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George Michell provides a pioneering and richly illustrated introduction to the architecture, sculpture and painting of Southern India under the Vijayanagara empire and the states that succeeded it. This period, encompassing some four hundred years, from the fourteenth to the eighteenth century, was endowed with an abundance of religious and royal monuments which remain as testimonies to the history and ideology behind their evolution. The author evaluates the legacy of this artistic heritage, describing and illustrating buildings, sculptures and paintings that have never been published before. In a previously neglected area of art history, the author presents an original and much-needed reassessment.
This Seven Volume Set Provides A Comprehensive Overview Of The Social Construction Of Southern India. First Published In 1909.
In 1894, equipped with a set of anthropometric instruments obtained on loan from the Asiatic Society of Bengal, I commenced an investigation of the tribes of the Nīlgiri hills, the Todas, Kotas, and Badagas, bringing down on myself the unofficial criticism that “anthropological research at high altitudes is eminently indicated when the thermometer registers 100° in Madras.” From this modest beginning have resulted:—(1) investigation of various classes which inhabit the city of Madras; (2) periodical tours to various parts of the Madras Presidency, with a view to the study of the more important tribes and classes; (3) the publication of Bulletins, wherein the results of my work are embodied; (4) the establishment of an anthropological laboratory; (5) a collection of photographs of Native types; (6) a series of lantern slides for lecture purposes; (7) a collection of phonograph records of tribal songs and music. The scheme for a systematic and detailed ethnographic survey of the whole of India received the formal sanction of the Government of India in 1901. A Superintendent of Ethnography was appointed for each Presidency or Province, to carry out the work of the survey in addition to his other duties. The other duty, in my particular case—the direction of a large local museum—happily made an excellent blend with the survey operations, as the work of collection for the ethnological section went on simultaneously with that of investigation. The survey was financed for a period of five (afterwards extended to eight) years, and an annual allotment of Rs. 5,000 provided for each Presidency and Province. This included Rs. 2,000 for approved notes on monographs, and replies to the stereotyped series of questions. The replies to these questions were not, I am bound to admit, always entirely satisfactory, as they broke down both in accuracy and detail. I may, as an illustration, cite the following description of making fire by friction. “They know how to make fire, i.e., by friction of wood as well as stone, etc. They take a triangular cut of stone, and one flat oblong size flat. They hit one another with the maintenance of cocoanut fibre or copper, then fire sets immediately, and also by rubbing the two barks frequently with each other they make fire.”
This book investigates how the material culture of South Indian courts was perceived by those who lived there in the pre-colonial period. Howes peels away the standard categories used to study Indian palace space, such as public/private and male/female, and replaces them with indigenous descriptions of space found in court poetry, vastu shastra and painted representations of courtly life. Set against the historical background of the events which led to the formation of the Ramnad Kingdom, the Kingdom's material circumstances are examined, beginning with the innermost region of the palace and moving out to the Kingdom via the palace compound itself and the walled town which surrounded it. An important study for both art historians and South India specialists. The volume is richly illustrated in colour.