Publications

Books

2023 – Chandragupta Maurya: the creation of a national hero in India (UCL Press).

2020 – T. Argounova-Low, A.K. Brown & S. Jansari, Model of a Summer Camp (London: British Museum Press, 2020).

Book & Exhibition Catalogue Chapters

2021 – ‘I let the pitcher drift away‘ – in R. Mussai & M. Sealy (eds.) Care | Contagion | Community – Self & Other (Autograph: London, 2021), pp.83-84.

2021 – ‘India and the Himalayas. From the Mauryas to the Palas, the rise and fall of Buddhist art in India’, in Traveller’s Eye: Selected Works from the Francisco Capelo Asia Collection (London: Scala Arts & Heritage Publishers Ltd., 2021), pp.150-161.

2020 – ‘Buildings with a Message – Experimenting with a Rich Mosaic of Objects and Voices’ in RETHINK Design Guide: Architecture for a post-pandemic world (London: RIBA Publishing, 2020), pp.66-69.

2020 – ‘South Asia’ in R. Mairs (ed.) The Graeco-Bactrian and Indo-Greek World (London: Routledge,  2020). (peer-reviewed), pp.38-55.

2020 – ‘Two sides of the coin: from Sophytes to Skanda-Kārttikeya’ in R. Mairs (ed.) The Graeco-Bactrian and Indo-Greek World (London: Routledge,  2020). (peer-reviewed), pp.487-498.

2019 – ‘Colonial Collecting in Ceylon: Dispersing the Hugh Nevill Collections across the British Isles’, in A.B. Peyton and K.A. Paul (eds.) Arts of South Asia: Cultures of Collecting (Gainesville: University of Florida Press; David A. Cofrin Asian art manuscript series), pp.63-94.  (peer-reviewed)

2016 – S. Jansari & R. Ricot, ‘Megasthenes and the Astomoi: a case study into ethnography and paradoxography’, in H. Brinkhaus and J. Wiesehöfer (eds.) Classica et Orientalia (Wiesbaden: Harrassowitz, 2016), pp. 85-96. (peer-reviewed)

Blogposts

2018 – ‘International Women Collectors’ – British Museum

2018 – Sakha objects at the British Museum: a collection history.

2017 – S. Jansari & M. Roy, ‘Colin Mackenzie: Collector Extraordinaire’ –  British Library: Asian and African Studies

Magazine Articles (online/print)

2018 – ‘Jaina Objects at the British Museum’ – Jaina Studies: Newsletter of the Centre of Jaina Studies, March, Issue 13, pp.46-49.

2017 – ‘Redisplay of the Jaina collections in the Hotung Gallery’ – Arts of Asia (vol.47, issue 6 Nov-Dec), pp.84-91

2016 – ‘Traditional Ways’ – British Museum Magazine (Autumn), p.12

2014 – ‘Making Myth a Reality’ – British Museum Magazine (Spring/Summer), pp.48-51

2011 – ‘Annals of Human Genetics Archive, UCL’, Genetics and Medicine Historical Network Newsletter no.15, November, p.3.

Journal Articles

2019 – ‘From Geography to Paradoxography: the use, transmission and survival of Megasthenes’ Indica‘ Journal of Ancient History Vol.8:1, pp.26-49. (peer-reviewed)

2018 – ‘The Sophytes coins: from the Punjab to Bactria and back again’, Numismatic Chronicle vol.178, pp.71-98, pl.7-12 – (peer-reviewed)

2013 – ‘Roman Coins from the Masson and Mackenzie Collections in the British Museum’, South Asian Studies vol.29:2, pp.177-193. (peer-reviewed)

2012 – ‘Roman Coins from the Mackenzie Collection at the British Museum’, Numismatic Chronicle vol.172, pp.93-104. (peer-reviewed)

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Publications

Books

2023 – Chandragupta Maurya: the creation of a national hero in India (UCL Press).

2020 – T. Argounova-Low, A.K. Brown & S. Jansari, Model of a Summer Camp (London: British Museum Press, 2020).

Book & Exhibition Catalogue Chapters

2021 – ‘I let the pitcher drift away‘ – in R. Mussai & M. Sealy (eds.) Care | Contagion | Community – Self & Other (Autograph: London, 2021), pp.83-84.

2021 – ‘India and the Himalayas. From the Mauryas to the Palas, the rise and fall of Buddhist art in India’, in Traveller’s Eye: Selected Works from the Francisco Capelo Asia Collection (London: Scala Arts & Heritage Publishers Ltd., 2021), pp.150-161.

2020 – ‘Buildings with a Message – Experimenting with a Rich Mosaic of Objects and Voices’ in RETHINK Design Guide: Architecture for a post-pandemic world (London: RIBA Publishing, 2020), pp.66-69.

2020 – ‘South Asia’ in R. Mairs (ed.) The Graeco-Bactrian and Indo-Greek World (London: Routledge,  2020). (peer-reviewed), pp.38-55.

2020 – ‘Two sides of the coin: from Sophytes to Skanda-Kārttikeya’ in R. Mairs (ed.) The Graeco-Bactrian and Indo-Greek World (London: Routledge,  2020). (peer-reviewed), pp.487-498.

2019 – ‘Colonial Collecting in Ceylon: Dispersing the Hugh Nevill Collections across the British Isles’, in A.B. Peyton and K.A. Paul (eds.) Arts of South Asia: Cultures of Collecting (Gainesville: University of Florida Press; David A. Cofrin Asian art manuscript series), pp.63-94.  (peer-reviewed)

2016 – S. Jansari & R. Ricot, ‘Megasthenes and the Astomoi: a case study into ethnography and paradoxography’, in H. Brinkhaus and J. Wiesehöfer (eds.) Classica et Orientalia (Wiesbaden: Harrassowitz, 2016), pp. 85-96. (peer-reviewed)

Blogposts

2018 – ‘International Women Collectors’ – British Museum

2018 – Sakha objects at the British Museum: a collection history.

2017 – S. Jansari & M. Roy, ‘Colin Mackenzie: Collector Extraordinaire’ –  British Library: Asian and African Studies

Magazine Articles (online/print)

2018 – ‘Jaina Objects at the British Museum’ – Jaina Studies: Newsletter of the Centre of Jaina Studies, March, Issue 13, pp.46-49.

