https://aiatoronto.ca/events daily 0.75 2026-03-16 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1618497259178-6XJGK9GR6YAVBQL5L519/20140301_Trade-151_012-2.jpg Events https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1618497259178-6XJGK9GR6YAVBQL5L519/20140301_Trade-151_012-2.jpg Events https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1607694583486-2PQT0LQ193RL7MCB6DX4/20140228_Trade+151_0046.jpg Events https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1607694644871-IC85FNH781UNZSZEGHDR/Aro+Ha_0428.jpg Events https://images.squarespace-cdn.com/content/v1/5e32056774392a1f1b822ff5/1606948425751-5ISLIB5QRP1IJLUQC4U0/IMG_8221.png Events https://images.squarespace-cdn.com/content/v1/5e32056774392a1f1b822ff5/1644542534587-2QKNMYLHCNWU0XLC1BDQ/Team+1.jpg Events https://aiatoronto.ca/events/aia-annual-banquet-2024 monthly 0.5 2024-03-28 https://aiatoronto.ca/events/january-2023-lecture-new-technologies-and-architectural-insights-at-the-first-doric-temple-in-sicily-with-dr-phil-sapirstein monthly 0.5 2023-01-20 https://aiatoronto.ca/events/labyrinth-unravelled-an-exploration-of-post-palatial-architecture-in-late-bronze-age-crete monthly 0.5 2022-10-19 https://aiatoronto.ca/events/p1pyoht8o62bau74qqd4lfw6cxd2r6 monthly 0.5 2022-10-07 https://aiatoronto.ca/events/aia-annual-banquet-2022 monthly 0.5 2022-04-13 https://aiatoronto.ca/events/working-the-night-shift-life-after-dark-in-the-ancient-world monthly 0.5 2022-03-03 https://aiatoronto.ca/events/ancient-nubia-in-the-21st-century monthly 0.5 2022-04-14 https://aiatoronto.ca/events/antiquity-in-color-kore-670-from-the-new-acropolis-museum monthly 0.5 2022-02-11 https://aiatoronto.ca/events/building-a-museum-perspectives-on-the-grand-egyptian-museum-project monthly 0.5 2021-11-18 https://aiatoronto.ca/events/allegory-a-tapestry-of-guru-nanaks-travels monthly 0.5 2021-10-04 https://aiatoronto.ca/events/currents-and-commodities monthly 0.5 2021-09-23 https://aiatoronto.ca/events/aia-toronto-year-end-social-event monthly 0.5 2021-03-12 https://aiatoronto.ca/events/mapping-a-south-asian-sacred-journey-the-gosainkund-pilgrimage-painting-at-philadelphia-museum-of-art-by-dr-neeraja-poddar monthly 0.5 2021-03-12 https://images.squarespace-cdn.com/content/v1/5e32056774392a1f1b822ff5/1612038631434-C3G3OTXWN5LWT8R7ODQG/Screen+Shot+2021-01-30+at+3.29.17+PM.png Events - “Mapping a South Asian Sacred Journey: The Gosainkund Pilgrimage Painting at Philadelphia Museum of Art” By Dr. Neeraja Poddar In the collection of Philadelphia Museum of Art is an exceptional Nepali painting that depicts pilgrims walking winding paths, fording fast-flowing rivers, and climbing steep cliffs as they make their way through the Kathmandu Valley. Their destination—the holy lake of Gosainkund—is at the right end of the painting and pilgrims traverse the work’s fourteen feet, three and a half inches (4.35 metres) to reach it. On the road they encounter numerous sacred sites that dot the urban centres or stand alone in the landscape. This article probes how the format of the Gosainkund painting lends itself to the creation of a sacred map that unfolds experientially, and, in turn, reinforces the religious potency of the Kathmandu Valley and beyond. Rather than focusing on scientific precision, the artist appears to use the horizontality of the object to plot towns, rivers, and mountains in relation to each other as they might be encountered on a journey. I believe this assists viewers in locating sacred sites—which are often identified by hand-written labels—and allows them to use the painting to trace a unique pilgrimage, choosing the places they want to “visit” en route. By walking along the length of the work and following an individualized route with their eyes, I suggest that viewers are able to emulate the bodily movements of the pilgrims who make their way through the valley, performing darshan at select spots. And while