Indian Architectural Theory and Practice


Book Description

In this ground-breaking study the traditional Indian science of architecture and house-building,Vastu Vidya, is explored in terms of its secular uses, at the levels of both theory and contemporary practice. Vastu Vidya is treated as constituting a coherent and complete architectural programme, still of great relevance today. Chakrabarti draws on an impressive amount of textual material, much of it only available in Sanskrit, and presents several extremely valuable illustrations in support of the theories expounded. Each chapter deals with one architectural aspect, and chapters are divided into three sections. For each aspect, the first section explains the prescriptions of the traditional texts; the second section deals with the rather arbitrary use of that aspect by contemporary Indian architects trained in the western manner but striving to relate to Indian roots; while the last section in each chapter explores the selected use of that particular aspect by contemporary Vastu pundits, with their disregard for architectural idiom.




Let a Thousand Flowers Bloom


Book Description

Contributed articles.




Infrastructure and Form


Book Description

Feminist networks, new biennials, and performance -- Painting and the image condition at the millennium -- Materiality, ephemerality, and haptics -- Language, the documentary, and art in a discursive mode -- Infrastructure, collaboration, and the cut -- Conclusion : Infrastructure is not (only) a metaphor.




Mulk Raj Anand, Shaping the Indian Modern


Book Description

On the life and work of Mulk Raj Anand, b. 1905, Indian art critic and novelist; contributed articles by his associates on his contribution to Indian cultural traditions and Margø, Indian serial.




Nehru's India


Book Description

An iconoclastic history of the first two decades after independence in India Nehru’s India brings a provocative but nuanced set of new interpretations to the history of early independent India. Drawing from her extensive research over the past two decades, Taylor Sherman reevaluates the role of Jawaharlal Nehru, India’s first prime minister, in shaping the nation. She argues that the notion of Nehru as the architect of independent India, as well as the ideas, policies, and institutions most strongly associated with his premiership—nonalignment, secularism, socialism, democracy, the strong state, and high modernism—have lost their explanatory power. They have become myths. Sherman examines seminal projects from the time and also introduces readers to little-known personalities and fresh case studies, including India’s continued engagement with overseas Indians, the importance of Buddhism in secular India, the transformations in industry and social life brought about by bicycles, a riotous and ultimately doomed attempt to prohibit the consumption of alcohol in Bombay, the early history of election campaign finance, and the first state-sponsored art exhibitions. The author also shines a light on underappreciated individuals, such as Apa Pant, the charismatic diplomat who influenced foreign policy from Kenya to Tibet, and Urmila Eulie Chowdhury, the rebellious architect who helped oversee the building of Chandigarh. Tracing and critiquing developments in this formative period in Indian history, Nehru’s India offers a fresh and definitive exploration of the nation’s early postcolonial era.







Masterpieces & Museum Quality III


Book Description

Auction catalog; with reproduction of the original paintings by various painters.




Indian Cinema


Book Description




Partisan Aesthetics


Book Description

Partisan Aesthetics explores art's entanglements with histories of war, famine, mass politics and displacements that marked late-colonial and postcolonial India. Introducing "partisan aesthetics" as a conceptual grid, the book identifies ways in which art became political through interactions with left-wing activism during the 1940s, and the afterlives of such interactions in post-independence India. Using an archive of artists and artist collectives working in Calcutta from these decades, Sanjukta Sunderason argues that artists became political not only as reporters, organizers and cadre of India's Communist Party, or socialist fellow travelers, but through shifting modes of political participations and dissociations. Unmooring questions of Indian modernism from its hitherto dominant harnesses to national or global affiliations, Sunderason activates, instead, distinctly locational histories that refract transnational currents. She analyzes largely unknown and dispersed archives—drawings, diaries, posters, periodicals, and pamphlets, alongside paintings and prints—and insists that art as archive is foundational to understanding modern art's socialist affiliations during India's long decolonization. By bringing together expanding fields of South Asian art, global modernisms, and Third World cultures, Partisan Aesthetics generates a new narrative that combines political history of Indian modernism, social history of postcolonial cultural criticism, and intellectual history of decolonization.