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"Thanjavur paintings are among the most popular artworks that adorn the walls of Indian homes--avidly collected but little comprehended. This richly illustrated volume presents an enhanced understanding of the subject through an in-depth study of South Indian paintings of the 18th and 19th centuries in the Thanjavur and the allied Mysuru styles. The meticulously researched text showcases and engages with Kuldip Singh's unique collection of 300 paintings. Also included are painted prints, some reverse-glass works and a few lithographs. These cover a wide range of idioms and themes: from the domain of gods and goddesses and the sites and stories associated with their worship, we come down to the realm of their human patrons with portraits made of maharajas, priests and ordinary individuals. We also gain a glimpse of the different regions and schools that come under the larger ambit of the term "South Indian" paintings. A historical and cultural background provides an overview and context to the material while a description of technique and an analysis of styles highlights an aesthetic appreciation. In addition to a focus on the process of conserving and preserving these works, the book looks at the contemporary status of this form which is experiencing a revival within the art market."--Dust jacket.
The British Museum's collection of South Indian paintings consists of around 1000 items ranging from the 17th to the 20th century and representing a wide variety of themes and techniques. Only a very few examples from this major collection have been published before. In this book the collection will be catalogued in full, and 250 of the most important items will be reproduced in colour. The paintings will be described and listed according to the their topics (Hindu mythology; castes, trades and occupations; natural history drawings; painted narratives; India observed) and according to the medium on which they were executed (paper, cloth, leather, mica). Each section will begin with a brief introduction outlining the essential stylistic and iconographic features. Among this material are a number of highly interesting albums such as a set of 91 paintings depicting Hindu mythology, dating from the early decades of the 19th century. More unusual items are the long painted scrolls from Andhra illustrating local mythological narratives, the painted cloths from Tamil Nadu depicting the Ramayana epic, and paintings on paper used by the storytellers of northern Karnataka.
The book contains the cultural history of Thanjavur. Histories of the various rulers and of the Big Temple are woven into a rich tapestry of cultural heritage that is Thanjavur.
Presents works of art selected from the South and Southeast Asian and Islamic collection of The Metropolitan Museum of Art, lessons plans, and classroom activities.
In Re-envisioning Śiva Naṭarāja. A Multidisciplinary Perspective the contributors work with hitherto unexplored visual, textual, and epigraphic material and analytical techniques, presenting new insights into the dancing Śiva as icon and concept.
An artist? A dreamer? A rebel? Who exactly was Amrita Sher-Gil? She was a little bit of all these things, really. Amrita grew up with a great sense of mischief and adventure in two very different worlds, in a village near Budapest, Hungary, and among the cool, green hills of colonial Simla. She defied headmistresses, teachers, art critics and royalty to make her own determined way in the world of grown-ups and art.Join her on a journey through her life, a journey that takes her family through World Wars and political turmoil as they travel in pursuit of love, a home and a modern, artistic education for Amrita!
In Architecture of the World’s Major Religions: An Essay on Themes, Differences, and Similarities, Thomas Barrie presents religious architecture as an amalgam of aesthetic, social, political, cultural, economic, and doctrinal elements, which are often materialized in different ways in the world’s principal religions.
"The V&A has the world's most important collection of nineteenth-century temple hangings from South India, but only one of the smaller pieces has ever been published. For the first time these amazing objects have been documented and made public. The hangings are of two main types: large narrative pieces from Andhra Pradesh which tell stories from the Ramayana, the exploits of Krishna or tales connected with South Indian deities, and smaller pieces from Tamil Nadu. A single extraordinary Ramayana hanging from Sri Lanka is also included. All of the pieces are illustrated in their entirety, along with ample details that highlight the remarkable skill and regional styles of the narrative artists. Each piece is accompanied by a brief summary of its story, but the full 'frame-by-frame' narrative is described in a separate illustrated catalogue section. This detailed section will also provide translations of all the Telugu and Tamil inscriptions that accompany the narratives, translated especially for this project. As well as the description of the pieces themselves, there will be a general introduction about how such pieces were used and their regional stylistic variations, and a chapter on technique and how they fit into the broader picture of Indian textiles, by V&A curator Rosemary Crill."--from V&A website.
Baroda, a leading center for the arts, spans plural domainsAs the writers approach Baroda from different vantage points, they render its story in unique ways: as first-person accounts, and as art critics, anthropologists and historians. Early artists, craftsmen and photographers engage with Sayajirao Gaekwad III; the royal patron in turn represents these practitioners at international exhibitions; itinerant builders and established European architects contribute to a fast-modernizing princely state; artists, art teachers and administrators set new directions for a Faculty of Fine Arts (FFA) in post-Independence Baroda/India; patrons, gallerists, scholars and artists shape contemporary Baroda's artistic culture.Priya Maholay-Jaradi, former Curator at the Asian Civilisations Museum, Singapore, is an independent art historian. She has an MA in art history from SOAS, London and a PhD from the National University of Singapore. She has initiated a post-doctoral project, Asian Collection Studies at the IIAS, Leiden (2013). She is the author of Portrait of a Community: Paintings and Photographs of the Parsees (2002) and Parsi Portraits from the Studio of Raja Ravi Varma (2011) and a forthcoming book on Baroda's modernity and nationalism.