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Madhubani art's origin is believed to go back to the ancient era of the Ramayana, when the town was decorated by inhabitants of the region for the wedding of Lord Rama and Sita with elaborate wall paintings and murals. The philosophy of Madhubani art is essentially based on the principle of dualism. The artscape appears inundated with divine deities, the sun and moon, and flora and fauna along with features found in Buddhism, Islamic Sufism, tantric symbols and classical Hinduism. Primarily a significant socio-cultural engagement for the womenfolk of Bihar, this art was a welcome break from their daily drudgery. Immersed in the folklore of Mithila, fresh forms and figures are painted and repainted on walls and floors of their homes to mark special occasions. Well-established procedures are followed and techniques are passed on from one generation to the next, keeping the ephemeral art form and ancestral tradition and its lore alive. Madhubani artists today are seen to work more with brushes and acrylic paint rather than natural dyes and pigments. They now also work on paper, cloth, canvas and wood to create art and artifacts, besides painting on walls and floors.

It also provides a glimpse into the secret life of animals and plants, assimilated from the latest scientific publications, curated and presented as easy-to-understand text.

Through stylistic analyses and interpretations of over 100 paintings from his collection, many of them published here for the first time, the author brings to light the accomplishments of the Orchha school during its heyday in the seventeenth century.

As weird weather overtakes the land and Kapoor sets out with his accomplices to kidnap the businessman, the flimsy lines between friend, foe and lover begin to quickly disappear.

Will Aameer reunite with his wife either? These, and other pressing concerns (who invented porcelain? Who was the king of Iran's Nishapur and how was the monster of Sumiyoshi slain?

There is an experiment in abstraction, and legend and reality are brought together when three sleepers of an earlier civilisation wake up in the modern world.

This book showcases the original illustrations by Jatindrakumar Sen for the illustrated story collections Gaddalika (1924), Kajjali (1928) and Hanumaner Swapno Ityadi Galpo (1937). It includes sketches and instructions by Parashuram himself as he conveyed his vision to the artist.

With haunting beauty the award-winning author describes the destinies of the lovers against the dramatic background of the British Raj in Bengal as well as the conflicts of our times across Kabul, Rome and London.

The tales in Guilt Trip and Other Stories reveal an unbridled exuberance of appetite which mirrors women¿s hungering for lost opportunities, the sting of indifference to one¿s aspirations and denied selfhood.

The author brings alive Pierre Jeanneret's days in Chandigarh, portrays the brilliance of the architect, the humility and simplicity of the man, as well as shows how he worked with dedication to leave a lasting impact on the world of architecture.

This monograph presents the behind-the-scenes story of Narayan¿s becoming a writer, and narrates the circumstances of his life that shaped his vision.

This book focuses on the floor covering traditions of Kashmir, one of the two distinct regions that constitute the Union territory of Jammu and Kashmir.

- Brings together two uncommonly gifted individuals: an 18th century Indian painter and a 21st century art historian. The fruit of this collaboration across time between painter and art historian makes for compelling reading - A work of an art historian who has ferreted out, from a virtually anonymous tradition, information on individual painters, and, after bringing them out of obscurity, has been writing on them with rare insights and warmth - Story of a Lesser Known Pahari Painter with immense talent This work centers upon Manaku of Guler - older brother of the greatly celebrated Nainsukh - reconstructing whatever little is known of his life, but following closely his artistic journey. Manaku came from an obscure little town in the hills of northern India - home to his singularly talented family - and yet his vision knew almost no limits. Endowed with soaring imagination and great painterly skills, this man - with a name that literally means a ruby, whose glow keeps hinting at an inner fire - was capable of painting giant rings of time upon timeless waters, envisioning the world of gods and demons, littered with cosmic battles and earthly triumphs. At least three great series were painted by Manaku: the Siege of Lanka which took forward the narrative of the Ramayana from the point where his father, the gifted Pandit Seu, had left it; the Gita Govinda and the Bhagavata Purana. Every single folio that has survived and is at present accessible - the number comes close to five hundred - from these series finds a place in this uncommonly rich volume. For the second time - Nainsukh of Guler was the first (also published by Niyogi Books) - Professor Goswamy looks here at the entire body of work of a great Indian artist from the past.