2017 – ‘Redisplay of the Jaina collections in the Hotung Gallery’ – Arts of Asia (vol.47, issue 6 Nov-Dec), pp.84-91

2016 – ‘Traditional Ways’ – British Museum Magazine (Autumn), p.12

2014 – ‘Making Myth a Reality’ – British Museum Magazine (Spring/Summer), pp.48-51

2011 – ‘Annals of Human Genetics Archive, UCL’, Genetics and Medicine Historical Network Newsletter no.15, November, p.3.

Journal Articles

2019 – ‘From Geography to Paradoxography: the use, transmission and survival of Megasthenes’ Indica‘ Journal of Ancient History Vol.8:1, pp.26-49. (peer-reviewed)

2018 – ‘The Sophytes coins: from the Punjab to Bactria and back again’, Numismatic Chronicle vol.178, pp.71-98, pl.7-12 – (peer-reviewed)

2013 – ‘Roman Coins from the Masson and Mackenzie Collections in the British Museum’, South Asian Studies vol.29:2, pp.177-193. (peer-reviewed)

2012 – ‘Roman Coins from the Mackenzie Collection at the British Museum’, Numismatic Chronicle vol.172, pp.93-104. (peer-reviewed)

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Publications

Books

2023 – Chandragupta Maurya: the creation of a national hero in India (UCL Press).

2020 – T. Argounova-Low, A.K. Brown & S. Jansari, Model of a Summer Camp (London: British Museum Press, 2020).

Book & Exhibition Catalogue Chapters

2021 – ‘I let the pitcher drift away‘ – in R. Mussai & M. Sealy (eds.) Care | Contagion | Community – Self & Other (Autograph: London, 2021), pp.83-84.

2021 – ‘India and the Himalayas. From the Mauryas to the Palas, the rise and fall of Buddhist art in India’, in Traveller’s Eye: Selected Works from the Francisco Capelo Asia Collection (London: Scala Arts & Heritage Publishers Ltd., 2021), pp.150-161.

2020 – ‘Buildings with a Message – Experimenting with a Rich Mosaic of Objects and Voices’ in RETHINK Design Guide: Architecture for a post-pandemic world (London: RIBA Publishing, 2020), pp.66-69.

2020 – ‘South Asia’ in R. Mairs (ed.) The Graeco-Bactrian and Indo-Greek World (London: Routledge,  2020). (peer-reviewed), pp.38-55.

2020 – ‘Two sides of the coin: from Sophytes to Skanda-Kārttikeya’ in R. Mairs (ed.) The Graeco-Bactrian and Indo-Greek World (London: Routledge,  2020). (peer-reviewed), pp.487-498.

2019 – ‘Colonial Collecting in Ceylon: Dispersing the Hugh Nevill Collections across the British Isles’, in A.B. Peyton and K.A. Paul (eds.) Arts of South Asia: Cultures of Collecting (Gainesville: University of Florida Press; David A. Cofrin Asian art manuscript series), pp.63-94.  (peer-reviewed)

2016 – S. Jansari & R. Ricot, ‘Megasthenes and the Astomoi: a case study into ethnography and paradoxography’, in H. Brinkhaus and J. Wiesehöfer (eds.) Classica et Orientalia (Wiesbaden: Harrassowitz, 2016), pp. 85-96. (peer-reviewed)

Blogposts

2018 – ‘International Women Collectors’ – British Museum

2018 – Sakha objects at the British Museum: a collection history.

2017 – S. Jansari & M. Roy, ‘Colin Mackenzie: Collector Extraordinaire’ –  British Library: Asian and African Studies

Magazine Articles (online/print)

2018 – ‘Jaina Objects at the British Museum’ – Jaina Studies: Newsletter of the Centre of Jaina Studies, March, Issue 13, pp.46-49.

2017 – ‘Redisplay of the Jaina collections in the Hotung Gallery’ – Arts of Asia (vol.47, issue 6 Nov-Dec), pp.84-91

2016 – ‘Traditional Ways’ – British Museum Magazine (Autumn), p.12

2014 – ‘Making Myth a Reality’ – British Museum Magazine (Spring/Summer), pp.48-51

2011 – ‘Annals of Human Genetics Archive, UCL’, Genetics and Medicine Historical Network Newsletter no.15, November, p.3.

Journal Articles

2019 – ‘From Geography to Paradoxography: the use, transmission and survival of Megasthenes’ Indica‘ Journal of Ancient History Vol.8:1, pp.26-49. (peer-reviewed)

2018 – ‘The Sophytes coins: from the Punjab to Bactria and back again’, Numismatic Chronicle vol.178, pp.71-98, pl.7-12 – (peer-reviewed)

2013 – ‘Roman Coins from the Masson and Mackenzie Collections in the British Museum’, South Asian Studies vol.29:2, pp.177-193. (peer-reviewed)

2012 – ‘Roman Coins from the Mackenzie Collection at the British Museum’, Numismatic Chronicle vol.172, pp.93-104. (peer-reviewed)

