Art & Architecture (136)

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    Living as a family is what all human beings — even members of the animal kingdom like lion, tiger and elephant — do and aspire for. A family togetherness depends upon the role each member plays. A pious couple — the Kogatas — have seen Lord Shiva’s family as the ideal and have beautified this book with pleasing illustrations of the divine parents and children in different moods followed by charming and delightful verses.

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    Parivaar — The Art of Living Life by: R.N. Kogata 162.00

    “Vasudaiva Kutumbakam” — “the world is my family.” Indian culture teacher us this motto, i.e. to treat all beings, animate and inanimate, in the world as our family members.
    Our small family is run by a father and a mother. The father works and earns money, and with it the mother runds the houshold. Both look after the children in the best way possible.
    In the Hindu pantheon there is a famous family or Parivaar — that of Lord Shiva comprising his consort Parvati and children Ganesh and Kartik. If we look at the vehicles or vahanas used by this family, we find each one is an enemy or prey of the other, but the composite picture shows a unified family without any sign of animosity. We should take Lord Shiva’s family as an example.
    A family togetherness depends upon the role each member plays, and the members’ sacrifices, devotion to ideals and respect to family values form the ladder to success.
    The Kogatas have also seen Lord Shiva’s family as the ideal, and have beautified this book with pleasing illustrations of the divine parents and children in different activities and moods, followed by charming and delightful verses.

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    From time immemorial a family Þ consisting of father, mother, son, his wife, and their childern Þ has been accepted as a sacred institution in all societies Þ urban, rural, tribal or uncivilized, or even among animals to a certain extent. In the family, besides love and affection, the main factors cementing the bond between members are some virtues and morals like obedience, faithfulness, honesty, and, above all, chastity, not only for women but also for the men. In Hindu thought Lord Shiva and Goddess Parvati are considered the ideal parents as well as the ideal couple. In four books Þ Pita, Maa, Pati and Patni Þ pleasingly embellished with self-explaining paintings, Mr K.N. Kogata and Mrs Lalita Kogata have extolled the roles, activities, and moods of these important members of the first family with charming and delightful verses.

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    Pati -Husband by: R.N. Kogata 180.00

    A man has many roles to play in life — a son, brother, husband, householder and father. The most important of these roles is that of husband. Only after becoming a husband a man becomes a householder and father. Epics, Puranas and other literature extol the role of a husband and list a number of dos and don’ts so that he can lead a chaste life and earn virtues and good reputation for himself as well as for his family. It is said that a husband is the source of dream and destination, he sets the way and speed, his positive attitude results in creativity, inspiration and happiness in the family, and for any wife, the husband is the ultimate truth and shrine. This book is a small attempt to express the love, affection, respect and feelings of a wife for her husband with the objective to inspire all men to become caring husbands. In Hindu thought Lord Shiva is considered a perfect husband, and women observe vrats on Mondays and pray that they should get good husbands like Shiva. The Kogatas have beautified the book with pleasing illustrations depicting Shiva as the perfect husband and Uma or Parvati as the perfect wife.

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    From time immemorial a family Þ consisting of father, mother, son, his wife, and their childern Þ has been accepted as a sacred institution in all societies Þ urban, rural, tribal or uncivilized, or even among animals to a certain extent. In the family, besides love and affection, the main factors cementing the bond between members are some virtues and morals like obedience, faithfulness, honesty, and, above all, chastity, not only for women but also for the men. In Hindu thought Lord Shiva and Goddess Parvati are considered the ideal parents as well as the ideal couple. In four books Þ Pita, Maa, Pati and Patni Þ pleasingly embellished with self-explaining paintings, Mr K.N. Kogata and Mrs Lalita Kogata have extolled the roles, activities, and moods of these important members of the first family with charming and delightful verses.

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    Patnee -Wife by: R.N. Kogata 198.00

    A woman has many roles to play in life — a daughter, sister, wife and mother. The most important of these roles is that of wife. Only after becoming a wife a woman becomes a mother which brings fullness to her life. Epics, Puranas and other literature extol the imporance of wife to a husband. She is a friend, philosopher and guide to him. In times of plenty all relatives and friends flock to a man like bees and ants to a ripe fruit, but at times of adversity a man will find only his wife by his side to give support, solace and encouragement. Probably because of this characteristic of a wife is she called “better half”. This book is a small attempt to express the love, affection and feelings of a husband for his wife with the objective to inspire all women to become good and virtuous wives worthy of adoration by their husbands. In Hindu thought Parvati or Uma or Sati is considered an ideal wife, who together with her consort Shiva make a perfect couple or aadarsh dampati. Another made-for-each-other couple — the Kogatas — have beautified the book with pleasing illustrations of Parvati and Shiva as the ideal couple. The delightful verses add sweetness and charm to the book.

