations’ and nothing more. The party went on the win the elections that year, but the investigations went on. According to the latest <a href="https://www.gadgetsnow.com/tech-news/apple-says-no-to-cbi-wont-unlock-narada-ceos-iphone/articleshow/64597506.cms">reports</a>, Apple refused to share the password of Samuel’s iPhone 4s that was used to record the 28-minute long footage of AITC politicians allegedly accepting bribes. The report states that Apple got in touch with the agency through the ministry of external affairs, to inform them that it was against their policy to share ‘personal details’ of a client and that they are not willing to violate that principle. The company did confirm, however, that the footage was shot on the iPhone submitted to the agency by Samuel. Apple’s refusal essentially means that the CBI have no way to match the original footage from Samuel’s phone with the one submitted by him. The AITC had challenged the authenticity of the Narada tapes when the case came up for hearing at the Calcutta High Court, stating that it could not be ascertained without the original device. The CBI now have Samuel’s iPhone, but with Apple refusing to share the password, they will possibly have to figure out some other way to access the footage on the phone. This, however, isn’t Apple’s first tussle with security agencies. After a face-off with the FBI over unlocking the <a href="https://www.theverge.com/2016/2/17/11036306/apple-fbi-iphone-encryption-backdoor-tim-cook">San Bernardino shooter</a> Syed Farook’s iPhone and then apparently offering to help unlock the <a href="https://www.theverge.com/2017/11/8/16626452/apple-fbi-texas-shooter-iphone-unlock-encryption-debate">Texas shooter’s</a> phone, the company can’t seem to avoid controversy when it comes to security outfits and how it can and should help fight crime.

Apple refuses to unlock an iPhone for India’s top investigative agency

I hate Mondays. I think I hate every day that entails work. And I am pretty darn certain a lot of people will agree. So what it is that is still keeping us chained to our desks for the better part of our waking hours? Our answers could range from rent to EMI to grand plans for world domination. It’s all about “the mortgage”, as Aaron Eckhart said in the movie Thank You For Smoking. But let’s admit it - we would all rather be somewhere else. Out farming perhaps? Venkat Iyer was working with IBM in Mumbai as a project manager for software implementation. As he says - “IT fascinated me”. But all of that changed when Iyer decided to take a step back and look at his life. And he just wanted to do one thing - simplify it. So, he decided to quit and become a farmer. The number of farmers in India has been falling over time. Census <a href="http://ncw.nic.in/pdfreports/impact%20of%20wto%20women%20in%20agriculture.pdf" data-type="tilCustomLink">data</a> from 2016 show that there were 7.7 million lesser farmers then, compared to 2001. Yet, Iyer decided it’s a better bet. Baffled? Yeah, we were as well, but we were insanely intrigued at the same time. And of course, we wanted to ask Iyer - “HOW did you arrive at this decision?” while secretly hoping that he has one fail-proof formula for it all. Fifteen years in IT, that's no short span. What made you decide that you had enough? Was it a feeling that had been accumulating over the years or was there something that made you finally take the call? I was working for IBM for over seven years as a project manager and was thinking of a change in my career. I applied in many places and got offers too. The only issue was that they all wanted a project manager. I started wondering what would change in a new job. Probably they would pay me more, the office would be different and my colleagues would change. But my work would still remain the same - that of a project manager. Around this time my wife Meena who was researching for a book on organic cotton would return from her trips to the villages to meet farmers and talk about the lives they led. It fascinated me to no end and I kept probing her for more information. I kept thinking about her stories and one day I asked her what would happen if we started farming and living a better life. She was very positive and said that if 65% of our country could be farmers then why not us. That was when we decided that I would quit IT and embark on a new journey in our lives. What was the one thing that kept you in IT for 15 years? Ever since I went to college to study IT, I was fascinated by it. I started my career as a programmer coding in COBOL and Dbase. I loved the way one had to be logical and think of simple solutions to complex problems. From being a programmer for several years, I moved to consultancy in IBM. It was fun having your own team and implementing software for various clients mostly in the Pharma industry. I can say that I still love IT but chose to be a farmer because I wished to change my life to a simpler one. It was not a career change but a change in my lifestyle. <div type="image" title="Venkat Iyer 4" tempid="557198" msid="63614027" hostid="261"></div>

