Over the last decade in India, many cities have undertaken pathbreaking initiatives in resolving issues associated with urban transport, and, specifically, mass transit system. The Bus Rapid Transit System (BRTS) is now acknowledged as a key mode to help large-scale mobility of people. Today, eighteen cities in the country are at different stages of planning, design, execution and operation in their BRTS journey.

The Janmarg, as the BRTS is known in Ahmedabad, explored many options before choosing its design approach. Many of these experiments led to innovations and best practices. Since its inauguration in October 2009, Janmarg has been accepted as the first ‘complete’ BRTS in India.

This book traces the design journey of Janmarg, the alternatives that were considered, the rationale underlying the choices made, the innovations it fostered and lessons for the future for Ahmedabad and for other cities. The volume will be a valuable resource for researches as well as students.

Contents:
Background; BRTS Design; Basic Layout; Cross Sections; Junction Design; Placemaking; Street Design Elements; Transit Infrastructure System; Ideas for Future.

Opening with the reflections of Indian architects Rohan Varma, Charles Correa and Rahul Mehrotra on the past, present and future of architecture and planning in Mumbai, the book maintains its expert local focus through a number of interviews, made with a wide variety of local and foreign architects and planners who work in Mumbai. The ins-and-outs of practising architecture and planning in this megacity are explored through their eyes. Small but exciting firms (such as Brio Architecture) find a place beside massive commercial architecture firms (including Hafeez Contractor) and activist architects (such as PK Das and Somaya & Kalappa). Teaching architecture in Mumbai is also discussed extensively. This book features several micro-initiatives that have come up with creative solutions for making the city more liveable and beautiful. A special acknowledgment must be reserved for Bas Losekoot, whose luxurious high-quality photography covers the many faces and facets of Mumbai. In his photo essay, he projects an intriguing new light on Mumbai and its inhabitants. Learning from Mumbai will be of interest to architects, planners, architecture and planning students, and for those thinking of starting an architecture or planning firm in India, as well as for anyone interested in Mumbai and Mumbai’s built environment.

Mohan Samant (1924-2004), among the earliest of the post-Independence modern Indian artists to train in India and settle as a successful mature artist in the West, has been called ‘one of the few artists who has successfully made the bridge between Eastern and Western traditions.’ Born in Mumbai, Samant received his diploma from the Sir JJ School of Art in 1952, where he had studied under S.B. Palsikar. That year he joined the Progressive Artists Group. Extended periods abroad – 1957-58 in Rome and travel in Europe and Egypt, 1959-64 in New York City – preceded his leaving Mumbai permanently for New York in 1968, where he lived until his death in 2004. This volume, the definitive work on the artist, presents a comprehensive overview of Samant’s life and work. Also included are essays on Samant’s place in the development of modernism in post-Independence India, a chronological survey of the styles, techniques and themes employed by the artist, and analyses of the media and techniques he utilized.

Published in association with Abraham Joel, New York, and Pundole Art Gallery, Mumbai. With an introduction by Ranjit Hoskote and additional contributions from Abhijeet Gondkar, Virginia Kaycoff, Sharad Ghamande, Barbara Bertieri, Abraham Joel, and Judith Wink.

Photo Peshawar delves into the largely unexplored culture of photography in the Pakistani frontier city of Peshawar from the 1940s to the present day. Photography in Peshawar has historically and culturally found itself caught between the creative and conservative forces of both India and Afghanistan. Variously borne of British rule, the Partition of India, war in neighbouring Afghanistan, the rise of the Taliban, local tribal law, a historical prohibition on image-making in Islam, the practice of purdah (the veiling of females in public), and the regional movie industry, there is a tangible stress between the practice of photography as it is pursued and the culture in which it is lived. With nearly one hundred and fifty photographs, each more stunning than the last, ‘photography as craft is what this splendid volume examines – photography at the living, bleeding intersection of culture, war, frontier and fantasy, the sheer human inventiveness that results from a magnificent and tragic brew of technology and history.’ Published in association with PIX Publishing.

Vishnu-Hinduism’s most important and powerful deity. He is the great Preserver, vanquishing those who seek to destroy the balance of the universe. For his followers he is also the Creator and the Destroyer, the cause of all existence. His many traits are embodied in his impressive physical form, the weapons he carries, the goddesses who are his consorts, and the eagle, Garuda, on whom he flies down from heaven. In Hindu legend, Vishnu descends to earth in many manifestations, known as avatars, to fight powerful demons and to save his devotees. The avatars range in form from Varaha the boar to Parashurama the Brahmin warrior, and in character from Narasimha the ferocious half-man half-lion, to Krishna the charismatic prince-cowherd. The legends of Vishnu have inspired some of the greatest art, literature, and ritual traditions in India. This catalog examines the many faces of Vishnu and the ways that the god has been represented, from antiquity to the present. Essays by noted historians of South Asian art delve deeply into the regional and sectarian traditions of Vishnu worship in India. Illustrations and discussions of almost two hundred works of art, in a wide range of media and borrowed from collections throughout the United States and Europe, reveal the rich diversity of India’s art and religious culture. With contributions from Doris Meth Srinivasan, Leslie C. Orr, Cynthia Packert, Joan Cummins and Neeraja Poddar. Co-published with Frist Center for the Visual Arts, Nashville.