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    From time immemorial a family Þ consisting of father, mother, son, his wife, and their childern Þ has been accepted as a sacred institution in all societies Þ urban, rural, tribal or uncivilized, or even among animals to a certain extent. In the family, besides love and affection, the main factors cementing the bond between members are some virtues and morals like obedience, faithfulness, honesty, and, above all, chastity, not only for women but also for the men. In Hindu thought Lord Shiva and Goddess Parvati are considered the ideal parents as well as the ideal couple. In four books Þ Pita, Maa, Pati and Patni Þ pleasingly embellished with self-explaining paintings, Mr K.N. Kogata and Mrs Lalita Kogata have extolled the roles, activities, and moods of these important members of the first family with charming and delightful verses.

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    Pita by: R.N. Kogata 180.00

    Taittiriya Upanishad says, “Pitru devo bhava” — consider your father as a god. We owe our existence to our father and mother, and in that sense they are our creators and therefore, gods. We cannot see God, the Creator of this universe, in person and offer our respects to Him. To make matters easy for us, God created father and mother and presented them before us in flesh and blood. By serving our father and mother we can pay back at least a little portion of the debt we owe to God for our existence and for the stage we have reached in life. Our epics, Puranas, Upanishads, etc. all extol the father as of utmost importance in society. Subhashita Manjari mentions five persons who are to be treated as father — one who gives birth, one who initiates, one who teaches, one who feeds, and one who protects us from fear. Practically speaking, our biological father does all these five activities — he is the cause of our birth, he initiates us as a brahmachaari by performing the Upanayanam ceremony, he teaches us how to live in the world with honour and dignity, he feeds us, and he protects us, his children, from all kinds of fear. As such, our efforts to serve and please our father should be fivefold. Aadi Shankaraachaarya sees, in Annapurnaashtakam, Lord Shiva and his consort Parvati as father and mother. In a similar way, the Kogatas have seen Shiva as the universal father and portrays him in the book along with mother Parvati in different activities and moods in pleasing illustrations which are further beautified by sweet and delightful verses.

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    Sculptures of numerous engaging devanganas — the surasundari, apsaras and alasakanya figures — decorate walls, ceilings and doorways of classical structures in India. The book offers dynamic meanings of these figures in religious and cultural consciousness of India and how they symbolize and illustrate “the power of the female” in Indian traditions.

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    Power of the Female by: Gauri Parimoo Krishnan 4,320.00

    This book is an offering to New Art History taking the study of Indian classical sculptural art and traditional Indian iconography to newer heights of interpretation. Sculptures of female figures in classical Indian architectural traditions have enjoyed a special placement and significance. Numerous engaging images of devanganas — the surasundari, apsaras and alasakanya figures — decorate walls, ceilings and doorways of Hindu temples in India. Viewing the devangana sculptures as a continuation of the yaksi sculptures of Buddhist and Jaina monuments and the concept of primordial mother goddesses of the Vedic times, this challenging work on the devangana sculptures studies the morphology, iconology and semiotic meanings of the devangana figures and their placement in monuments of Gujarat, Rajasthan and Madhya Pradesh between the eighth and twelfth centuries ce.
    In a path-breaking effort, the work focuses not on the much-discussed erotic and sexual connotations but explores their dynamic meanings in the religious and cultural consciousness which help to symbolise ßthe power of the femaleû in representational artistic traditions of India. For this, copious architectural and religious texts are examined. With more than 250 illustrations of temple sites and detailed sculptures, this book enquires into the imagery of these figures. A significant aspect of the research is its critiquing of the existing literature on the subject to come up with novel viewpoints and use of tools like dhvani theory, psychoanalysis and feminism to interpret the devangana sculptures.
    The book will benefit young researchers, cultural enthusiasts and erudite scholars of Indian art and architecture focused on religious and cultural significance of India’s sculptural heritage.