 What was the hardest thing to adjust with once you had left your job? Once I quit my job, the hardest thing to adjust was the fact that I did not have to go to an office. I did not have to rush to beat the traffic, or match my tie to the shirt I was going to wear. After the first few weeks I got adjusted to a new life where things moved at a slow pace and I had lots of time to do what I wanted to. Did anything that you learned in the 15 years at work help with work on the farm? Yes, my project management skills are in use at all times at the farm. Planning, scheduling, resource allocation, time management, risk mitigation plans, documentation and financial analysis are all something that I follow at the farm even today. Sadly, I do not have much use for my software coding skills but the logical thinking helps me a lot at the farm. It must have been difficult being a farmer and dealing with issues that did not involve emails or boardrooms, what was the toughest challenge? There may not be any emails or boardrooms at the farm, but you have the daily challenge of unpredictable weather, dealing with unexpected events like no power for a fortnight, snakes in the house, a cobra to boot and the initial cluelessness. Farming does not come with manuals or F1 keys to assist you. One has to learn by experimenting and arriving at the best possible mix of seeds, timelines and water...all this takes time and just when you think you have mastered something - there could be no rain, or too much of it to skew things. And your entire crop has failed! What was the one thing that convinced you that you were indeed on the right path of choosing moong over the microchips? When I got my first crop of moong, around 300 kilos, that too without adding any chemicals or fertilisers, I was sure that my journey from microchips to moong would be fruitful. After that the next year we got a bumper crop of groundnuts that convinced us that we were on the right path. All of us sitting in our offices have a very stunted view on life and its simple pleasures. Of course, our understanding of daily needs and pleasures come from a different space and are influenced by what we see around us. How does one recalibrate? How does one 'go back to the roots'? The responses I have got from people after they read my book showed that many desire to go back to their roots, they are thinking of their abandoned villages, of farming, of their parents who toiled in the field. But the question is how does one make it possible and is it at all feasible? 
	
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 When I first discussed my move with my colleagues in IBM, there was not a single person who said that it was a stupid idea. When questioned on why they did not think of it when it was such a great idea, the response was varied. Some had a huge EMI to repay, some had health issues in the family and some were worried about their children’s education. There is no single formula to go back to one’s roots – after all what does it mean for each person? What worked for me is unique and what works for someone else will be exactly that - unique. And there are so many compelling factors – to stay in the city, the culture such as it is, intellectual stimulation for some, and to work and earn. It is a question of livelihoods mainly. <div type="image" title="Venkat Iyer 5" tempid="557202" msid="63614028" hostid="261"></div>

 But then again, not everyone wants to 'go back to the roots' – why would you recommend it? Absolutely not – I am saying no such thing – the book is about my choices and experiences. The decision is for each one to make. I can’t make a recommendation at all. To each his or her own. I have people coming to the farm and then sitting in their car with loud blaring music. They just could not handle the open air and silence at the farm. What's the biggest thing that has changed about you over this time? And what is the one thing you miss about working in IT? I can’t see much change in myself – though I am more adapted to living here now. I don’t miss the city much or crave its attractions. I don’t really miss working in IT at all.

Moong over Microchips: How an Indian IT professional quit his job at IBM to become a farmer

<ul><li>A medium format Pentax 645Z, a Panasonic Lumix GH5, some lenses and lights.</li><li>The price of the equipment comes to about Rs. 9 lakh, though international standards would be worth much more.</li></ul>The white walls of Indira Gandhi National Centre of Arts’ Twin Art Gallery were bare except for regularly spaced numbers written in pencil. The floors were littered with fly-away sheets of butter paper and foam from the massive wooden crates quickly but delicately being unpacked. Despite the churn of activity, the room was quiet and when someone did speak, it was in a whisper - the significance of the work commanding a hushed reverence. The only sound breaking the silence was the clicking of a camera shutter opening and closing. What was unfolding in front of me was the unpacking and digitisation of 46 Tibetan Buddhist paintings, known as “thangkas.” Some of the pieces had been previously restored while some remain untouched, unrestored. Most of them had not seen the light of day in more than six decades. All were extremely fragile. In one corner, a few hands carefully pulled out plastic and foam-wrapped thangkas from a crate they had just opened. In another area, a few girls sat with swathes of cloth around them, rolls of velcro, and needle and thread ready to start work on making the paintings wall-mountable. 
	