viewers are unable to bathe in the purifying waters of the holy lake, they may accrue religious merit by offering worship at Gosainkund—the remnants of ritual substances sprinkled on the deity represented within the holy lake are still visible, transforming the painting into an icon and making it a potent stand-in for a physical pilgrimage. Dr. Neeraja Poddar is the Ira Brind and Stacey Spector Associate Curator of South Asian Art at the Philadelphia Museum of Art. https://aiatoronto.ca/events/music-dance-and-the-cult-of-pan-and-the-nymphs-in-the-vari-cave-by-prof-carolyn-laferriere-dept-of-the-history-of-art-yale-university monthly 0.5 2021-03-12 https://images.squarespace-cdn.com/content/v1/5e32056774392a1f1b822ff5/1611955088341-ICI63OXJCTK9VWMOVTHU/Screen+Shot+2021-01-29+at+3.59.08+PM.png Events - “Music, Dance, and the Cult of Pan and the Nymphs in the Vari Cave” By Prof Carolyn Laferrière, Dept. of the History of Art, Yale University - Religious ritual in ancient Greece regularly incorporated music, so much so that certain instruments or vocal genres frequently became associated with the religious veneration of specific gods, such as Apollo, Dionysos, and Kybele. The rural, Attic cult of Pan and the Nymphs should also be included among this group: though little is often known about the specific practices in each individual cult, the literary and visual evidence associated with the cults make repeated reference to music performed on the pan-pipes — and to auditory and sensory stimuli more generally — as a prominent feature of these gods’ worship. Taking the Vari Cave, sacred to Pan and the Nymphs, as my case study, I consider it together with the surviving marble votive reliefs from that space, in order to explore the sounds and sensations associated with the veneration of the rural gods. I argue that the sensory experience offered by the cave and the images within it would have enhanced the worshipper’s experience of the ritual and the gods for whom they were performed. In this way, visual and auditory perceptions blurred together to create a powerful synaesthetic experience of the divine. https://aiatoronto.ca/events/vital-voids-cavities-and-holes-in-mesoamerican-material-culture-by-prof-andrew-finegold-assistant-professor-of-visual-culture-of-the-ancient-americas-university-of-illinois-at-chicago monthly 0.5 2021-03-12 https://images.squarespace-cdn.com/content/v1/5e32056774392a1f1b822ff5/1611954569340-GQ38TS0F01S1MTMMA5US/Screen+Shot+2021-01-29+at+4.06.11+PM.png Events - Vital Voids: Cavities and Holes in Mesoamerican Material Culture” By Prof Andrew Finegold, Assistant Professor of Visual Culture of the Ancient Americas, University of Illinois at Chicago - Anchored by the close analysis of a single object— a Late Classic Maya codex-style dish known as the Resurrection Plate—this talk examines a variety of empty spaces created in diverse grounds in the material culture of ancient Mesoamerica. It is argued that these collectively reflect a fundamental metaphysical conception held by Mesoamerican peoples of holes and voids as necessary prerequisites for the emergence of life and its associated creative energies and material abundance. With iconography that appears to have anticipated the hole that was eventually drilled through its center as part of a regionally prevalent funerary practice by creating imagery that, the planned interaction of the imagery with this hole in the Resurrection Plate evokes a variety of beliefs and practices related to the act of perforation that were broadly shared across Mesoamerica. These include the breaking open of the earth to release its agricultural abundance, the drilling of fire, and the piercing of human flesh. Taken together, these associations serve to demonstrate the consistent, widespread, and transmedial experience of voids as fecund nodes of generative potential. 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