Chikankari is one of India’s finest traditional embroideries, evoking Lucknawi culture and the elegant courts of the Awadh Nawabs. Chikankari appeared in Lucknow in the late 18th century and its exquisite aesthetic and craftsmanship has sustained the tradition to this day, through changing patronage and market trends. Chikankari is not just embroidery. The style is based on a creative blend of delicate embroidery, and impeccable dressmaking and sewing techniques; these components come together to create art that is legendary for its elegance and finesse. This beautifully illustrated book showcases unknown gems from personal and public collections, and brings to life the history of this unique craft tradition. Various chapters describe the mysterious origins of the craft, the range of costumes, the inspirations behind common Chikankari motifs, the time-honored elaborate production process, and the bewildering array of stitches that raised this craft to its status as a truly exceptional art form.

Bipasha Choudhury, writer and poet in the English language, living in London for some years, is in Czechoslovakia, as part of a writer’s group – a visit that is set to change her in more ways than one.

This is a time when Czechoslovakia is still a socialist state under Soviet dominion, poised for a major upheaval and change. In this milieu of brewing internal struggle for identity, a life-churning experience awaits Bipasha. Looking for answers outside, Bipasha is about to discover a valuable part of herself to pave a new destiny – in a foreign land, by chance.

The novel is about language and identity that came before the tide of Indian Writing in English that touched India’s shores.

Covering eight classical dance forms of India – Bharatanatyam, Kathak, Kuchipudi, Kathakali, Manipuri, Mohiniattam, Odissi and Sattriya – Leela Venkataraman seamlessly weaves together a historical perspective with the contemporary scenario. Stripped of their association with the temple and the court, classical dance traditions in India went through a series of unprecedented change in the period marking the last few years of British rule and thereafter. From becoming part of the nationalist struggle when India was trying to rediscover its lost identity, to sharing the international stage today with dance forms from all over the world, the last sixty-six years have seen many changes in perspective and presentation of Indian Classical Dance – some intentional, others involuntary. While looking at these years closely and their impact on dance forms, one realises that this is a phase in an ongoing process, with each new generation of dancers and musicians adding to an already rich tapestry of tradition.

Kathakali Dance-Theatre records the art of Kathakali comprehensively, right from the scenario that paved the way for Kathakali’s origin and development to its present history. The book chronicles its various facets – the acting, music and costumes, crucial contributions of the masters, momentous incidences, evolution of styles, riveting anecdotes, and related socio-political issues affecting Kerala. The firsthand personal rendition of the author’s experience and the detailed glossary make it immensely readable. Full of photographs depicting the masters of the art, green room activities and the vibrant theatre of Kathakali, this book will be a treasure trove of information for uninitiated readers, arts scholars, theater buffs, potential researchers and students keen about the art and its future.

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.

The culmination of five years’ travel with Indian pilgrims, Nostalgia for Eternity takes the reader into the depths of millennia-old spiritual and mystic traditions. It is a stunning visual poem about the timeless human search for transcendence and ultimate truth. Translated literally from the Greek, ‘nostalgia’ means homesickness; spiritually, it is the universal longing for existential peace and completeness – for a final resolution of all life’s conflicts and contradictions. ‘The truth is one,’ taught India’s ancient gurus, ‘the sages call it by many names.’ With breadth and insight unmatched by any other publication, Nostalgia for Eternity illustrates the worlds of pilgrims seeking that transcendent truth and illuminates the different paths that they travel. Through evocative, complex images we enter the secretive realm of Tantric worshippers of the Mother Goddess; and we walk with Sufi pilgrims across the deserts of Rajasthan. Meditative, richly layered photographs reveal the inner world of Bengali Bauls – mystics who worship the human being; and of Sidis – descendants of African saints whose religion merges African ancestor worship with Sufism. Richly annotated text reveals to the reader the deeper symbolic and mythological significance of the Hindu, Buddhist, Islamic, and syncretic practices explored in the book.

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.

Windhorse Warrior offers an inside look at the struggles and aspirations of the Tibetan people during the 1950s. It is a tale that weaves together the politics of occupation and resistance, an other-worldly romance between a Chinese communist and an educated Tibetan woman, and the soaring vision of the Tibetan spiritual heart. Chuang Wei Ming, a young zealot from Shanghai, arrives in Lithang – on the eastern Tibetan plateau – with a mission to prepare the people for Maoism but soon outgrows its limiting worldview. Chuang falls in love with the beautiful and intelligent Dechen, who introduces him to the richness of Tibetan Buddhism. Palden Rinpoche, Dechen’s spiritual teacher, includes Chuang in their plan for a general spiritual awakening based on the Legend of King Gesar of Ling. Together, they pursue a pure communism infused with Buddhist teachings to create an ‘enlightened society’. This is a story that extends beyond the decade in which it is set. Its message is true today in the global context of oppression and disparity, fake news, and injustice. Those who believe in a just and beautiful world will find themselves longing for an ‘enlightened society’ filled with spiritually awakened women and men, free to pursue their true potential and eager to enrich the lives of others.