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The early South Asia collection @acm_sg is select but very good. These are some of the rather fabulous sculptures on display. 1. Tibetan sculpture is always striking and this golden images of Simhavakta striding over oceans of blood while wearing a cape of flayed human skin is no exception. Her movement & appearance represent the endless cycle of rebirth & peeling away illusion to get to ultimate reality. Remember there is usually far more to what you see than meets the eye, so try not to judge too harshly. 2. Chamunda 3. Dancing Ganesha 4. Umamaheshvara 5. Garuda 6. Railing from Bharhut. If you see a long, horizontal slightly pinkish-red stone with a row of hanging bells on it, you are more likely than not looking at part of the railing from Bharhut stupa. This is no ordinary stupa (which stupa is?!) - it's the oldest, almost complete surviving example that remains from c.2th Century BC. Most of it was transferred to the Indian Museum, Kolkata where it was actually varnished so it now looks glossy and brown. I'm not even kidding. So, the rare examples of sculptures from this incredible site that are now at other museums are valuable for showing what the stone actually looks like. #asiancivilizationsmuseum #hinduart #buddhistart #tibetanart #religiousart #ganesha #simhavakta #umamaheshvara #chamunda #bharhut #bharhutstupa #garuda #singaporemuseum #singapore
The early South Asia collection @acm_sg is select but very good. These are some of the rather fabulous sculptures on display. 1. Tibetan sculpture is always striking and this golden images of Simhavakta striding over oceans of blood while wearing a cape of flayed human skin is no exception. Her movement & appearance represent the endless cycle of rebirth & peeling away illusion to get to ultimate reality. Remember there is usually far more to what you see than meets the eye, so try not to judge too harshly. 2. Chamunda 3. Dancing Ganesha 4. Umamaheshvara 5. Garuda 6. Railing from Bharhut. If you see a long, horizontal slightly pinkish-red stone with a row of hanging bells on it, you are more likely than not looking at part of the railing from Bharhut stupa. This is no ordinary stupa (which stupa is?!) - it's the oldest, almost complete surviving example that remains from c.2th Century BC. Most of it was transferred to the Indian Museum, Kolkata where it was actually varnished so it now looks glossy and brown. I'm not even kidding. So, the rare examples of sculptures from this incredible site that are now at other museums are valuable for showing what the stone actually looks like. #asiancivilizationsmuseum #hinduart #buddhistart #tibetanart #religiousart #ganesha #simhavakta #umamaheshvara #chamunda #bharhut #bharhutstupa #garuda #singaporemuseum #singapore
The early South Asia collection @acm_sg is select but very good. These are some of the rather fabulous sculptures on display. 1. Tibetan sculpture is always striking and this golden images of Simhavakta striding over oceans of blood while wearing a cape of flayed human skin is no exception. Her movement & appearance represent the endless cycle of rebirth & peeling away illusion to get to ultimate reality. Remember there is usually far more to what you see than meets the eye, so try not to judge too harshly. 2. Chamunda 3. Dancing Ganesha 4. Umamaheshvara 5. Garuda 6. Railing from Bharhut. If you see a long, horizontal slightly pinkish-red stone with a row of hanging bells on it, you are more likely than not looking at part of the railing from Bharhut stupa. This is no ordinary stupa (which stupa is?!) - it's the oldest, almost complete surviving example that remains from c.2th Century BC. Most of it was transferred to the Indian Museum, Kolkata where it was actually varnished so it now looks glossy and brown. I'm not even kidding. So, the rare examples of sculptures from this incredible site that are now at other museums are valuable for showing what the stone actually looks like. #asiancivilizationsmuseum #hinduart #buddhistart #tibetanart #religiousart #ganesha #simhavakta #umamaheshvara #chamunda #bharhut #bharhutstupa #garuda #singaporemuseum #singapore
The early South Asia collection @acm_sg is select but very good. These are some of the rather fabulous sculptures on display. 1. Tibetan sculpture is always striking and this golden images of Simhavakta striding over oceans of blood while wearing a cape of flayed human skin is no exception. Her movement & appearance represent the endless cycle of rebirth & peeling away illusion to get to ultimate reality. Remember there is usually far more to what you see than meets the eye, so try not to judge too harshly. 2. Chamunda 3. Dancing Ganesha 4. Umamaheshvara 5. Garuda 6. Railing from Bharhut. If you see a long, horizontal slightly pinkish-red stone with a row of hanging bells on it, you are more likely than not looking at part of the railing from Bharhut stupa. This is no ordinary stupa (which stupa is?!) - it's the oldest, almost complete surviving example that remains from c.2th Century BC. Most of it was transferred to the Indian Museum, Kolkata where it was actually varnished so it now looks glossy and brown. I'm not even kidding. So, the rare examples of sculptures from this incredible site that are now at other museums are valuable for showing what the stone actually looks like. #asiancivilizationsmuseum #hinduart #buddhistart #tibetanart #religiousart #ganesha #simhavakta #umamaheshvara #chamunda #bharhut #bharhutstupa #garuda #singaporemuseum #singapore
The early South Asia collection @acm_sg is select but very good. These are some of the rather fabulous sculptures on display. 1. Tibetan sculpture is always striking and this golden images of Simhavakta striding over oceans of blood while wearing a cape of flayed human skin is no exception. Her movement & appearance represent the endless cycle of rebirth & peeling away illusion to get to ultimate reality. Remember there is usually far more to what you see than meets the eye, so try not to judge too harshly. 2. Chamunda 3. Dancing Ganesha 4. Umamaheshvara 5. Garuda 6. Railing from Bharhut. If you see a long, horizontal slightly pinkish-red stone with a row of hanging bells on it, you are more likely than not looking at part of the railing from Bharhut stupa. This is no ordinary stupa (which stupa is?!) - it's the oldest, almost complete surviving example that remains from c.2th Century BC. Most of it was transferred to the Indian Museum, Kolkata where it was actually varnished so it now looks glossy and brown. I'm not even kidding. So, the rare examples of sculptures from this incredible site that are now at other museums are valuable for showing what the stone actually looks like. #asiancivilizationsmuseum #hinduart #buddhistart #tibetanart #religiousart #ganesha #simhavakta #umamaheshvara #chamunda #bharhut #bharhutstupa #garuda #singaporemuseum #singapore
