Tamil civilization is among the oldest in the world. Pandyan, Chera, and Chola dynasties ruled Tamilakkam (Tamil Nadu), and together they shaped Tamilakkam with a distinct culture, tradition, and language, contributing to the progress of Sangam literature, which is considered among the oldest of the world's literature. Marutham refers to the type of vista of the Sangam age (300 BCE–300 CE), and the name Madurai was derived from the word Marutham. Madurai is also referred to as Koodal, which aptly translates to a congregation or assembly of scholars, pointing out the three Tamil Sangams held at Madurai.

With rice as the primary crop, Madurai was traditionally an agrarian society. To increase the revenue from agriculture, the regions with black soil in Madurai district were introduced to cotton crop cultivation during the Nayakar rule in the 16th century. Fast forwarding several centuries, Madurai city is the administrative headquarters of Madurai district and is the second most populous city in Tamil Nadu.

The year 1991 marked the liberalisation of the Indian economy, and this was attributed to the arrival of small-scale industries. The industrialization of Madurai increased employment across the district. The city is now the abode of various chemical, granite, rubber, and automobile manufacturing industries. Madurai has shaped itself as a second-tier city for information technology.

Ajanta, a UNESCO world heritage site, has inspired whole generations of painters and sculptors and had a great impact on modern painting. But over the past few centuries, it fell from grace, and the Revisiting Ajanta project is helping to restore it.

The project aims at producing an animated film on the life of Buddha, staying true to the paintings by using techniques such as OHPI acrylic puppetry and Paint on Glass animation. Although paint on glass and Ohp acrylic puppetry each present their own set of obstacles, they have also paved the way for various exploratory roads, and the results of this are interesting and vibrant.

Although the exploratory road seems obscure and vague at the beginning, it sparks crazy ideas and astounding results if pursued. This is what I took away from this project.

Neither do I want to glorify war and its necessity, nor do I want to portray it as an act of vengeance (which might even involve pillaging, raping, and murdering). What I want to show is war from a civilian's point of view, where civilians have little say in the decision-making of the government or state that goes to war but suffer the consequences anyway. Their lives are displaced, and the lives of their loved ones are lost.

There is a constant displacement of civilians fleeing war; some are internally displaced while others flee their homes all together; they move from the warm and familiar to the cold and unwelcoming. They trade everything they have for the chance of survival and the safety of their children. Most of them face xenophobia.

A constant reminder of war echoes throughout their lives, and they are burdened every day with survivor's guilt. The worst affected are the children, who are clueless as to why this is all happening. Traumatised by every aspect of war, their early years of playfulness and joy turn into a never-ending trial for survival and a nightmare of a life. Most hardly make it through, and those who do are scarred beyond recognition for the rest of their lives. The child's rights are violated, especially in the case of the orphans of war. Thousands of them are stranded and straying in the conflict zone, left to fend for themselves. They are subjected to innumerable social evils such as child labour, human trafficking, the organ trade, etc. Some of them are saved from the clutches of war, while the rest succumb to its flames. Childhood is lost. Lives are lost. Hope? I think despair is preceded and succeeded by hope. The Children of War are little bits of sunshine in the dark winter days; they bring joy to all those who surround them. They cope in very peculiar yet inventive ways. They can find joy in the darkest of hours if they are given a little chance to shine. And they shine brightly, bringing light to what is left of humanity. My film is inspired by these flowers of war, who are to be protected.

Neither do I want to glorify war and its necessity, nor do I want to portray it as an act of vengeance (which might even involve pillaging, raping, and murdering). What I want to show is war from a civilian's point of view, where civilians have little say in the decision-making of the government or state that goes to war but suffer the consequences anyway. Their lives are displaced, and the lives of their loved ones are lost.

There is a constant displacement of civilians fleeing war; some are internally displaced while others flee their homes all together; they move from the warm and familiar to the cold and unwelcoming. They trade everything they have for the chance of survival and the safety of their children. Most of them face xenophobia.

A constant reminder of war echoes throughout their lives, and they are burdened every day with survivor's guilt. The worst affected are the children, who are clueless as to why this is all happening. Traumatised by every aspect of war, their early years of playfulness and joy turn into a never-ending trial for survival and a nightmare of a life. Most hardly make it through, and those who do are scarred beyond recognition for the rest of their lives. The child's rights are violated, especially in the case of the orphans of war. Thousands of them are stranded and straying in the conflict zone, left to fend for themselves. They are subjected to innumerable social evils such as child labour, human trafficking, the organ trade, etc. Some of them are saved from the clutches of war, while the rest succumb to its flames. Childhood is lost. Lives are lost. Hope? I think despair is preceded and succeeded by hope. The Children of War are little bits of sunshine in the dark winter days; they bring joy to all those who surround them. They cope in very peculiar yet inventive ways. They can find joy in the darkest of hours if they are given a little chance to shine. And they shine brightly, bringing light to what is left of humanity. My film is inspired by these flowers of war, who are to be protected.