The British Museum has launched its major new exhibition Ancient India: Living Traditions, which opened to the public on 22 May 2025. In advance of the public opening, an interfaith reception was held on 19 May in the Museum’s Great Court, bringing together leaders, faith representatives, scholars, trustees, journalists and other cultural partners. Reflecting the inclusive and living spirit of the exhibition, the evening began with spiritual chants offered by representatives of BAPS Swaminarayan Sanstha (Hindu), Buddhist monks, and the Oshwal Association (Jain). Oshwal’s Jayeshbhai Shah’s powerful recitation of the Navkar Mantra resonated reverently through the hall, marking an auspicious and moving start to the evening. Kumar Mehta, Director of the Institute of Jainology (IOJ), was in attendance, and the evening was formally inaugurated by the Chair of the British Museum’s Trustees, Rt Hon George Osborne CH.
The IOJ is proud to have played a key role in the development of this landmark exhibition. Dr Mehool Sanghrajka, IOJ Managing Trustee, and Arshna Sanghrajka served on the Museum’s community advisory panel, which was formed as part of a new curatorial approach involving close collaboration with the UK’s Jain, Hindu, and Buddhist communities. This process was led by curators Dr Sushma Jansari and Kajal Meghani, with support from their wider team. The IOJ warmly thanks them for their thoughtful and sustained engagement with the Jain community.
The exhibition is laid out in three interlinked galleries dedicated to Jainism, Buddhism, and Hinduism. Each section traces the spiritual evolution of these traditions, beginning with the influence of nature spirits and moving through the development of sacred figures, devotional art, and ritual practice. It opens with three ancient sculptures representing each religion—Mahavira, Buddha, and Ganesha.
The centrepiece of the Jain gallery is a sublimely detailed 7th-century sandstone relief of Lord Parshvanatha, on loan from the V&A Museum. It illustrates the Tirthankara’s triumph over the demon Samvara: the Lord is shown deep in meditation beneath a Dhataki tree, unaffected by the storm conjured to disturb him. The serpent-king Dharanendra raises his seven hoods in protection, while Padmavati stands nearby holding an umbrella. Celestial beings with garlands float above, while flywhisk bearers and a dharmachakra supported by a gana frame the composition. Yet beyond its visual richness, the sculpture conveys the spiritual depth of the Jina’s state—immersed in profound meditative equanimity, Parshvanatha showed neither attachment to his protector nor aversion to his tormentor. His rising purity of consciousness culminated in omniscience. The relief thus captures the Jain ideals of inner purity, non-violence, and the unshakable path to spiritual liberation.
Also featured in the exhibition is a serene white marble murti of Parshvanatha, loaned by the Sanghrajka family. This is positioned at the far end of the exhibition, among three contemporary murtis—one from each faith—creating a gentle symmetry with the trio of ancient figures at the entrance, drawing a symbolic connection between the ancient and the living. Together with sacred manuscripts, temple artefacts, and finely carved sculpture, the Jain display offers an intimate and reverent view of Jain spiritual practice.
A particular highlight is a video installation filmed at the Jain derasar in Potters Bar, supported by the Oshwal Association. This thoughtful inclusion gives voice to members of the contemporary Jain community in Britain, who share personal reflections on daily rituals and the meaning of their faith.
The exhibition as a whole has been widely praised for its evocative presentation and emphasis on lived tradition. The Guardian awarded it five stars, calling it “sensual” and “passionate,” while the Evening Standard described it as “stirring” and “entirely moving”. Reviewers singled out the use of contemporary voices and community partnerships as a powerful innovation, bringing the ancient art to life with authenticity and relevance.
The IOJ is honoured to have contributed to this exhibition, which marks an important moment of recognition for Jain culture and values in a major international institution. It stands as a model of collaborative curation—grounded in scholarship, enriched by community, and alive with meaning.
If you are interested in learning more about the exhibition, visit:
https://www.britishmuseum.org/events/curators-introduction-ancient-india-living-traditions
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