The early South Asia collection @acm_sg is select but very good. These are some of the rather fabulous sculptures on display. 1. Tibetan sculpture is always striking and this golden images of Simhavakta striding over oceans of blood while wearing a cape of flayed human skin is no exception. Her movement & appearance represent the endless cycle of rebirth & peeling away illusion to get to ultimate reality. Remember there is usually far more to what you see than meets the eye, so try not to judge too harshly. 2. Chamunda 3. Dancing Ganesha 4. Umamaheshvara 5. Garuda 6. Railing from Bharhut. If you see a long, horizontal slightly pinkish-red stone with a row of hanging bells on it, you are more likely than not looking at part of the railing from Bharhut stupa. This is no ordinary stupa (which stupa is?!) - it's the oldest, almost complete surviving example that remains from c.2th Century BC. Most of it was transferred to the Indian Museum, Kolkata where it was actually varnished so it now looks glossy and brown. I'm not even kidding. So, the rare examples of sculptures from this incredible site that are now at other museums are valuable for showing what the stone actually looks like. #asiancivilizationsmuseum #hinduart #buddhistart #tibetanart #religiousart #ganesha #simhavakta #umamaheshvara #chamunda #bharhut #bharhutstupa #garuda #singaporemuseum #singapore
The early South Asia collection @acm_sg is select but very good. These are some of the rather fabulous sculptures on display. 1. Tibetan sculpture is always striking and this golden images of Simhavakta striding over oceans of blood while wearing a cape of flayed human skin is no exception. Her movement & appearance represent the endless cycle of rebirth & peeling away illusion to get to ultimate reality. Remember there is usually far more to what you see than meets the eye, so try not to judge too harshly. 2. Chamunda 3. Dancing Ganesha 4. Umamaheshvara 5. Garuda 6. Railing from Bharhut. If you see a long, horizontal slightly pinkish-red stone with a row of hanging bells on it, you are more likely than not looking at part of the railing from Bharhut stupa. This is no ordinary stupa (which stupa is?!) - it's the oldest, almost complete surviving example that remains from c.2th Century BC. Most of it was transferred to the Indian Museum, Kolkata where it was actually varnished so it now looks glossy and brown. I'm not even kidding. So, the rare examples of sculptures from this incredible site that are now at other museums are valuable for showing what the stone actually looks like. #asiancivilizationsmuseum #hinduart #buddhistart #tibetanart #religiousart #ganesha #simhavakta #umamaheshvara #chamunda #bharhut #bharhutstupa #garuda #singaporemuseum #singapore
The early South Asia collection @acm_sg is select but very good. These are some of the rather fabulous sculptures on display. 1. Tibetan sculpture is always striking and this golden images of Simhavakta striding over oceans of blood while wearing a cape of flayed human skin is no exception. Her movement & appearance represent the endless cycle of rebirth & peeling away illusion to get to ultimate reality. Remember there is usually far more to what you see than meets the eye, so try not to judge too harshly. 2. Chamunda 3. Dancing Ganesha 4. Umamaheshvara 5. Garuda 6. Railing from Bharhut. If you see a long, horizontal slightly pinkish-red stone with a row of hanging bells on it, you are more likely than not looking at part of the railing from Bharhut stupa. This is no ordinary stupa (which stupa is?!) - it's the oldest, almost complete surviving example that remains from c.2th Century BC. Most of it was transferred to the Indian Museum, Kolkata where it was actually varnished so it now looks glossy and brown. I'm not even kidding. So, the rare examples of sculptures from this incredible site that are now at other museums are valuable for showing what the stone actually looks like. #asiancivilizationsmuseum #hinduart #buddhistart #tibetanart #religiousart #ganesha #simhavakta #umamaheshvara #chamunda #bharhut #bharhutstupa #garuda #singaporemuseum #singapore
The early South Asia collection @acm_sg is select but very good. These are some of the rather fabulous sculptures on display. 1. Tibetan sculpture is always striking and this golden images of Simhavakta striding over oceans of blood while wearing a cape of flayed human skin is no exception. Her movement & appearance represent the endless cycle of rebirth & peeling away illusion to get to ultimate reality. Remember there is usually far more to what you see than meets the eye, so try not to judge too harshly. 2. Chamunda 3. Dancing Ganesha 4. Umamaheshvara 5. Garuda 6. Railing from Bharhut. If you see a long, horizontal slightly pinkish-red stone with a row of hanging bells on it, you are more likely than not looking at part of the railing from Bharhut stupa. This is no ordinary stupa (which stupa is?!) - it's the oldest, almost complete surviving example that remains from c.2th Century BC. Most of it was transferred to the Indian Museum, Kolkata where it was actually varnished so it now looks glossy and brown. I'm not even kidding. So, the rare examples of sculptures from this incredible site that are now at other museums are valuable for showing what the stone actually looks like. #asiancivilizationsmuseum #hinduart #buddhistart #tibetanart #religiousart #ganesha #simhavakta #umamaheshvara #chamunda #bharhut #bharhutstupa #garuda #singaporemuseum #singapore
The early South Asia collection @acm_sg is select but very good. These are some of the rather fabulous sculptures on display. 1. Tibetan sculpture is always striking and this golden images of Simhavakta striding over oceans of blood while wearing a cape of flayed human skin is no exception. Her movement & appearance represent the endless cycle of rebirth & peeling away illusion to get to ultimate reality. Remember there is usually far more to what you see than meets the eye, so try not to judge too harshly. 2. Chamunda 3. Dancing Ganesha 4. Umamaheshvara 5. Garuda 6. Railing from Bharhut. If you see a long, horizontal slightly pinkish-red stone with a row of hanging bells on it, you are more likely than not looking at part of the railing from Bharhut stupa. This is no ordinary stupa (which stupa is?!) - it's the oldest, almost complete surviving example that remains from c.2th Century BC. Most of it was transferred to the Indian Museum, Kolkata where it was actually varnished so it now looks glossy and brown. I'm not even kidding. So, the rare examples of sculptures from this incredible site that are now at other museums are valuable for showing what the stone actually looks like. #asiancivilizationsmuseum #hinduart #buddhistart #tibetanart #religiousart #ganesha #simhavakta #umamaheshvara #chamunda #bharhut #bharhutstupa #garuda #singaporemuseum #singapore
•
Follow

