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The book studies the architecture and iconography of some 36 Islamic tombs belonging to the period ad 1230 to 1754. Abounding in line drawings, it makes examines the monuments size, plan and elevation, the techniques of their construction, masonry and artisanship, and the relevance of each monument in the overall scheme of Indo-Islamic architectural development.
The work by an Indological scholar who has studied different architectural traditions of the world covers the architecture and iconography of some 36 Islamic tombs in India spanning a period of over 500 years from c. ad 1230 to 1754. It begins with a brief historical background to the Islamic rule in northern India and a discussion on burial practices and tomb types of the time to further understanding of the underlying concept of construction and functions of the tombs. Abounding in numerous line drawings of plans and elevations, and figures, it examines the influence of different traditions Buddhist and Hindu as well as other Asian and African and Mediterranean traditions on evolution of the form of Islamic tombs. It makes a detailed examination of the Indo-Islamic tombs under consideration: their description, size, plan and elevation including the interior space and application of the mandala patterns over the tomb structures, the techniques of construction, masonry and artisanship employed in them. It explains the place and relevance of each monument in the overall scheme of Indo-Islamic architectural development and growth as well as the importance of each by itself. It delves into the religious, philosophical and mathematical bases of the architecture and its application to tomb-building. The research also involves a comparative study of Indo-Islamic tombs vis-a-vis other architectural marvels of the world Islamic and non-Islamic. The book will be extremely relevant to scholars and students of Indian, particularly Indo-Islamic, iconography and those interested in Indo-Islamic cultural traditions in general.
This volume on the Golden City in Desert is focused on the history and life of the people of Jaisalmer, and their cultural, ethnic, religious, and social mores. This connoisseurs collection portrays how the Jaisalmeris celebrate their life in colour and the charm of the fort, palaces and temples as well.
This volume juxtaposes the history, culture, occupation and the lifestyle of people in the desert district of Jaisalmer of western Rajasthan, bordering Pakistan. Popularly called the Golden City in Desert, the city has much more to say beyond its popular fort and palaces. Jaisalmer was an old city of commercial magnitude for centuries till the onset of British rule in India. It was en route connecting the East and West in trade. It has now been transformed to a tourist destination, enticing people from India and abroad.
The book details its past glory, lost significance and the regained charm through centuries of developments. It also accounts for the brief history of Marwar, its rajas of valor, and their heroic struggle for existence and survival against foreign attacks. The picturesque portrayal of the fort, the people of Jaisalmer, their cultural, ethnic and religious mores, and the must see spots in the city are the quintessential focus of the book.
Moving away from the city life, the book also focuses on the village life, exploring the mysteries and charm of the desert life. It unearths the hidden charms and the warmth of village life in this desert region, alongwith a brief account of occupation of people around.
This connoisseur’s collection would motivate also researchers of ancient monuments and history, and enthuse tourists who would like to visit the Golden City in Desert.
The Book mainly deals with the historical importance of the Kalamukha movement in Karnataka and the existence of an exceptional school of arts which flourished under Kalamukha patronage, describing Somanatha temple at Haralahalli and the Kadambeshvara temple at Rattihalli with their architecture, iconography, epigraphy and religious and cultural background.
The Kalamukha temples in Karnataka are associated with the Lakulashaiva movement especially the beliefs and practices of the Kalamukha Shaivites and the jakkanacari style of temples in Karnataka. This volume is a study of two of the best examples of Kalamukha shrines in the region. It focuses on the Somanatheshvara temple at Haralahalli and Kadambeshvara temple at Rattihalli, splendid examples of conversion of single-cell shrines into triple sancta. With numrous illustrations of the temples including their plans and sculptures and referring to and quoting from the Agamas, the Puranas and other ancient works, it studies the architecture of the temples along with their history, the general plans of the temples, their interior including pillars, lintel and entrances, their external structure, and their iconography, particularly the main deities in the temples. It makes a unique effort to study the inscriptions associated with the temples which are in Kannada interlaced with Sanskrit verses and containing Sanskrit words, presenting their Roman transliteration and translation into English. The inscriptions include one on renovation of Someshvara temple by King Joma (ce 1181), one on the foundation of a temple of Daseshvara laid by Dasiraja (ce 1188) and one that eulogises the Kadambas and minister Soma (ce 1144).
The volume, with extensive notes that explain terms in a simple manner, will prove invaluable to scholars and students of Indology, especially those interested in early medieval religion, culture and architecture in South India.
Kalidasas world in of hallowed human grace, of emotional fulfilment and unsurpassed elegance of its habitat. Leading us to that rich, intimate and beautiful mind of Kalidasa are the nayikas of his plays and poems. The book sparkles with literary grace and painterly elegance and is a welcome addition to the world of Kalidasa.
