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The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art provides an extensive research resource to the burgeoning field of Asian aesthetics. Featuring leading international scholars and teachers whose work defines the field, this unique volume reflects the very best scholarship in creative, analytic, and comparative philosophy. Beginning with a philosophical reconstruction of the classical rasa aesthetics, chapters range from the nature of art-emotions, tones of thinking, and aesthetic education to issues in film-theory and problems of the past versus present. As well as discussing indigenous versus foreign in aesthetic practices, this volume covers North and South Indian performance practices and theories, alongside recent and new themes including the Gandhian aesthetics of surrender and self-control and the aesthetics of touch in the light of the politics of untouchability. With such unparalleled and authoritative coverage, The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art represents a dynamic map of comparative cross-cultural aesthetics. Bringing together original philosophical research from renowned thinkers, it makes a major contribution to both Eastern and Western contemporary aesthetics.
Art and life in India have been inextricably intertwined from ancient times to the present day. Art as a way of life, as ritual, as decoration and as unity with the Sublime bore testament to the socio-cultural milieu; the high level of sophistication that developed in ancient India was reflected in the arts in a holistic light. The arts, thus, strived to hone man’s intellectual sensibilities, thus raising him to the level of the transcendental, which in India was Brahma or ultimate reality. This book brings forth the popular theories of Indian aesthetics and Indian poetics. Bharatmuni, Abhinavgupta, Anandvardhana and a number of seers have given substantial dimensions to the concept as found in Natryashastra, Dhvanyavloka, and Abhinavbharati, among other texts. It represents primarily a compilation of commentaries and criticism of these texts, and will serve as a preliminary guide to students, beginners and researchers of Indian aesthetics and poetics. The appendices bring together a number of papers on Indian aesthetics, while there is also an informative and comprehensive bibliography and an exhaustive glossary to provide added aid for non-Sanskrit speakers.
The second, updated edition of Indian Heritage, Art and Culture by Madhukar Kumar Bhagat is presented in an all new, color format to enhance the visual pleasure of reading. The rich tapestry of India's cultural achievements, presented in a chronological order (Ancient, Medieval and Modern) would be of immense help for aspirants of the UPSC and state Public Service Commission examinations and for general readers. How will this book help you? - Easy and structured plan on how to approach the topic for the Preliminary and Main examinations - Events, topics and issues arranged in a chronological order (Ancient, Medieval and Modern India) - Important topics to focus at the end of each chapter - Practice questions for Preliminary and Main examinations - Colourful supportive illustrations Highlights - Indian Heritage, Art and Culture: How to Approach - Indus Valley Civilization and Harappan Culture - Hinduism - Buddhism - Temples and Architecture in Ancient and Medieval India - Bhakti Movement and Sufism - Medieval Age Architecture: Palaces, Forts etc. - Medieval India: Other Art Forms - Medieval India: Literature - Medieval India: Music - Socio-Religious Reforms and Reformers - Modern India: Paintings - Modern India: Music - Modern India: Dances - Modern India: Languages and Literature - Modern India: Architecture - Indian Theatre and Cinema - Cultural Heritage and UNESCO
The Square and the Circle of the Indian Arts is a major contribution in Indian art history. More than a book on the theories of arts, it has far-reaching implications for the way one thinks about the future of indology and art history. It provides a model to be emulated for inter-disciplinary research, not only between the arts but also the sciences and the arts. The book begins by re-examining the imagery of the Vedas and the Upanisads, highlighting some aspects of early speculative thought which influenced the enunciation of aesthetic theories, particularly of Bharata in the Natyasastra. The next chapter introduces a new methodology of analyzing the rituals (yajna) as laid down in the Yajurveda and the Satapatha Brahmana, the best way to focus the relationship between the text and the practice. Four chapters follow – one each on drama (natya), architecture (vastu), sculpture (silpa), and music (sangita). Each presents some fundamental concepts of speculative thought, concerned with each of the arts and purposefully correlates these with actual examples both of the past and the present. The afterward to this second edition remains an event not only because the book benefits from the works published since the first edition, but also because it presents the author’s integral vision and her unique adventure into the boundaries of several disciplines. It demonstrates the efficacy of her earlier approach of investigating the imagery and the metaphors as basic to the discourse of the Indian tradition. She proposes a multi-layered cluster of concepts and metaphors which enable one to uncode the complex multi-dimensional character of the Indian Arts. Also significantly she suggests a deeper comprehension of the relevance of the developments in the field of traditional mathematics and biology for the study of the language of form of the Indian Arts.
This magnificent, lavishly illustrated book by India’s most eminent and perceptive art historian, B.N. Goswamy, will open readers’ eyes to the wonders of Indian painting, and show them new ways of seeing and appreciating art. An illuminating introductory essay, ‘A Layered World’, explains the themes and emotions that inspired Indian painters, the values and influences that shaped their work, and the unique ways in which they depicted time and space. It describes, too, the characteristics of the different regional styles, the relationship between patrons and painters, the milieu in which they created their works, and the tools and techniques the painters used. The second part of this book consists of ‘Close Encounters with 101 Great Works’. Carefully selected by Prof. Goswamy and spanning nearly a thousand years, these works range from Jain manuscripts, and Rajasthani, Mughal, Pahari and Deccani miniatures, to Company School paintings. His description and analysis of these works unlock the treasures that lie within them and show us how to ‘read’ each painting, as he points out its finest features, explains its visual vocabulary and symbolism, and recounts the story, legend or event that inspired it. Combining deep scholarship with great storytelling, this is a book of enduring value that will both educate and delight the reader. It is destined to become a classic.
Primarily designed to help visual art students make the transition from art school to their own practice, this book is also an excellent resource for practicing artists. This new edition continues to focus on all aspects of the emerging artist's career-studio practice, including developing ties in the art world, documenting work, exhibiting art, writing about art, taking on curatorial responsibilities, addressing financial and legal concerns, and attending graduate school. The text demonstrates how students can make things happen for their careers, in addition to helping them find and approach already-existing outlets for their work.