Publications

Books

2023 – Chandragupta Maurya: the creation of a national hero in India (UCL Press).

2020 – T. Argounova-Low, A.K. Brown & S. Jansari, Model of a Summer Camp (London: British Museum Press, 2020).

Book & Exhibition Catalogue Chapters

2021 – ‘I let the pitcher drift away‘ – in R. Mussai & M. Sealy (eds.) Care | Contagion | Community – Self & Other (Autograph: London, 2021), pp.83-84.

2021 – ‘India and the Himalayas. From the Mauryas to the Palas, the rise and fall of Buddhist art in India’, in Traveller’s Eye: Selected Works from the Francisco Capelo Asia Collection (London: Scala Arts & Heritage Publishers Ltd., 2021), pp.150-161.

2020 – ‘Buildings with a Message – Experimenting with a Rich Mosaic of Objects and Voices’ in RETHINK Design Guide: Architecture for a post-pandemic world (London: RIBA Publishing, 2020), pp.66-69.

2020 – ‘South Asia’ in R. Mairs (ed.) The Graeco-Bactrian and Indo-Greek World (London: Routledge,  2020). (peer-reviewed), pp.38-55.

2020 – ‘Two sides of the coin: from Sophytes to Skanda-Kārttikeya’ in R. Mairs (ed.) The Graeco-Bactrian and Indo-Greek World (London: Routledge,  2020). (peer-reviewed), pp.487-498.

2019 – ‘Colonial Collecting in Ceylon: Dispersing the Hugh Nevill Collections across the British Isles’, in A.B. Peyton and K.A. Paul (eds.) Arts of South Asia: Cultures of Collecting (Gainesville: University of Florida Press; David A. Cofrin Asian art manuscript series), pp.63-94.  (peer-reviewed)

2016 – S. Jansari & R. Ricot, ‘Megasthenes and the Astomoi: a case study into ethnography and paradoxography’, in H. Brinkhaus and J. Wiesehöfer (eds.) Classica et Orientalia (Wiesbaden: Harrassowitz, 2016), pp. 85-96. (peer-reviewed)

Blogposts

2018 – ‘International Women Collectors’ – British Museum

2018 – Sakha objects at the British Museum: a collection history.

2017 – S. Jansari & M. Roy, ‘Colin Mackenzie: Collector Extraordinaire’ –  British Library: Asian and African Studies

Magazine Articles (online/print)

2018 – ‘Jaina Objects at the British Museum’ – Jaina Studies: Newsletter of the Centre of Jaina Studies, March, Issue 13, pp.46-49.

2017 – ‘Redisplay of the Jaina collections in the Hotung Gallery’ – Arts of Asia (vol.47, issue 6 Nov-Dec), pp.84-91

2016 – ‘Traditional Ways’ – British Museum Magazine (Autumn), p.12

2014 – ‘Making Myth a Reality’ – British Museum Magazine (Spring/Summer), pp.48-51

2011 – ‘Annals of Human Genetics Archive, UCL’, Genetics and Medicine Historical Network Newsletter no.15, November, p.3.

Journal Articles

2019 – ‘From Geography to Paradoxography: the use, transmission and survival of Megasthenes’ Indica‘ Journal of Ancient History Vol.8:1, pp.26-49. (peer-reviewed)

2018 – ‘The Sophytes coins: from the Punjab to Bactria and back again’, Numismatic Chronicle vol.178, pp.71-98, pl.7-12 – (peer-reviewed)

2013 – ‘Roman Coins from the Masson and Mackenzie Collections in the British Museum’, South Asian Studies vol.29:2, pp.177-193. (peer-reviewed)

2012 – ‘Roman Coins from the Mackenzie Collection at the British Museum’, Numismatic Chronicle vol.172, pp.93-104. (peer-reviewed)

3 weeks ago
View on Instagram |
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#curatorsofinstagram #curatorsoftheextraordinary #buddhistart #buddha #asianart #ushnisha #objectoftheday
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Publications

Books

2023 – Chandragupta Maurya: the creation of a national hero in India (UCL Press).

2020 – T. Argounova-Low, A.K. Brown & S. Jansari, Model of a Summer Camp (London: British Museum Press, 2020).

Book & Exhibition Catalogue Chapters

2021 – ‘I let the pitcher drift away‘ – in R. Mussai & M. Sealy (eds.) Care | Contagion | Community – Self & Other (Autograph: London, 2021), pp.83-84.

2021 – ‘India and the Himalayas. From the Mauryas to the Palas, the rise and fall of Buddhist art in India’, in Traveller’s Eye: Selected Works from the Francisco Capelo Asia Collection (London: Scala Arts & Heritage Publishers Ltd., 2021), pp.150-161.

2020 – ‘Buildings with a Message – Experimenting with a Rich Mosaic of Objects and Voices’ in RETHINK Design Guide: Architecture for a post-pandemic world (London: RIBA Publishing, 2020), pp.66-69.

2020 – ‘South Asia’ in R. Mairs (ed.) The Graeco-Bactrian and Indo-Greek World (London: Routledge,  2020). (peer-reviewed), pp.38-55.

2020 – ‘Two sides of the coin: from Sophytes to Skanda-Kārttikeya’ in R. Mairs (ed.) The Graeco-Bactrian and Indo-Greek World (London: Routledge,  2020). (peer-reviewed), pp.487-498.

2019 – ‘Colonial Collecting in Ceylon: Dispersing the Hugh Nevill Collections across the British Isles’, in A.B. Peyton and K.A. Paul (eds.) Arts of South Asia: Cultures of Collecting (Gainesville: University of Florida Press; David A. Cofrin Asian art manuscript series), pp.63-94.  (peer-reviewed)

2016 – S. Jansari & R. Ricot, ‘Megasthenes and the Astomoi: a case study into ethnography and paradoxography’, in H. Brinkhaus and J. Wiesehöfer (eds.) Classica et Orientalia (Wiesbaden: Harrassowitz, 2016), pp. 85-96. (peer-reviewed)

Blogposts

2018 – ‘International Women Collectors’ – British Museum

2018 – Sakha objects at the British Museum: a collection history.

2017 – S. Jansari & M. Roy, ‘Colin Mackenzie: Collector Extraordinaire’ –  British Library: Asian and African Studies

Magazine Articles (online/print)

2018 – ‘Jaina Objects at the British Museum’ – Jaina Studies: Newsletter of the Centre of Jaina Studies, March, Issue 13, pp.46-49.

2017 – ‘Redisplay of the Jaina collections in the Hotung Gallery’ – Arts of Asia (vol.47, issue 6 Nov-Dec), pp.84-91

2016 – ‘Traditional Ways’ – British Museum Magazine (Autumn), p.12

2014 – ‘Making Myth a Reality’ – British Museum Magazine (Spring/Summer), pp.48-51

2011 – ‘Annals of Human Genetics Archive, UCL’, Genetics and Medicine Historical Network Newsletter no.15, November, p.3.