	
	
	
	
	
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Marking the places where the thangkas will be placed. Photo: Jhinuk Sen These thangkas, painted in intricate detail on cotton and silk, had been brought to India by Rahul Sankrityayana and were being digitised by his grandson Manav Parhawk. For scholars of Hindi, Buddhist and Tibetan studies, Mahapandit Rahul Sankrityayana is not an unfamiliar name. Sankrityayana was a Padma Bhushan awardee, a scholar and a writer. Called the ‘Father of Hindi Travelogue,’ he spent almost 45 years of his life on the road all over Asia and Europe, wrote more than 130 books and was fluent in almost 13 languages. It was thanks to Sankrityayana that thousands of invaluable palm-leaf manuscripts of Buddhist philosophy, that were considered lost, were finally <a href="http://www.thehindu.com/society/a-forgotten-genius/article18162862.ece">discovered</a>. He brought them all back to India along with these thangkas, artifacts, sketches, photographs and even glass plate negatives. “This is the first time in my 40 years that I have been able to see the fruits of my Nana's tireless efforts. I want to make sure I can see them again, and so that scholars across the globe have access to this immense trove of knowledge for their research,” says Parhawk. Before the thangkas were moved from the crates to be mounted vertically on the walls with cloth and velcro for display, the digitisation began with two cameras, two lights and lots of first-hand yelling at people to stay out of the way. All this equipment costs more than some journalists’ yearly salary. 
	
	
	
	
	
	
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Setting up the equipment took a few hours. Photo: Jhinuk Sen Parhawk, who is a professional fashion and lifestyle photographer, used his medium format digital Pentax 645Z with Pentax 55mm (F2.8) and 120mm macro (F4) lenses. Lenses were switched on the camera body depending on the size of the thangka being shot. 
	
	
	
	
	
	
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A medium format digital Pentax 645Z was used for digiting the artwork. Photo: Jhinuk Sen 
	
	
	
	
	
	
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Pentax's 120mm macro lens. Photo: Jhinuk Sen 
	
	
	
	
	
	
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Pentax's 55mm (F/2.8) lens. Photo: Jhinuk Sen Two Elinchrom Master 600s monobloc flashes and a complicated rig to vertically mount the camera safely six feet off the ground completed the set-up for the main full shots of the thangkas which were laid flat on the ground on a large swath of black cloth. 
	
	



	
	
	
	
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 Two Elinchrom Master 600s monobloc flashes were used for lighting. Photo: Jhinuk Sen Each and every one of the pieces are incredibly detailed, and to capture the close-in shots, the Panasonic Lumix GH5 (20-megapixels) with micro four thirds crop lenses was used. 
	
	
	
	
	
	
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Panasonic Lumix GH5. Photo: Jhinuk Sen 
	
	
	
	
	
	
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Close up shots of the artwork, taken to retain details. Photo: Jhinuk Sen Though the pictures were being shot in a controlled light environment (inside the exhibition hall), the large black cloth was used to reduce flare and big foamcore sheets were used as fill to make sure the thangkas got the right light. While the confusion of the artwork numbering and listing them right had everyone fumbling with multiple lists, the bigger challenge was something else: camera positioning. To ensure the camera was positioned just perfectly over the thangka meant that it had to be placed at a certain height (that’s where the rig comes in). Furthermore, the camera could only be operated manually, which meant multiple stretching exercises by Parhawk to get the frame right so as to avoid stepping on the surface where the art work had been placed. This frequently led to scenes like this one: 
	
	
	
	
	
