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This book investigates the different cultural roles played by photographs of Indian architecture from the latter half of the nineteenth century, an inquiry stretching from their pre-history to their migration into book illustrations, calendar art, and religious imagery. Beyond the apparent purposes of these images - as picturesque views, scientific records of an architectural past, political memorials, travel mementos, textbook vignettes - deeper considerations influenced the way their makers worked in selecting, framing, composing, and populating their representations. Shaping the viewer's thinking about what they represented, these images remain enduring records of a way of seeing, of minds as well as monuments, and exist today as artefacts of the visual culture of colonialism. Twelve essays from scholars working in several disciplines (history, anthropology, art history, and the history of photography) show how photographs of architecture reveal the inescapable ways in which the practice of image making is aligned with the purposes of power, the presumptions accompanying the encounter with strangeness, the internal order of the colonial and the scientific mind, and even our metaphysical dispositions toward the world.
After the public announcement of the invention of the camera in 1839, photography spread swiftly round the world, and by the early 1850s the medium had become well-established in the Indian subcontinent. In a land characterised by the variety and splendour of its architecture and landscapes, and the diversity of its peoples and customs, India offered the photographic artist an unsurpassed range of subject matter. In addition to the artistic achievements of international masters of photography like Dr John Murray and Samuel Bourne, official encouragement of the medium as a documentary tool came from the East India Company. By the mid-1850s a remarkable visual 'archive' had been created, which charted the architectural heritage and ethnic composition of the subcontinent. This book, which accompanied a major exhibition of 19th century images from India, traces the development of photography from 1850 to 1900, when the ascendency of the large format camera and print began to crumble in the face of the simplified amateur camera. Drawn from the collections of the British Library, and Howard and Jane Ricketts, the book is illustrated with some of the finest photographs produced in India during the latter half of the nineteenth century, many never previously reproduced.
India : A Cultural Voyage India is a land of eternal resurgence. Writing history might or might not have been a vocation with ancient Indians. Creating history through a ceaseless process of an on-looking culture has definitely been a divine pastime. Cultural strides in India through more than thirty centuries are the theme of this book. It provides an insight to survey linkages of those strides lauded and aspired for by mankind. The book is an ocean encased in a crystal bowl with inner appearances made to whisper in truer lights. The book traces the voyage of Indian Culture through its excellence in the realms of religion, philosophy, and aesthetics. languages and sciences with a lively and unique system of deciphering unity in diversity. The book is a reincarnation of an undying echo of the ageless joy, of a great surrender to the bliss. In conformity with the general design, the book contains READINGS from Kadambari, Mahabharata, Gandhi, secular saints, and from flora and festivals. They resurrect glimpses of authenticity in the inner landscape of India's presences-spiritual and material. The book "India: A Cultural Voyage " traces the voyage of Indian Culture through its excellences in the realms of religion, philosophy, aesthetics, languages and sciences with a lively and unique system of deciphering unity in diversity. The book focuses mainly on India's languages, religions, dance, music, architecture, food and customs that differ from place to place. Indian Culture, considered a combination of several cultures, has been influenced by a history of several millennia old, beginning with the Indus Valley Civilization and several other older civilizations. The book's central theme is the element of Indian Culture, such as Indian religion, languages, mathematics, philosophy, cuisine, languages, dance, music, and festivals, which also have had a profound impact across the Indian Sub Continent and the world. This book vividly describes India's cultural strides through more than thirty centuries. In conformity with the general design, the book contains READINGS from Kadambari, Mahabharat, Gandhi, secular saints, flora, and festivals.
Reason's Traces addresses some of the key questions in the study of Indian and Buddhist thought: the analysis of personal identity and of ultimate reality, the interpretation of Tantric texts and traditions, and Tibetan approaches to the interpretation of Indian sources. Drawing on a wide range of scholarship, Reason's Traces reflects current work in philosophical analysis and hermeneutics, inviting readers to explore in a Buddhist context the relationship between philosophy and traditions of spiritual exercise.
This is the first book ever to be devoted to this subject.
In his novel Kim, in which a Tibetan pilgrim seeks to visit important Buddhist sites in India, Rudyard Kipling reveals the nineteenth-century fascination with the discovery of the importance of Buddhism in India's past. Janice Leoshko, a scholar of South Asian Buddhist art uses Kipling's account and those of other western writers to offer new insight into the priorities underlying nineteenth-century studies of Buddhist art in India. In the absence of written records, the first explorations of Buddhist sites were often guided by accounts of Chinese pilgrims. They had journeyed to India more than a thousand years earlier in search of sacred traces of the Buddha, the places where he lived, obtained enlightenment, taught and finally passed into nirvana. The British explorers, however, had other interests besides the religion itself. They were motivated by concerns tied to the growing British control of the subcontinent. Building on earlier interventions, Janice Leoshko examines this history of nineteenth-century exploration in order to illuminate how early concerns shaped the way Buddhist art has been studied in the West and presented in its museums.