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    Dr. Satyawadi’s book is the first-ever study of painted pottery motifs of the Indian subcontinent (earliest times to 1750 BC). It explores the genesis and development of popular forms and classifies art motifs into their different genres.

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    Proto-Historic Pottery of Indus Valley Civilisation by: Sudha Satyawadi 3,150.00

    In the 1920s was found one of the world’s oldest, most mysterious civilizations: the Indus Valley. Which, in view of the relatively more recent archaeological evidence, could possibly have evolved from a much older, indigenous culture: of about nine millennia ago — some 6000 years before the growth of Mesopotamian urbanism or about 2000 years before the Egyptian’s. Among a variety of excavated material remains, pottery affords a significant clue that influences archaeologists’ conclusions. Despite many a scholar’s avowed fascination for the pottery of the Indian subcontinent — since John Marshall’s days, Dr. Satyawadi’s book becomes the first-ever, exclusive study of its art motifs: from the earliest times to 1750 bc Marshalling a whole diversity of painted-pottery motifs: from potsherds, from excavatory reports, and from as many as twenty archaeological museums of India, it explores the genesis of popular themes/forms and how they developed from their most primitive character to mature Harappan period — with sharp focus on their creative purpose, stylistic/formal variants and their spatial-temporal parameters. Also surveying extensively the painted pottery of Indus Valley: of both pre- and post-Harappan cultures, the author painstakingly classifies art motifs into their different genres: religious, ritualistic, decorative, superstitious, and personal. And into their different forms too, like geometrical, floral, faunal, other. In her effort to probe the beginnings of pre-Harappan pottery motifs, the artist in Dr. Satyawadi visualizes their continuity not only in mature Harappan cultures, but even in contemporary folk and tribal art of India: almost in their pristine, primitive form — keeping alive, from generation to generation, an insistent, inherently powerful tradition, despite the ravages of time. The author also tries to trace the linkages between the painted motifs (on pottery) of Indus Valley and other old-world cultures, notably, Mesopotamian, Egyptian, Afghan, Iranian, and Baluchi. With one hundred thirty six photographic reproductions, this study is supplemented by over 650 line-drawings which, (all beautifully copied by the author herself straight from museum exhibits), try to capture the panorama of protohistoric art motifs in their essential variety and pristine splendour.

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    This volume weaves an enchanting story of Radha with a multicoloured thread, where myth blends into history and fiction challenges reality and Radha emerges in all her poetic glory in this spellbinding story. Here in miniature paintings, through line and colour, Radha comes alive as a multidimensional, many-nuanced paragon of love. This is Radhayan.

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    Radhayan by: Harsha V. Dehejia 1,076.00

    Of all the mythic characters in the Hindu pantheon none is more enigmatic and evocative than Radha. Appearing for the first time in Jayadeva’s Gita Govinda, where she is the ultimate beloved, she traverses political dynasties, royal ateliers and social barriers to emerge as a consort of Krishna. Brought alive by poets, developing a colourful presence in the hands of painters, dancing through prosceniums and acquiring a lyrical life through songs, both classical and popular, Radha is present in homes and havelis, celebrated by the the samajika and the rasika, has a presence in temples and roadside shrines as a symbol of pure and eternal love. And yet there are so many questions about her life; poets differ in their portrayals of her, historians argue, dancers claim her through their interpretations and for the common person she is now a shringara rasa nayika and now a goddess. But Radha stands steadfastly alone refusing to be bound down by poets or potters, dancers or singers. Harsha V. Dehejia weaves an enchanting story of Radha with a multicoloured thread, where myth blends into history and fiction challenges reality and Radha emerges in all her poetic glory in this spellbinding story.
    Vijay Sharma and his team of artists bring Radha colourfully alive with miniature paintings, for it is there rather than sculpture that Radha resides. She is essentially kavyamaya, her origins are in the minds of poets, it is there that she grows, dallies and evolves. And while her voice is heard in songs and her footsteps resonate with dancers, it is in miniature paintings, through line and colour, that Radha comes alive as a multidimensional, many-nuanced paragon of love.
    This is Radhayan.

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    The essays in this volume approach the Ramayana from different perspectives — textual criticism, art and architecture, and film — to understand its ideological and aesthetic meanings. They address critical issues like the seminal status of Valmiki, gender representation in Ramayana and the importance of the so-called Ramayana derivatives.