	
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It's an exercise. Photo: Jhinuk Sen A good few biblical photo ops later, 46 thangkas had been photographed. I then sat down with the team to discuss the process and the equipment they had just used. The main idea behind using the particular equipment that Parhawk did, was to generate the right colours without chromatic or hue shifts. This ensures that the art looks as close to the source as possible when viewed on computers later. The idea is to match the original, not a copy you see on screen. Hue Shifting is described as, “a basic tool for any artist who works on computer. The principle is the following: whenever you want to create a colour derived from another, you have to move its hue along with its brightness.” So, if you have to get a shadow tone from a brighter colour, you cannot just lower the brightness, you need to use this tool to create the right colour of the shadow. In this case, the point was to capture the absolute right colour from the very beginning. Imagine trying to accurately photograph the white colour of a blank canvas. If the lighting is too dark, the colour will actually appear grey rather than white, while an incandescent light may give it a yellow-brown tone. This phenomenon was made popular by the blue-black dress image <a href="https://www.wired.com/2015/02/science-one-agrees-color-dress/">that polarised the Internet in 2015</a>. A chromatic shift (often called a chromatic aberration) “is an effect resulting from dispersion in which there is a failure of a lens to focus all colours to the same convergence point. It occurs because lenses have different refractive indices for different wavelengths of light.” These thangkas are full of subtle colours and incredible shading. It was essential to reduce all possible errors to a minimum and it was unlikely that Parhawk and his team would ever have this opportunity again. “I needed to get the right highlights, mid-tones and shadows like they are on the original piece and not what works on a computer screen. This is probably the only time I will get my hands on these, and I needed to make sure I faithfully reproduce colours, luminosities and most importantly, textures of the fine brush strokes,” Parhawk explained. So was the equipment he had at his disposal up to the task? “I use a medium format camera because it shoots 14-bit raw files with massive colour depth and information. The camera has an 11 stop exposure latitude. The colour is very accurate and the sensor is 1.7 times the size of the sensors on any Nikon or Canon DSLR, even the high-end ones capturing mind numbing detail,” Parhawk says. Despite having most details well in place, the team was white balancing continuously with a grey card. The purpose of that was to keep a check, even in that controlled environment, just to make sure there are no errors or accidental colour casts. “It helps massively in post-production to spot the right colours,” pointed out film editor Ralph Fernandes who was collaborating with Parhawk on this project. So while the team was working with the equipment they use on a daily basis for all their other photography work, what if they could pick something better? Parhawk chose to pick a large format camera from my money-is-no-object list. A large format technical camera would have been incredible but they are frighteningly expensive. They can cost you more than $30,000 (nearly Rs 20 lakh). “What you are looking at repeating the same process that photographers do with Sinars and Linhofs. You are trying to capture the largest amount of available detail in a RAW file,” Parhawk said. “For older stuff and art restoration stuff, they also use ultraviolet and infrared cameras to capture details that are beyond the visual spectrum. It helps in recreating it. And that is specialised gear. There are paintings they don’t even expose to light because they may be fragile or just very, very valuable. They are digitised in dark rooms with infrared and UV camera systems,” Fernandes pointed out. “The lighting equipment we are using right now is not the highest possible grade. That would be the Balcar or the Briese - these are high-grade lighting systems. They are awesome, but they are very, very expensive,” Parhawk said speaking about the lights he would have liked to use if he could afford it. In the Balcar or the Briese the wavelengths are more colour correct and the light modifiers are better, meaning the image being shot would have been more perfect. But like most other high-end equipment, they cost many arms and many legs, even for Indian pro photographers. The sky is the limit when it comes to equipment that could have been used, but for now, the medium format pulled its weight perfectly. Had the team used the high-end equipment suited best for the task, the costs would have shot up by a few crores at least. They pulled out incredible details and near-perfect colours in a fraction of the cost (Rs 9 lakh for all the equipment, give or take a few thousand). At the end of the day, what you are looking for is clarity of image, which means good lensing, good colour depth for restoration purposes, accurate saturation and well-controlled light that reproduces the textures and colours as faithfully as possible - for that, the setup was well suited. The exhibition, titled ‘Rahul Sankrityayana’s Antiquity Collection,’ is as magical as the name promises. Hosted in collaboration with the Patna Museum and curated by Sankrityayana’s daughter Jaya Parhawk, it is <a href="http://ignca.gov.in/invitations/14_09_2018_Conference_on_Rahul_Sankrityayan_Invite.pdf">on display till 9 April</a>.

Jhinuk Sen

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