-A detailed exploration of a stunning festival, which is of great importance to Indian culture and heritage -A comprehensive and holistic view of this celebration Ratha Yatra, the ancient annual festival of the chariot and Jagannatha, the presiding deity of the great temple Srimandira at Puri, is one of the grandest spectacles on earth. Jagannatha (along with siblings Balabhadra and Subhadra) ride three colorful chariots in their annual sojourn to their garden house and birthplace Gundicha Temple, where they stay for seven days before returning back. Full of drama, vitality, and a panoply of rituals and ceremonies, Ratha Yatra is rooted in ancient traditions, myths and legends. It embodies the most colorful elements of the classical folk cultures of the Indian subcontinent and the Odisha region, and is the most succinct manifestation of India's heritage today. Celebrating the Hindu faith, this festival keeps Jagannatha alive and vibrant in the great pilgrim town of Puri, one of India's four most sacred cities.

- Explores the history of chain-stitch embroidery in India and the stitch-craft of the Mochi or shoemaker community in Gujarat- Documents the previously unknown role of the women of the Mochi community in creating embroidery pieces- Features a catalog of exquisite embroidery pieces from the TAPI Collection - a visual treat for lovers of Indian embroidery and handcrafted textilesThe exquisite chain-stitch embroideries of Gujarat's Mochi community are found in museum and private collections the world over, but the origins of the Mochis and their craftsmanship are rarely explored. This book is the first to delve deeply into the history of chain-stitch embroidery in India and its connections to the Mochi or shoe-maker community. This work focusses on chain-stitch embroideries from the 18th to 20th centuries in the renowned TAPI collection of textiles, with many pieces having direct links both to Gujarati royal families and the lineage of Mochi craftsmen and women. The previously unknown but significant role of the women of the Mochi community in creating embroidery pieces is also explored. The catalogue of images displays a wide range of exquisitely embroidered pieces ranging from Jain manuscript covers to portraits, items of clothing, fans, and furnishings, such as floor spreads, wall hangings and tent panels. The accompanying essays provide the background history of the Mochis and their work and also shed fresh light on chain-stitch embroideries in museums and private collections previously thought to be from the Mughal period. The book also gives an account of the contemporary scene, in which chain-stitch embroidery has found new directions and audiences worldwide.

The children grow into fine young people from different walks of life¿religion, warfare, the arts and crafts¿to become the progenitors of Kerala.

Based on an eyewitness account of life in royal harems, these stories describe the very human interaction between men and women in this milieu. They highlight power play, disinheritance and the threat of assault, which are perennial concerns for women.

Through her interpretive commentary, the author shows that Shuvaprasannäs articulation about culture, his insatiable child-like curiosity, fascination with the `City of Joy.

Drawing on his experiences in the Indian public sector, Raza throws light on the workings of varied industries, such as fisheries, textiles, chemicals and fertilizers.

The informative text is accompanied by rarely seen images from museums and private collections, offering fresh insights into these iconic examples.

Year after year, our exposure to the Gita remains limited to these fleeting visual engagements as they become part of our muscle memory as we go about our chores.

They delineate the ghastly communal riots at various places and the trauma and disruptions of memory caused by them, the exodus of the `refugees¿ from the then East Pakistan and their fierce struggle for survival in newly mushrooming colonies at unknown terrains, and above all, the nostalgia for an imaginary desh that defies cartographic barriers.

"This work in three volumes is an improved and expanded edition of my two volume German language book from 2015: Orchha, Datia, Panna, 'Malwa' Miniaturen von den rajputischen Hèofen Bundelkhands, 1580-1820"--Page 11.

- A book that maps down the journey of the tradition of textile and crafting- Locates the culture of craft in the pages of history- A guideline to the generations to explore the fieldCrafting a Future is a heartfelt celebration of artisans and their vocational skills. Each region in India has its own distinctive raw materials, craft techniques, textiles, motifs and color palettes, and through her well-researched narrative enriched with numerous stories, Archana Shah demonstrates the diversity and true value of handcrafted textile processes. She believes that handspun, handwoven fabrics made using indigenous fibers and natural materials for dyeing will help create a unique identity for handcrafted textiles, and suggests ways to repurpose the abundant artisanal talent available across the country to rejuvenate this sector. These tenets are woven throughout the book, which is broadly divided into three sections based on natural fibres: cotton from plants, silk from insects and wool from animals. This resonates with Gandhiji's concept of developing khadi and village industries to rejuvenate the rural economy, and stimulate development through a bottom-up approach. Beyond its beauty and heritage value, artisanal production is eco-friendly, has a negligible carbon footprint and fulfils most of the United Nations Sustainable Development Goals (SDGs). It has the potential for creating dignified employment opportunities for millions of people in their own regional location, so that they are not compelled by economic constraints to abandon their ancestral professions and migrate to urban slums to earn a meagre livelihood as unskilled laborers. In essence, the book focuses on artisans, their aspirations and fulfilment in their work. It also draws upon their traditional wisdom to address two of the most serious challenges that we face today: growing unemployment and climate change.