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    Ramayana Culture by: Mandakranta Bose 720.00

    These essays, originally presented at an international conference, are in the forefront of the modern response to an ancient work that has gained a new critical and social relevance in contemporary scholarship. Approaching the Ramayana from several angles in an attempt to understand its aesthetic and ideological meaning, they examine the epic through the perspectives of textual criticism, art, architecture and film. Thereby they address critical issues such as the seminal status of Valmiki, the underlying problem of canonicity itself, the importance of other — so-called derivative — Ramayanas, the implications of gender representation, and the cultural manipulation of social ideals relating to the position of women and the idealisation of love that achieves its highest value in marriage. Using the methods of rigorous textual and historical investigation, each essay seeks not only to uncover the layers of meaning in the complex structure of the epic in its varied forms but also to situate it critically in the cultures of South and Southeast Asia.

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    This book brings, for the first time, the translation of the entire text of Rasikapriya of Keshavdas in English with more than 400 paintings. In its pages are whispers of Krishna and Radha, and the hushed voices of the sakhis as they celebrate romantic moments of longing and belonging in the regal splendour of pranaya mandaps of havelis or verdant and idyllic groves.

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    Rasikapriya by: Harsha V. Dehejia 5,220.00

    Rasikapriya is a lakshan granth, a foundational text, of ritikavya or mannered poetry, and Keshavdas is the father of ritikal. It was the early seventeenth century, and in the court of Raja Indrajit of Orchha in Bundelkhand, Keshavdas, the court-poet, would recite short romantic verses and the gathered connoisseurs of poets, musicians and dancers would respond, and the atelier would resonate with the many textures and hues of shringara. This was the beginning of Rasikapriya, a text that is still central in the celebration of love. Keshavdas was a poet’s poet and he created a monumental text that remains the gold standard of ritikavya even today. And if that was not enough Rasikapriya inspired artists to create paintings illustrating its many dohas and savaiyas even in the lifetime of the poet.
    Artists in the ateliers of Malwa, Mewar, Bikaner, Bundi and Kangra, among others, were touched by the evocative poetry of Rasikapriya and created paintings that were visual poetry. The names of Sahibdin of Mewar, Ruknuddin of Bikaner and Purkhu of Kangra stand out as artists that brought Rasikapriya to life through their mellifluous kalams.
    Rasikapriya remains one of the most profusely illustrated texts in India and finds a place in collections of museums and individuals alike all over the world. This book brings together, for the first time, the translation of the entire text in English along with more than 400 paintings collected from a variety of sources. In its pages are whispers of Krishna and Radha and the hushed voices of the sakhis as they celebrate romantic moments of longing and belonging in the regal splendour of pranaya mandaps of havelis or verdant and idyllic groves. And as readers of this book recreate the music and the splendour of this text they cannot remain untouched by the sensuality and spirituality of shringara rasa and affirm that in celebrating the loves of Krishna one is never far from bhakti.
    The book is a visual delight, a connoisseur’s companion and a reference manual for scholars.

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    The present volume mainly emphasizes on a long due and much discussed and burning issues like that of what will be the Suitable Dating Techniques for Indian Rock Art. It includes not only new insights but also new dating results.

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    Rock Art of India by: Bansi Lal Malla 2,430.00

    Rock art is a vital archaeological source to study and analyse the cognitive evolution of the human intellect across the world. The importance of rock art and its dating has long been a key issue of rock-art research and continues to be attended by difficulties about methodology, misinterpretation of findings and overconfidence in the reliability or precision of results. Most of the rock-art researchers’ primary focus in their investigations for rock-art dating at present has been to establish chronologies of different rock-art sites.
    The present volume mainly emphasis on long due and much discussed issues like that of what will be the suitable dating techniques for Indian rock art. Some of the topics in the volume cover different dating methods such as the minimum dating by archaeological excavation, radiocarbon analyses of mineral accretions or their inclusions, radiocarbon analyses of paint residues or their inclusions, geomorphological methods, minimum or maximum ages derived from biological accretions, lichenometry, colorimetry of patinae, radiocarbon analyses of charcoal and beeswax figures, and any other methods of “direct” dating of rock art. This volume includes not only new insights but also new dating results. The data and interpretations put forward by various scholars are comprehensive and analytical. Most of their views are appropriate and hold promise in terms of recent trends in dating rock art.

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