To enter the mind of Kalidasa is to enter a world of colour and music, a world of beauty, of regal spaces and mythic narratives, of sensuous nayikas and sonorous sounds, of evocative words and ornamented phrases, of unhurried elegance and silken shringara, of serene hermitages and opulent havelis, of changing seasons with their unique flora and fauna, of pathways in the sky that look down upon the earth in their journey, and above all of the beauty of human emotions; in short it is a world of hallowed human grace, of emotional fulfilment and unsurpassed elegance of its habitat. Leading us to that rich, intimate and beautiful mind of Kalidasa are the nayikas of his plays and poems. To follow in their footsteps is to be coloured by the many hues of shringara, to be touched by the many textures of royal and political intrigue and above be enriched by a world of human longing and desire.
Harsha V. Dehejia leads a team of scholars who explore the many-faceted nayikas of Kalidasa and takes us into the hushed ambience of the havelis, palaces and ashrams of ancient India. Bringing these nayikas alive with paintings is the renowned miniaturist Vijay Sharma.
The book sparkles with literary grace and painterly elegance and is a welcome addition to the world of Kalidasa.
Kantha the embroidered poetry on cloth speaks volumes about the imagination of a woman and the aspirations that her craftwork reflects. This folk art emerged from a combination of materialistic circumstances and daily needs, climate, geography and economic factors. The motifs embroidered were influenced by religious beliefs and superstitions, and of course what the women saw around them.
Kantha the embroidered poetry on cloth speaks volumes about the imagination of Bengali women and the aspirations that her craftwork reflects. It is a well-conceived art work, which has always attracted people from all walks of life. She creates the most amazing Kanthas with great love and affection for her dear ones. Her creativity stands unmatched when she breathes life into a discarded saree, worn out from constant use and laundering. She transforms this simple five metres of old cloth into a most admirable, attractive and unparalleled utilitarian artefact. Initially, light coverlets or quilts to withstand the mild winters and cool monsoon nights of Bengal – were made using the Kantha embroideries, which was limited to simple stitches and a few colours. Some Kanthas were used as swaddling clothes for babies; expectant mothers spent their last stages of pregnancy in making a Kantha for the new born, with the belief that this piece of cloth would bring good fortune for the family and protect the baby from diseases. Every home in a Bengali village housed a number of Kanthas that were more for personal use than commercial gain. This folk art emerged from a combination of materialistic circumstances and daily needs, climate, geography and economic factors. The motifs embroidered were influenced by religious beliefs and superstitions, and of course what the women saw around them. These motifs embroidered in the simplest of running stitches, speak of folk beliefs and practices, religious ideas, themes and characters from mythology and epics, flora, fauna, man and nature; they also reflect the social and personal life of people in their own way.
Kantha signifies a poor man’s wrap consisting of old used up cloth patched up and sewn into a single garment. It seems probable that patch works Kantha constituted the original form of Kanthas and that Kanthas of a decorative appliqué type were evolved from this.
Supported by beautiful illustrations, the study reconstructs the glorious history of the Rajput house of Mewar, perhaps the worlds oldest ruling family. It recounts its heroic battlefield engagements and examines its artistic and literary achievements.
A Premier princely state of Rajsthan, the erstwhile Rajputana (northwest India), till its merger into the Union territory in 1948, Mewar has been celebrated in history and legend. In this far-famed region are best represented not only the Rajput chivalry and high sense of honour, but also their arts, architecture, and fabulous cultural traditions. Developed from the authors four-year long intensive research, the book tries to reconstruct the unparalleled, glorious history of (perhaps) the worlds oldest ruling family: the house of Mewar now called the clan of Sisodias, in earliest times Guhilots. Tracing chronologically the entire course of events since their first known ancestor, Guhil (ad 566), Irmgard Meininger here unfolds a compelling story of brave Rajput men and women, with an exaggerated sense of honour, pride and independence the story of their triumphs and tragedies, and simultaneously of palace intrigues and rivalries, and of supreme sacrifies and treacheries. And yet, in the main, it is an exciting story of Mewars heroic resistance: first to Afghan/Arab adventures and Delhi Sultans and, in the later days, to the Mughal imperialists. Weaving into her narrative the legendary episodes around Maharani Padminis fabulous beauty, the dread rite jauhar, Panna Dais unique loyalty, and Princess Miras bhakti, among others, the author also attempts to show how Mewar has been the repository not only of old Hindu traditions, but of the enchanting Rajput culture as well, and how Rajputs, notwithstanding their endless engagements in the battlefield, were great patrons of art, architecture, literature and music. Supported by numerous beautiful illustrations, bibliographic references and a glossary of non-English words, the book will fascinate anyone interested in India, particularly Rajasthan: whether as an inquisitive reader, tourist, hostorian, or a connoisseur of art.
Kolam is propitious threshold drawings by women defining religious and cultural space in South India. Integrating the entire Tamil community in kinship, ephemeral kolam structure is precise and beautiful prayer for protection and prosperity. Aesthetic experience of kolam is in its symmetrical composition that correlates with our concept of the cosmos.
