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Contents: Introduction, Studies in Indian Architecture, Fort Architecture in Ancient and Medieval India, Art and Architecture: Northern India, Art and Architecture: South India, The Aspect and Orientation in Hindu Architecture, Kalinga Style of Architecture, Symbolism of the Dome, Art and Architecture, Muslim Architecture in India, A Plea for Indian Architecture.
The art and architecture of India is rooted in its history, culture, and religion. The first two essays in the present volume bring to the fore the folk art of Kalamkari, and the architectural wonder of the stepwells--both part of the ancient heritage, and the third piece dwells on the spectacular art and peculiar habits of the most discussed and most popular contemporary Indian painter, Maqbool Fida Hussain. The first two essays have earlier been published in an online journal, Chitrolekha. Due acknowledgement has been noted at the end of each essay and they are included here with due permission of the editors. I have added a glossary to help readers understand the names of typical Indian ingredients used in the preparation of a Kalamkari painting. Kalamkari or Qalamkari is a type of hand-painted or block-printed cotton textile, produced in parts of India. The word is derived from the Persian words ghalam (pen) and kari (craftmanship), meaning drawing with a pen. Only natural dyes are used in Kalamkari and involves seventeen painstaking steps. This intricate art has been practiced by many families in Andhra Pradesh and over the generations has constituted their livelihood. Admired for its excellent craftsmanship the journey of Kalamkari curiously began with trade in Indian spices. Subsequently merchants and traders from around the world used Indian textiles, the majority of which were kalamkari, as a currency in the Spice Trade. With the passage of time Indian textiles began to be seen as luxury items in themselves, and a variety of textiles and textile-related products found an appreciative market throughout Europe, the Middle East, and Asia.Step wells are wells or ponds in which the water is reached by descending a set of steps. Rock-cut stepwells in India date from 200-400 AD. Gradually they began to be constructed. Step wells developed mainly to cope with seasonal fluctuations in water availability. Deep trenches were dug into the earth for dependable, year-round groundwater, their walls were lined with blocks of stone without mortar, and stairs were built leading down to the water. The construction of stepwells was primarily utilitarian but owing to the significant architectural embellishments on their walls they have today acquired the status of interesting monuments. In olden times stepwells also served as leisure spots, place for social gatherings and religious ceremonies where women prayed and offered gifts to the goddess of the well for her blessings.The last essay describes the spectacular art and mildly eccentric habits of the Indian painter, Maqbool Fida Hussain. With his free-flowing, silvery white beard and hair, dressed in impeccably tailored, expensive Hermes suit, an oversized paintbrush 'baton' in hand, walking barefoot M.F. Husain cut a most distinctive figure full of energy and humour. His striking ascetic looks, simple, soft-spoken manner commanded immediate attention and respect. He had a penchant for philosophy, was deeply knowledgeable of, and loved art in all its forms and had several writers and poets as his friends. He always remained in the headlines as much because of his peculiar habits as for his unique art. Hussain stopped wearing footwear in 1974 after walking in the funeral procession of his friend, Gajanan Madhav Muktibodh, the well known Hindi poet and maintained it till the very end.
The Grove Encyclopedia of Islamic Art and Architecture is the most comprehensive reference work in this complex and diverse area of art history. Built on the acclaimed scholarship of the Grove Dictionary of Art, this work offers over 1,600 up-to-date entries on Islamic art and architecture ranging from the Middle East to Central and South Asia, Africa, and Europe and spans over a thousand years of history. Recent changes in Islamic art in areas such as Afghanistan, Iran, and Iraq are elucidated here by distinguished scholars. Entries provide in-depth art historical and cultural information about dynasties, art forms, artists, architecture, rulers, monuments, archaeological sites and stylistic developments. In addition, over 500 illustrations of sculpture, mosaic, painting, ceramics, architecture, metalwork and calligraphy illuminate the rich artistic tradition of the Islamic world. With the fundamental understanding that Islamic art is not limited to a particular region, or to a defined period of time, The Grove Encyclopedia of Islamic Art and Architecture offers pathways into Islamic culture through its art.
The two-volume Companion to Islamic Art and Architecture bridges the gap between monograph and survey text by providing a new level of access and interpretation to Islamic art. The more than 50 newly commissioned essays revisit canonical topics, and include original approaches and scholarship on neglected aspects of the field. This two-volume Companion showcases more than 50 specially commissioned essays and an introduction that survey Islamic art and architecture in all its traditional grandeur Essays are organized according to a new chronological-geographical paradigm that remaps the unprecedented expansion of the field and reflects the nuances of major artistic and political developments during the 1400-year span The Companion represents recent developments in the field, and encourages future horizons by commissioning innovative essays that provide fresh perspectives on canonical subjects, such as early Islamic art, sacred spaces, palaces, urbanism, ornament, arts of the book, and the portable arts while introducing others that have been previously neglected, including unexplored geographies and periods, transregional connectivities, talismans and magic, consumption and networks of portability, museums and collecting, and contemporary art worlds; the essays entail strong comparative and historiographic dimensions The volumes are accompanied by a map, and each subsection is preceded by a brief outline of the main cultural and historical developments during the period in question The volumes include periods and regions typically excluded from survey books including modern and contemporary art-architecture; China, Indonesia, Sub-Saharan Africa, Sicily, the New World (Americas)
This book explores conceptions of Indian architecture and how the historical buildings of the subcontinent have been conceived and described. Investigating the design philosophies of architects and styles of analysis by architectural historians, the book explores how systems of design and ideas about aesthetics have governed both the construction of buildings in India and their subsequent interpretation. How did the political directives of the British colonial period shape the manner in which pioneer archaeologists wrote the histories of India's buildings? How might such accounts conflict with indigenous ones, or with historical aesthetics? How might paintings of buildings by British and Indian artists suggest different ways of understanding their subjects? In what ways must we revise our conceptions of space and time to understand the narrative art which adorns India's most ancient monuments? These are among the questions addressed by the contributors to the volume.
Volume Three offers 1643 annotated records on publications regarding the art and archaeology of South Asia, Central Asia and Tibet selected from the ABIA Index database at www.abia.net which were published between 2002 and 2007.