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Charts the most important historical period of the Kashmir shawl's stylistic evolution.
On the 30th of March, 1699, the Sikh Guru Gobind Singh called together a special assembly at the Keshgarh Fort at Anandpur. Following the morning devotions, the Guru asked for a volunteer, saying, "The entire sangat is very dear to me; but is there a devoted Sikh who will give his head to me here and now? A need has arisen at this moment which calls for a head." One man arose and followed the Guru out of the room. When the Guru returned to the assembly with a bloodied sword, he asked for another volunteer. Another man followed. This was repeated three more times, until at last the Guru emerged with a clean sword and all five men alive and well. Those five volunteers would become the first disciples of the Khalsa, the martial community within the Sikh religion, and would come to be known as the Panj Piare, or the Cherished Five. Despite the centrality of this group to modern Sikhism, scholarship on the Panj Piare has remained sparse. Louis Fenech's new book examines the Khalsa and the role that the the Panj Piare have had in the development of the Sikh faith over the past three centuries.
Brings to light the evolution of Sikh art from the eighteenth to the twentieth century. Breaking fresh ground in the study of Sikh art, after the pioneering contributions of W.H. McLeod and B.N. Goswamy, this book on Sikh art evolution is centred on portraits of Sikh Gurus from the eighteenth to the twentieth century. It examines around two hundred and fifty texts of art, of various mediums, scattered across museums and private collections the world over. Ikeda artfully proves how Guru Nanak's portraiture catered to the spiritual and cultural needs not only of ordinary Sikhs, but also satisfied the expectations of the newly formed urban middle class. Including critical review of Harjot Oberoi's study and emphasizing the significant role of Sikh art in the formation of a distinct Sikh community's identity, the author takes note of how the Singh Sabha Movement (1873-1909) and the Akali Movement of 1920 onwards popularized devotional portraits of Guru Nanak even though idolatry is forbidden in the sacred text Guru Granth Sahib. It underlines how there was a paradigm shift in the mentality of Sikh society under the colonial impact of the British Raj. This highly illustrated volume will not only be appreciated by students of visual arts, researchers and academics, but also by the universities across the world in which Sikh Studies are taught. Atsushi Ikeda, a historian of South Asian art, specialising in Sikh art and visual culture, holds an MFA from Kyoto City University of Arts, an M.Res. from Kyoto University and a doctorate from SOAS University of London. Having worked as an art director in a Japanese company, he currently serves as the Chief Director of the Japanese Organisation for the Promotion of Indian Art and Culture (JOPIAC).
This volume brings together leading scholars of Sikhism and of Sikh art to assess and interpret the remarkable art resource known as the Kapany Collection, using it to introduce to a broad public the culture, history, and ethos of the Sikhs. Fifteen renowned scholars contributed essays describing the passion and vision of Narinder and Satinder Kapany in assembling this unparalleled assemblage of great Sikh art, some of which has been displayed in exhibitions around the globe. The Kapanys' legacy of philanthropic work includes establishing the Sikh Foundation (now celebrating its 50th year) and university endowments for Sikh studies. Through this profusely illustrated book's chapters, scholars examine the full range of Sikh artistic expression and of Sikh history and cultural life, using artworks from the Kapany Collection.
This Compendium gives an outline of the historical, philosophical and ethical aspects of the return of cultural objects (e.g. cultural objects displaced during war or in colonial contexts), cites past and present cases (Maya Temple Facade, Nigerian Bronzes, United States of America v. Schultz, Parthenon Marbles and many more) and analyses legal issues (bona fide, relevant UNESCO and UNIDROIT Conventions, Supreme Court Decisions, procedure for requests etc.). It is a landmark publication that bears testament to the ways in which peoples have lost their entire cultural heritage and analyses the issue of its return and restitution by providing a wide range of perspectives on this subject. Essential reading for students, specialists, scholars and decision-makers as well as those interested in these topics.
This book explores the great diversity and range of Islamic culture through one of the finest collections in the world. Published to coincide with the historic reopening of the galleries of the Metropolitan Museum's Islamic Art Department, it presents nearly three hundred masterworks created in the rich tradition of the Islamic faith and culture. The Metropolitan's renowned holdings range chronologically from the origins of Islam in the 7th century through the 19th century, and geographically from as far west as Spain to as far east as Southeast Asia.
New perspectives on Israelite warfare for biblical studies, military studies, and social theory Contributors investigate what constituted a symbol in war, what rituals were performed and their purpose, how symbols and rituals functioned in and between wars and battles, what effects symbols and rituals had on insiders and outsiders, what ways symbols and rituals functioned as instruments of war, and what roles rituals and symbols played in the production and use of texts. Features: Thirteen essays examine war in textual, historical, and social contexts Texts from the Hebrew Bible are read in light of ancient Near Eastern texts and archaeology Interdisciplinary studies make use of contemporary ritual and social theory