Kolam is propitious threshold drawings by women defining religious and cultural space in South India. Integrating the entire Tamil community in kinship, ephemeral kolam structure is precise and beautiful prayer for protection and prosperity. Aesthetic experience of kolam is in its symmetrical composition that correlates with our concept of the cosmos. In the geometric grid of kolam the number of dots called pulli algorithmically guides the number of crossings that requires overall smoothening of edges in the design. Large number of infinite knot pattern follows a set of elegant mathematical rules that is at the same time artistic. According to Marcia Ascher, Emeritus Professor of Mathematics at Ithaca College, the Principles of Numbers in kolam is dynamics and motion in matter demonstrating multiplicity of the void. Kolam drawings trace unilinear path with singular regularity expressive of polyrhythmic music. Dancer Chandralekha observed that kolam is a kind of yoga. Kolam as an art form has entered computer graphics, ethnomathematics and ethnomusicology, textile industry, therapeutic applications and tactile spatial education for visually challenged. The pervasive threshold drawing of Tamil Nadu are unique but at the same time kolam is extendable to the tradition of tracing patterns in sand produced by several cultures in Africa and South Pacific islands as well as to the brilliant mosaics of ancient Rome.
On the UNESCO List of World Heritage Sites, The Sun Temple of Konarka in Orissa represents the unique beauty and harmony of architecture and sculpture combined. The splendid photographs of the renowned Japanese photographer Oki Morihiro provides both, a visual delight and a scholarly insight and introduction to this great monument of Orissa.
One of the greatest treasures of Indian Temple architecture and on the UNESCO List of World Heritage Sites, The Sun Temple of Konarka on the East coast of Orissa stands as a witness to the cult of Surya. Even in its dilapidated condition it represents the unique beauty and harmony of architecture and sculpture combined. The present book attempts a fresh approach in understanding its symbolism. The splendid photographs of the renowned Japanese photographer Oki Morihiro bring out the grandeur of the conception of the chariot of the Sun God, and the excellence of its sculptures with delightful details. The volume is introduced by two scholars in the fields of Orissan temple architecture and archaeology. Bettina Bäumer in her introduction approaches the temple with a new interpretation, based on the Saura, Vedic and Tantric traditions, throwing light on its symbolism and its mystical dimension. M.A. Konishi places the temple in its historical and geographical context and its importance as a World Heritage. The book provides both, a visual delight by the excellent photographs, and a scholarly insight and introduction to this great monument of Orissa. It can well serve as a guide to understanding and appreciating the temple of Konarka.
The romantic Krishna finds a textual presence for the first time in the Bhagavata Purana and then for a thousand years we celebrate that Krishna through heart-throbbing poetry. Krishna is indeed both the kavi and the kavya, rasa and rasika, the shabda and the artha, He is Purusha and Prakriti.
The romantic Krishna finds a textual presence for the first time in the Bhagavata Purana and then for a thousand years we celebrate that Krishna through heart-throbbing poetry. Krishna is indeed both the kavi and the kavya, rasa and rasika, the shabda and the artha, He is Purusha and Prakriti. Krishna dances and frolics, speaks and sings, and shringara in its many colours comes alive for us through kavya. We are the gopis of Vrindavana, the nayikas of Ritikavya as Krishna comes alive not through religious rites and rituals but through the joy of poetry and painting and we acdaim krishna svayamkavyam.
After we have experienced the aesthetic pleasure of the love of Krishna we realize that all love in this world is that of Krishna, the hushed words of romance between a man and a woman are those of Krishna and Radha, all poetry that celebrates romantic love is that of Krishna, so that we can turn the sentence around and say kavyam svayam krishna.
We invite you to immerse yourself in the beautiful poetry of Krishna, through the melody and lyrics let His madhurya wash over you like the waves of the Yamuna and his many-splendoured persona make your mind dance like the birds and blossoms of Vrindavana.
Harsha V. Dehejia beautifully weaves a tapestry of Krishna Shringara Kavya enriched by the colours and textures of paintingsby the noted artist Vijay Sharma.
The book assures the r eader both the joy of poetry and the visual delight of painting.
Krishna shringara has a unique place in khayal bandishes, where words and music, raga and tala make bandish come alive. The paintings of khayal bandishes (Bandishmala) make one feel reminiscent of the Ragamala paintings. It makes a sahridaya travel to the supreme realms of Krishna shringara, elating him to the experience of poetry, art and bhakti.
Krishna shringara is a perennial legacy from the dasham skandha of the Bhagavata Purana, where the romance of Krishna in terms of his lilas and kridas is presented, to the tracks of Jayadeva, Narsinh Mehta, Vallabhacharya, the ashtachhaap kavis of Haveli Sangeet, Chaitanya, Bengal Vaishnava tradition, and the glorious period of Ritikavya. All these poetic streams flow into the river of khayal tradition, which in turn has significantly influenced the growth of khayal bandishes.
Krishna shringara has a unique place in khayal bandishes, where words and music, raga and tala make the bandishes come alive. The paintings of khayal bandishes (Bandishmala) make one feel reminiscent of Ragamala paintings. Khayal bandish travelled orally across centuries from village to temple and palace to proscenium.
The paintings make a sahridaya travel to the supreme realms of Krishna shringara, which ends in shringara bhakti.
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