Journal Articles

2019 – ‘From Geography to Paradoxography: the use, transmission and survival of Megasthenes’ Indica‘ Journal of Ancient History Vol.8:1, pp.26-49. (peer-reviewed)

2018 – ‘The Sophytes coins: from the Punjab to Bactria and back again’, Numismatic Chronicle vol.178, pp.71-98, pl.7-12 – (peer-reviewed)

2013 – ‘Roman Coins from the Masson and Mackenzie Collections in the British Museum’, South Asian Studies vol.29:2, pp.177-193. (peer-reviewed)

2012 – ‘Roman Coins from the Mackenzie Collection at the British Museum’, Numismatic Chronicle vol.172, pp.93-104. (peer-reviewed)

4 weeks ago
View on Instagram |
4/6
There is a small but excellent collection of terracottas on display @acm_sg The standing goddess with weapons emanating from her hair is a favourite image of mine - we could all do with her strength & protection! - and this was a beautifully preserved and pretty large plaque. The small pot-bellied yakshas (male nature spirits) are also fabulous, especially the grimacing one! These are also made in a mold, 2-parts in their case, and one is filled with pebbles to make a rattling sound when it moves! #objectoftheday #curatorsofinstagram #curatorsoftheextraordinary #hinduart #buddhistart #asiancivilisationsmuseum #asiancivilizationsmuseum #singapore #singaporemuseum #museum #southasiacollection #southasianart #terracotta #terracottaart #goddess #yaksha #divine
There is a small but excellent collection of terracottas on display @acm_sg The standing goddess with weapons emanating from her hair is a favourite image of mine - we could all do with her strength & protection! - and this was a beautifully preserved and pretty large plaque. The small pot-bellied yakshas (male nature spirits) are also fabulous, especially the grimacing one! These are also made in a mold, 2-parts in their case, and one is filled with pebbles to make a rattling sound when it moves! #objectoftheday #curatorsofinstagram #curatorsoftheextraordinary #hinduart #buddhistart #asiancivilisationsmuseum #asiancivilizationsmuseum #singapore #singaporemuseum #museum #southasiacollection #southasianart #terracotta #terracottaart #goddess #yaksha #divine
There is a small but excellent collection of terracottas on display @acm_sg The standing goddess with weapons emanating from her hair is a favourite image of mine - we could all do with her strength & protection! - and this was a beautifully preserved and pretty large plaque. The small pot-bellied yakshas (male nature spirits) are also fabulous, especially the grimacing one! These are also made in a mold, 2-parts in their case, and one is filled with pebbles to make a rattling sound when it moves! #objectoftheday #curatorsofinstagram #curatorsoftheextraordinary #hinduart #buddhistart #asiancivilisationsmuseum #asiancivilizationsmuseum #singapore #singaporemuseum #museum #southasiacollection #southasianart #terracotta #terracottaart #goddess #yaksha #divine
There is a small but excellent collection of terracottas on display @acm_sg The standing goddess with weapons emanating from her hair is a favourite image of mine - we could all do with her strength & protection! - and this was a beautifully preserved and pretty large plaque. The small pot-bellied yakshas (male nature spirits) are also fabulous, especially the grimacing one! These are also made in a mold, 2-parts in their case, and one is filled with pebbles to make a rattling sound when it moves! #objectoftheday #curatorsofinstagram #curatorsoftheextraordinary #hinduart #buddhistart #asiancivilisationsmuseum #asiancivilizationsmuseum #singapore #singaporemuseum #museum #southasiacollection #southasianart #terracotta #terracottaart #goddess #yaksha #divine
There is a small but excellent collection of terracottas on display @acm_sg The standing goddess with weapons emanating from her hair is a favourite image of mine - we could all do with her strength & protection! - and this was a beautifully preserved and pretty large plaque. The small pot-bellied yakshas (male nature spirits) are also fabulous, especially the grimacing one! These are also made in a mold, 2-parts in their case, and one is filled with pebbles to make a rattling sound when it moves! #objectoftheday #curatorsofinstagram #curatorsoftheextraordinary #hinduart #buddhistart #asiancivilisationsmuseum #asiancivilizationsmuseum #singapore #singaporemuseum #museum #southasiacollection #southasianart #terracotta #terracottaart #goddess #yaksha #divine
There is a small but excellent collection of terracottas on display @acm_sg The standing goddess with weapons emanating from her hair is a favourite image of mine - we could all do with her strength & protection! - and this was a beautifully preserved and pretty large plaque. The small pot-bellied yakshas (male nature spirits) are also fabulous, especially the grimacing one! These are also made in a mold, 2-parts in their case, and one is filled with pebbles to make a rattling sound when it moves! #objectoftheday #curatorsofinstagram #curatorsoftheextraordinary #hinduart #buddhistart #asiancivilisationsmuseum #asiancivilizationsmuseum #singapore #singaporemuseum #museum #southasiacollection #southasianart #terracotta #terracottaart #goddess #yaksha #divine
There is a small but excellent collection of terracottas on display @acm_sg The standing goddess with weapons emanating from her hair is a favourite image of mine - we could all do with her strength & protection! - and this was a beautifully preserved and pretty large plaque. The small pot-bellied yakshas (male nature spirits) are also fabulous, especially the grimacing one! These are also made in a mold, 2-parts in their case, and one is filled with pebbles to make a rattling sound when it moves! #objectoftheday #curatorsofinstagram #curatorsoftheextraordinary #hinduart #buddhistart #asiancivilisationsmuseum #asiancivilizationsmuseum #singapore #singaporemuseum #museum #southasiacollection #southasianart #terracotta #terracottaart #goddess #yaksha #divine
There is a small but excellent collection of terracottas on display @acm_sg The standing goddess with weapons emanating from her hair is a favourite image of mine - we could all do with her strength & protection! - and this was a beautifully preserved and pretty large plaque. The small pot-bellied yakshas (male nature spirits) are also fabulous, especially the grimacing one! These are also made in a mold, 2-parts in their case, and one is filled with pebbles to make a rattling sound when it moves! #objectoftheday #curatorsofinstagram #curatorsoftheextraordinary #hinduart #buddhistart #asiancivilisationsmuseum #asiancivilizationsmuseum #singapore #singaporemuseum #museum #southasiacollection #southasianart #terracotta #terracottaart #goddess #yaksha #divine
•
Follow

Publications

Books

2023 – Chandragupta Maurya: the creation of a national hero in India (UCL Press).

