Download Free A Monograph On Ivory Carving In The North Western Provinces And Oudh Classic Reprint Book in PDF and EPUB Free Download. You can read online A Monograph On Ivory Carving In The North Western Provinces And Oudh Classic Reprint and write the review.

Excerpt from A Monograph on Ivory Carving in the North-Western Provinces and Oudh We may congratulate ourselves, at any rate, that so far our provinces in this direction have escaped the corrupting in uence Of European models, and in this we are more fortunate than the Punjab, where they have begun to turn out combs and paper-knives in Euro pean patterns with Roman letters in quite the approved manner Of Bellagio or Birmingham and it is a melancholy prospect to think that in the fulness of time we may yet find sold on railway platforms paper knives with the inscription A souvenir Of Lucknow.' Mr. Cockburn tells me that Benares, Lucknow, Bareilly, Morad abad and Saharanpur have considerable industries in bone working, more particularly camel-bones, and that they are always ready to work rather in ivory, when they can get or afford it, because it is easier to work and does not require bleaching. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."
Excerpt from A Monograph on Wood Carving in the United Provinces of Agra and Oudh The arts of India are the illustration of the religious life of the Hindus, as that life was already organized in full perfection under the Code of Manu, B. C. 900-300... Every detail of Indian decoration has a religious meaning, and the ails of India will never be rightly understood until these are brought to their study, not only the sensibility which can appreciate them at first sight, but a familiar acquaintance with the character and subjects of the religious poetry, national legends, and mythological scriptures that have always "been their inspiration and of which they are the perfected imagery." By this statement Sir George Birdwood commits himself to the opinion that Indian art means Hindu art, and that none but Pandits are competent to comprehend and expound its canons: in short, that as far as Indian art is concerned, Greek, Scythian, Arab, Pathdn, Persian, and Mughal might never have existed. This unfortunate contention has been subjected to many criticisms, and those who are inclined to side with the critics in maintaining that the traditionary arts of India have been greatly influenced by foreign ideas will find no better refutation of Sir George Birdwood's theory than the state of the arts, and notably of wood-carving, in the United Provinces. Lying in the path of Muhammadan invasion and close to the centre of the Mughal dominion, tho United Provinces and the Panjab felt the full effects of conquest, Partly owing to the force of example and partly to the system of vexatious Hindu ordinances, the traditional principles of Hindu art lost their hold on the inhabitants. The result is specially noticeable in wood-carving, sculpture, and architecture. To find characteristic Hindu work it is necessary to go further afield to regions where indigenous art was safeguarded by geographical conditions-to Nepal or Southern India. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
This book makes an extensive study of the art and culture of Awadh during the Nawabi period (c. 1722-1856), with a focus on the city of Lucknow. The work takes up evidence available in a variety of primary and secondary sources, especially in the Persian and Urdu languages, in its study of visuals and artefacts, as well as performance traditions and craft techniques which are derived from this period. Highlighting the literary milieu of the period, and the developments in the realm of music, painting, architecture and industrial arts, this volume also explores how some of the arts and crafts assumed considerable European colour, and demonstrates how the ethos of the syncretic Indo-Persian culture, the renowned ganga-jamuni tahzib, remained intact.
Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.
A vivid account of Dutch seventeenth-century art and material culture against the backdrop of the geopolitics of the early modern world The seventeenth century witnessed a great flourishing of Dutch trade and culture. Over the course of the first half of the century, the northern Netherlands secured independence from the Spanish crown, and the nascent republic sought to establish its might in global trade, often by way of diplomatic relations with the Ottoman Empire and other Muslim powers. Central to the political and cultural identity of the Dutch Republic were curious foreign goods the Dutch called "rarities." Rarities of These Lands explores how these rarities were obtained, exchanged, stolen, valued, and collected, tracing their global trajectories and considering their role within the politics of the new state. Claudia Swan’s insightful, engaging analysis offers a novel and compelling account of how the Dutch Republic turned foreign objects into expressions of its national self-conception. Rarities of These Lands traces key elements of the formation of the Dutch Republic—artistic and colonialist ventures alike—offering new perspectives on this momentous period in the history of the Netherlands and its material culture.