Art Architecture Antiquities

Sthapatya Ved-Vastu Sastra

Sthapatya Veda embraces the concept of the holistic origin of the universe. It expounds the rinciples involved in the areas of Vastushastra (architecture and planning), Shilpashastra (sculpture and iconography), Chitrakala (painting in all branches). It envelops within it, the knowledge of Jyotis, Ayur-Veda and Gandharva Veda etc. and tenets of Samudhrika Shastra and other branches of Vedic knowledge.

Vastu Science For 21st Century: To Enjoy the Gift of Nature

Vastu Shastra is not merely an art but a definite science in itself. This book has made an excellent effort to establish this fact. The book attempts to highlight the principles of Vastu science and its application in designing of built enviroment to enhance the quality of life. This science

is still relevant and effective in the modern life changing styles of Architecture with universal application of its principles. The author has tried to justify that Vastu principles are much in need in the 21st century in view of rapid advancements man is making in other fields without compensating on ecology front, which forms the basis of Vastu. In the end an attempt has been made to give a compound solution to the problem of Vastu-based planning.

Stupa and Its Technology: A Tibeto-Buddhist Perspective

Among all the religious monuments of the world, the stupa has the longest

uninterrupted historical development. Though modelled after the Indian

prototype, the stupa architecture was developed in all the countries where

Buddhism had flourished. Over time, the structural shape of the stupa

underwent significant modifications in India and the other Asian Buddhist

countries.

The present study shows how Tibet became a treasure house of Buddhist

culture and literature–highlighting important texts dealing with stupa

architecture. Various ritual activities associated with the construction of

the stupa are described along with the eight fundamental types of

Tibeto-Buddhist stupas and their main structural components. A survey of

the stupas found in the upper Indus Valley in the Leh region of Ladakh

shows their similarity to the Tibeto-Buddhist tradition. The value of the

book is enhanced by an appendix with English translation of four important

Tibetan texts preceded by transliteration.

This monograph is the first in the new sub-series of the IGNCA on the

Buddhist stupas, which would not be restricted to India alone. It is hoped

that such studies will enable the art-historians and archaeologists to

understand this important structural form in totality in relation to its

wide geographical spread and the distinctive features of particular

developments in different countries.

Indian Art at Delhi-1903

The volume was first published as a Catalogue and Guide to the Indian Art Exhibition held at Delhi ‘to concide with the Durbar of 1902-03’. The volume is a unique work of documentation of ninteenth-century indian craftsmanship. The text is enriched with graphic representation of rare specimens of Indian artistry. Its usefulness as ‘a gazetteer and an ethnographical dictionary’ makes it invaluable for the students engaged in research of the history of craft and industry in India.

Indian Rock Art and its Global Context

This is a unique volume in the history of rock art studies, meant at once

for the advanced scholar, serious student and the curious but conscientious

layman, co-authored by K.K. Chakravarty and R.G. Bednarik, who co-chaired

the indian Rock Art session of the World Archaeological Congress 3 at Delhi in

1994. It is a synoptic but comprehensive survey, illustrated by 221

photographs and sketches, including 172 photographs in colour. The two

scholars have not only described the latest state of research on rock art,

but also transported rock art studies into the realm of interdisciplinary,

inter-cultural analysis. Buttressed by an indicative map of the rock art

regions, a list of major up to date direct dating results on rock art, a

glossary of keywords related to spatial, temporal, technological,

managerial categories, and an index, this volume blends precise,

dispassionate descriptions with eloquent evocations. It blends conclusions

distilled from rigorous, hard headed field research with penetrating

criticism and assessment of the evidence. It combines a ruthless brevity

and density with extraordinary felicity and clarity of language. Above all,

it is an wonderful attempt at dealing with the problems of understanding,

which dog human attempts to comprehend the meaning and shape of human

creativity.

Residential Architecture in Bhoja’s Samaranganasutradhara: Introduction, Text, Translation and Notes

The Samaranganasutradhara, composed in the 11th century and commonly attributed to King Bhoja of Dhara, is one of the most remarkable silpasastras of northern India. Consisting of more than seven thousand slokas, it contains not only detailed descriptions of temples, but also a comprehensive exposition of residential architecture. This book is an annotated translation of the central passages on residential architecture accompanied by a study of the Samaranganasutradharaês sources, the problem of authorship, and related matters. It is rounded off by a comprehensive glossary of technical terms and illustrations.

Alice Boner Diaries: India 1934-1967

Apart from an insight into Alice Boner’s keen observation of Indian temple-architecture and art the present selection of her diary entries also depict the struggles of Alice Boner, the artist. In her work she strove to represent the spirit of India which her intensive experiences of over 40 years in the country revealed to her. Her experiences also included contact with personalities of the calibre of Rabindranath Tagore, Swami Laxman Joo, Sarojini Naidu, Ustad Alauddin Khan, and her admiration of Mahatma Gandhi. As a remarkable diarist Alice Boner puts her thoughts to pen in an elegant, eminently readable style. The reader feels with her the thrill and awe at the ancient monumental sights all over India, reads about her vision of the principles of sacred art, and shares with her the inner conflict of one torn between the two worlds of Europe and India. Over and over again this unique woman, with roots in the European culture, expresses her deep attachment to India. Most of the diary entries are in German and English and these have been retained for the sake of the originality of her fine expression, interspeersed with a selection of sketches from her vast repertoire. In addition, the German portions have been translated here for the benefit of English readers.

Despair and Modernity: Reflections from Modern Indian Painting

Dehejia has tried to create a place within the main frame of culture and philosophy of Indian art for a legitimate analytic theory called despair. Dehejia’s effort creates a space for the modern within Indian classicism by negotiating the philosophy of despair in classical terms. As a result the basic schism that has grown in recent years between the philosophy and history of modern art on the one hand and the philosophy and history of traditional arts is today cloder to being breached