2020 – T. Argounova-Low, A.K. Brown & S. Jansari, Model of a Summer Camp (London: British Museum Press, 2020).

Book & Exhibition Catalogue Chapters

2021 – ‘I let the pitcher drift away‘ – in R. Mussai & M. Sealy (eds.) Care | Contagion | Community – Self & Other (Autograph: London, 2021), pp.83-84.

2021 – ‘India and the Himalayas. From the Mauryas to the Palas, the rise and fall of Buddhist art in India’, in Traveller’s Eye: Selected Works from the Francisco Capelo Asia Collection (London: Scala Arts & Heritage Publishers Ltd., 2021), pp.150-161.

2020 – ‘Buildings with a Message – Experimenting with a Rich Mosaic of Objects and Voices’ in RETHINK Design Guide: Architecture for a post-pandemic world (London: RIBA Publishing, 2020), pp.66-69.

2020 – ‘South Asia’ in R. Mairs (ed.) The Graeco-Bactrian and Indo-Greek World (London: Routledge,  2020). (peer-reviewed), pp.38-55.

2020 – ‘Two sides of the coin: from Sophytes to Skanda-Kārttikeya’ in R. Mairs (ed.) The Graeco-Bactrian and Indo-Greek World (London: Routledge,  2020). (peer-reviewed), pp.487-498.

2019 – ‘Colonial Collecting in Ceylon: Dispersing the Hugh Nevill Collections across the British Isles’, in A.B. Peyton and K.A. Paul (eds.) Arts of South Asia: Cultures of Collecting (Gainesville: University of Florida Press; David A. Cofrin Asian art manuscript series), pp.63-94.  (peer-reviewed)

2016 – S. Jansari & R. Ricot, ‘Megasthenes and the Astomoi: a case study into ethnography and paradoxography’, in H. Brinkhaus and J. Wiesehöfer (eds.) Classica et Orientalia (Wiesbaden: Harrassowitz, 2016), pp. 85-96. (peer-reviewed)

Blogposts

2018 – ‘International Women Collectors’ – British Museum

2018 – Sakha objects at the British Museum: a collection history.

2017 – S. Jansari & M. Roy, ‘Colin Mackenzie: Collector Extraordinaire’ –  British Library: Asian and African Studies

Magazine Articles (online/print)

2018 – ‘Jaina Objects at the British Museum’ – Jaina Studies: Newsletter of the Centre of Jaina Studies, March, Issue 13, pp.46-49.

2017 – ‘Redisplay of the Jaina collections in the Hotung Gallery’ – Arts of Asia (vol.47, issue 6 Nov-Dec), pp.84-91

2016 – ‘Traditional Ways’ – British Museum Magazine (Autumn), p.12

2014 – ‘Making Myth a Reality’ – British Museum Magazine (Spring/Summer), pp.48-51

2011 – ‘Annals of Human Genetics Archive, UCL’, Genetics and Medicine Historical Network Newsletter no.15, November, p.3.

Journal Articles

2019 – ‘From Geography to Paradoxography: the use, transmission and survival of Megasthenes’ Indica‘ Journal of Ancient History Vol.8:1, pp.26-49. (peer-reviewed)

2018 – ‘The Sophytes coins: from the Punjab to Bactria and back again’, Numismatic Chronicle vol.178, pp.71-98, pl.7-12 – (peer-reviewed)

2013 – ‘Roman Coins from the Masson and Mackenzie Collections in the British Museum’, South Asian Studies vol.29:2, pp.177-193. (peer-reviewed)

2012 – ‘Roman Coins from the Mackenzie Collection at the British Museum’, Numismatic Chronicle vol.172, pp.93-104. (peer-reviewed)

