“Drishya, Drishti & Darshan: The Sacred Act of Visual Meet – दृश्य, दृष्टि और दर्शन” - India Pinkfest Dialogue session
- indiapinkfest
- Mar 31
- 4 min read
Drishya, Drishti & Darshan: The Sacred Act of Visual Meet – A Reflective Dialogue on Seeing Beyond Sight
Rajasthan | INDIA PINKFEST 2026
दृश्य, दृष्टि और दर्शन: दृश्य संयोग की पवित्र प्रक्रिया
Guest Panelist: Padma Shri Prof. Shyam Sunder Sharma, Shri Narmada Prasad Upadhyay , Prof. Prof. Chinmay Mehta, Prof. Bhawani Shankar Sharma, Prof. Chinmay Mehta, Prof. ( Ar.) Manjari Rai & Shri Amit Kalla (Session Moderator)
A deeply engaging and intellectually stimulating session titled “Drishya, Drishti & Darshan: The Sacred Act of Visual Meet (दृश्य, दृष्टि और दर्शन)” brought together distinguished artists, scholars, and thinkers to explore the philosophical, cultural, and experiential dimensions of visual perception. The dialogue transcended conventional discussions on art, unfolding instead as a layered inquiry into how we see, interpret, and ultimately experience the world around us.
At the heart of the session was the triadic relationship between Drishya (the seen), Drishti (the act of seeing), and Darshan (the profound, often spiritual realization of what is seen). The speakers collectively emphasized that vision is far more than a sensory act—it is shaped by consciousness, emotion, cultural context, and inner awareness.
Shyam Sharma – The Philosophy of Seeing and Artistic Consciousness
Renowned artist and academic Shyam Sharma at India Pinkfest Dialogue Session
Renowned artist and academic Prof. Shyam Sharma opened the discourse by framing “seeing” as both the origin and culmination of artistic creation. He noted that while the eyes serve as instruments, true perception resides in the mind, where visual input is processed through lived experience, sensitivity, and knowledge. Drawing from Indian philosophical traditions and literary works, he highlighted the subjectivity of perception, suggesting that one's inner state—bhavana—defines how reality and even the divine are perceived.
Art not just as aesthetic expression, but as a holistic and spiritual pursuit.
Sharma also stressed the transformative potential of art in society. Referencing the ethos of Vasudhaiva Kutumbakam (the world as one family), he positioned art as a unifying force capable of transcending boundaries. He further elaborated on how Indian artistic traditions seamlessly integrate the four purusharthas—Dharma (duty), Artha (material prosperity), Kama (desire), and Moksha (liberation)—thereby elevating art from mere expression to a holistic life practice.
Prof. Manjari Rai Emotional Resonance in Architecture and Design
Seeing is deeply influenced by context and human connection.
Architect and academic Prof. Manjari Rai extended the conversation into the realm of spatial design, emphasizing the emotional and cultural dimensions of architecture. She argued that spaces acquire meaning through lived experience and emotional resonance. By comparing culturally rich cities like Goa and Varanasi, she illustrated how architecture evokes distinct “visions” rooted in memory, identity, and collective consciousness. According to her, without emotional depth, art and design remain incomplete—devoid of soul.
Prof. Bhawani Shankar – Dhvani and the Power of Suggestion
Indian aesthetics encourages viewers to engage with the inner spirit of forms, rather than their outward appearance.
Adding another dimension, Prof. Bhawani Shankar introduced the concept of Dhvani (suggestion or resonance) as central to Indian aesthetics. He explained how sound, metaphor, and poetic suggestion can evoke vivid visual imagery, enabling audiences to perceive beyond the immediately visible. Drawing from classical literature, he highlighted how Indian art prioritizes essence over form, inviting viewers into an imaginative and interpretative engagement.
Prof. Chinmay Mehta: Tradition and Modernity
A significant aspect of the discussion was the dynamic tension between tradition and modernity. The speakers collectively advocated for a deeper engagement with indigenous knowledge systems and folk traditions as sources of inspiration for contemporary practices. Rather than uncritically adopting Western frameworks, they encouraged artists to draw from culturally rooted expressions that carry authenticity and contextual relevance. Examples of traditional aesthetic environments were cited to demonstrate how local practices can inform and enrich modern creativity.
Prof. Shailendra Singh Kushwaha : Subjectivity of Beauty and Perception
Art is a deeply personal yet collectively shared experience.
The session also delved into the subjectivity of beauty and artistic judgment. Through philosophical insights and everyday examples, the speakers underscored that perception varies across individuals, cultures, and even species. This reinforced the idea that art cannot be evaluated through a single, universal standard; instead, it must be understood as a deeply personal and contextual experience.
An interactive exchange with the audience added further depth to the session. Participants raised questions about originality, interpretation, and the criteria for evaluating art, turning the discussion into a collaborative exploration rather than a one-sided discourse. This engagement reflected the session’s core belief that art is a shared space of dialogue between creator and observer.
In conclusion, Drishya, Drishti, and Darshan were presented not as isolated concepts but as a continuous journey—from perception to understanding to transcendence. The session powerfully conveyed that true seeing goes beyond the visual—it is an inner awakening that bridges the external world with internal consciousness. In this light, art emerges as a transformative medium, shaping not only aesthetic sensibilities but also the deeper fabric of human experience and collective culture.
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