1 month ago
View on Instagram |
5/6
I stopped in my tracks when I saw these earrings. They are incredibly rare gold earrings dating to c.1st - 3rd centuries AD. You often see them represented in sculptures but to actually see a pair is 🤯 Same with the next pair which are discs of ivory that would have been inserted into stretched earlobes 👉🏾 The other earrings are beautiful examples from Java, Philippines and Champa (Mekong Delta) that date between 3rd - 9th centuries. #kushanart #gold #ancientindia #goldearrings #indianart #indiangold #philippines #champa #objectoftheday #dayinthelifeofacurator #mekongdelta #java #javagold #javanesegold #goldart #goldenart #asiancivilisationsmuseum #asiancivilisationsmuseumsingapore #singapore #singaporemuseum
I stopped in my tracks when I saw these earrings. They are incredibly rare gold earrings dating to c.1st - 3rd centuries AD. You often see them represented in sculptures but to actually see a pair is 🤯 Same with the next pair which are discs of ivory that would have been inserted into stretched earlobes 👉🏾 The other earrings are beautiful examples from Java, Philippines and Champa (Mekong Delta) that date between 3rd - 9th centuries. #kushanart #gold #ancientindia #goldearrings #indianart #indiangold #philippines #champa #objectoftheday #dayinthelifeofacurator #mekongdelta #java #javagold #javanesegold #goldart #goldenart #asiancivilisationsmuseum #asiancivilisationsmuseumsingapore #singapore #singaporemuseum
I stopped in my tracks when I saw these earrings. They are incredibly rare gold earrings dating to c.1st - 3rd centuries AD. You often see them represented in sculptures but to actually see a pair is 🤯 Same with the next pair which are discs of ivory that would have been inserted into stretched earlobes 👉🏾 The other earrings are beautiful examples from Java, Philippines and Champa (Mekong Delta) that date between 3rd - 9th centuries. #kushanart #gold #ancientindia #goldearrings #indianart #indiangold #philippines #champa #objectoftheday #dayinthelifeofacurator #mekongdelta #java #javagold #javanesegold #goldart #goldenart #asiancivilisationsmuseum #asiancivilisationsmuseumsingapore #singapore #singaporemuseum
I stopped in my tracks when I saw these earrings. They are incredibly rare gold earrings dating to c.1st - 3rd centuries AD. You often see them represented in sculptures but to actually see a pair is 🤯 Same with the next pair which are discs of ivory that would have been inserted into stretched earlobes 👉🏾 The other earrings are beautiful examples from Java, Philippines and Champa (Mekong Delta) that date between 3rd - 9th centuries. #kushanart #gold #ancientindia #goldearrings #indianart #indiangold #philippines #champa #objectoftheday #dayinthelifeofacurator #mekongdelta #java #javagold #javanesegold #goldart #goldenart #asiancivilisationsmuseum #asiancivilisationsmuseumsingapore #singapore #singaporemuseum
I stopped in my tracks when I saw these earrings. They are incredibly rare gold earrings dating to c.1st - 3rd centuries AD. You often see them represented in sculptures but to actually see a pair is 🤯 Same with the next pair which are discs of ivory that would have been inserted into stretched earlobes 👉🏾 The other earrings are beautiful examples from Java, Philippines and Champa (Mekong Delta) that date between 3rd - 9th centuries. #kushanart #gold #ancientindia #goldearrings #indianart #indiangold #philippines #champa #objectoftheday #dayinthelifeofacurator #mekongdelta #java #javagold #javanesegold #goldart #goldenart #asiancivilisationsmuseum #asiancivilisationsmuseumsingapore #singapore #singaporemuseum
I stopped in my tracks when I saw these earrings. They are incredibly rare gold earrings dating to c.1st - 3rd centuries AD. You often see them represented in sculptures but to actually see a pair is 🤯 Same with the next pair which are discs of ivory that would have been inserted into stretched earlobes 👉🏾 The other earrings are beautiful examples from Java, Philippines and Champa (Mekong Delta) that date between 3rd - 9th centuries. #kushanart #gold #ancientindia #goldearrings #indianart #indiangold #philippines #champa #objectoftheday #dayinthelifeofacurator #mekongdelta #java #javagold #javanesegold #goldart #goldenart #asiancivilisationsmuseum #asiancivilisationsmuseumsingapore #singapore #singaporemuseum
•
Follow

Publications

Books

2023 – Chandragupta Maurya: the creation of a national hero in India (UCL Press).

2020 – T. Argounova-Low, A.K. Brown & S. Jansari, Model of a Summer Camp (London: British Museum Press, 2020).

Book & Exhibition Catalogue Chapters

2021 – ‘I let the pitcher drift away‘ – in R. Mussai & M. Sealy (eds.) Care | Contagion | Community – Self & Other (Autograph: London, 2021), pp.83-84.

2021 – ‘India and the Himalayas. From the Mauryas to the Palas, the rise and fall of Buddhist art in India’, in Traveller’s Eye: Selected Works from the Francisco Capelo Asia Collection (London: Scala Arts & Heritage Publishers Ltd., 2021), pp.150-161.

2020 – ‘Buildings with a Message – Experimenting with a Rich Mosaic of Objects and Voices’ in RETHINK Design Guide: Architecture for a post-pandemic world (London: RIBA Publishing, 2020), pp.66-69.

2020 – ‘South Asia’ in R. Mairs (ed.) The Graeco-Bactrian and Indo-Greek World (London: Routledge,  2020). (peer-reviewed), pp.38-55.

2020 – ‘Two sides of the coin: from Sophytes to Skanda-Kārttikeya’ in R. Mairs (ed.) The Graeco-Bactrian and Indo-Greek World (London: Routledge,  2020). (peer-reviewed), pp.487-498.

2019 – ‘Colonial Collecting in Ceylon: Dispersing the Hugh Nevill Collections across the British Isles’, in A.B. Peyton and K.A. Paul (eds.) Arts of South Asia: Cultures of Collecting (Gainesville: University of Florida Press; David A. Cofrin Asian art manuscript series), pp.63-94.  (peer-reviewed)

2016 – S. Jansari & R. Ricot, ‘Megasthenes and the Astomoi: a case study into ethnography and paradoxography’, in H. Brinkhaus and J. Wiesehöfer (eds.) Classica et Orientalia (Wiesbaden: Harrassowitz, 2016), pp. 85-96. (peer-reviewed)

Blogposts

2018 – ‘International Women Collectors’ – British Museum

2018 – Sakha objects at the British Museum: a collection history.

2017 – S. Jansari & M. Roy, ‘Colin Mackenzie: Collector Extraordinaire’ –  British Library: Asian and African Studies

Magazine Articles (online/print)

2018 – ‘Jaina Objects at the British Museum’ – Jaina Studies: Newsletter of the Centre of Jaina Studies, March, Issue 13, pp.46-49.

2017 – ‘Redisplay of the Jaina collections in the Hotung Gallery’ – Arts of Asia (vol.47, issue 6 Nov-Dec), pp.84-91

2016 – ‘Traditional Ways’ – British Museum Magazine (Autumn), p.12

2014 – ‘Making Myth a Reality’ – British Museum Magazine (Spring/Summer), pp.48-51

2011 – ‘Annals of Human Genetics Archive, UCL’, Genetics and Medicine Historical Network Newsletter no.15, November, p.3.

Journal Articles

2019 – ‘From Geography to Paradoxography: the use, transmission and survival of Megasthenes’ Indica‘ Journal of Ancient History Vol.8:1, pp.26-49. (peer-reviewed)

2018 – ‘The Sophytes coins: from the Punjab to Bactria and back again’, Numismatic Chronicle vol.178, pp.71-98, pl.7-12 – (peer-reviewed)

2013 – ‘Roman Coins from the Masson and Mackenzie Collections in the British Museum’, South Asian Studies vol.29:2, pp.177-193. (peer-reviewed)

2012 – ‘Roman Coins from the Mackenzie Collection at the British Museum’, Numismatic Chronicle vol.172, pp.93-104. (peer-reviewed)

1 month ago
View on Instagram |
6/6