Mughal emperors governed their vast empire with the help of nawabs – a title they bestowed on the semi-autonomous Muslim rulers of India. Over a period of time these nawabs became powerful rulers in their own right and created a distinct culture of their own, with food being one of its most everlasting legacies. Heavily influenced by Mughal staples and cookery techniques, the nawabs refined their cuisine by adopting local flavors, from the refined palates that dominate the table at Rampur and Avadh to the incredible array of delicacies from the kitchens of Bahawalpur and Khairpur, now in Pakistan. For the first time, Dining with the Nawabs allows you a rare opportunity to visit the tables and palaces of these families, to learn more about their lifestyles and their love affair with gourmet cuisine. This special edition also comes with a ‘Kitchen Copy’, containing some of their most beloved family recipes that you can recreate in your own homes. The families featured in this book continue to be the proud custodians of this culinary legacy. They share recipes which have been passed down for hundreds of years within the confines of the royal kitchen. In these recipes and stories, which depict food as the epicenter of traditions and customs, the larger story of an ancient philosophy and a way of life is revealed. Today, Indian food all over the world is synonymous with Mughalia and Nawabi cuisine. Biryani, pulao, kebab, korma, kofta, dumpukht and other dishes of the time have all made their way from a shahi dastarkhwan into every home. The families featured here each have their own signature version of these dishes; much like the flower which grows in different soils and emanates a different fragrance, these meals are at once part of a shared heritage and strikingly unique.

Banaras is a city on the banks of the river Ganges. It is the holiest of the seven sacred cities in Hinduism and Jainism, and played an important role in the development of Buddhism. It is regarded as one of the oldest continuously inhabited cities in the world. It is portrayed beautifully through Majumdar s captivating perspective on different walks around the city. Banaras witnesses thousands of devout Hindus who journey to the banks of the Ganga to wash their sins away. The ghats and the riot of colors only add to the character of this city. Banaras now known as Varanasi is also a major tourist attraction and welcomes thousands from around the world.

Awadh has historically been among the most important regions in India, politically, religiously and socially, and holds a vital position with respect to the development of Indian fashion. As such, fashion and history are not mutually distinct, but rather intricately intertwined. This book takes a fascinating journey, connecting dates and events to the evolution of costumes, textiles, colors, motifs and ornamentations from the eighteenth century up to present-day India. It recaptures the ambience of the Nawabi Era and the British Raj in Awadh, and makes them relevant for contemporary times. Costumes & Textiles of Awadh is the culmination of five years of research into an area hitherto untouched by books on costumes. The work is further embellished with rare photographs and exclusive pictures of costumes and textiles. The book makes for an important reference work on the rich textile history of an important region of India, and will appeal to anyone with an interest in the intricacies of fashion with history.

Life in the royal courts of India revolved around entertaining. The palace kitchens were allotted massive budgets to ensure the highest quality of cuisine. Each state had its unique style of entertaining and food traditions – carrying forward these culinary practices are the modern day Indian royals. While the scale of the banquets may have shrunk the passion for food and the age-old family recipes remain. Dining with the Maharajas: Thousand Years of Culinary Tradition brings the invaluable legacy of Indian royals as ten families open up their palaces and homes to allow you a glimpse into their charmed lives that straddle tradition and modernity.

Sensuous is the word that best defines the flavor and texture of Indian cuisine, a cuisine that is visually and aromatically one of the most opulent in the world. Marut Sikka, acclaimed food consultant, cuts out the fuss, and shares home-style Indian dishes that are perfect for everyday cooking. He uses his amazing knowledge of combining spices to make dishes taste extraordinary. The recipes are authentic – a testament to simple ingredients producing sublime tastes. Indian Flavours starts with a brief introduction to some of the spices of India. The rest of the book is divided into unique sections such as the Spice Family, Fresh Herbs and Vegetables, Dried Herbs, Seeds and Leaves, and Dried Fruits. As the author explores each section, he gives simple, but delectable recipes, such as nutmeg potato roundels, lamb brains with black pepper, dill-infused grilled fish, jalapenos with jaggery and coconut, and rose petal and rice pudding, with vivid photos that are sure to impress. With streamlined techniques and intense, authentic flavors, Indian Flavours, a classic in its own right, heralds a new generation of Indian cookbooks.

The Konyaks – a once fearsome headhunting tribe in Nagaland on the border of Myanmar in northeast India – are well known for their iconic body and facial tattoos, originally earned for taking an enemy’s head. This book – over four years in the making – is the personal journey of a Konyak woman who retraces the steps of her grandfather and great-grandfather by documenting her tribe’s tattooing practices. She explores the Konyak’s concept of beautification of the body using it as a canvas for art, with inscriptions marked on the skin as a form of rite of passage and cycle of life. With elegant and powerful portraits of elders, both men and women, this book preserves the unique but vanishing practices of the culture, together with tattoo patterns, their meanings, and the oral traditions attached to them in folktales, songs, poems and sayings. It includes descriptions and information on headhunting and tattooing practices; reasons behind them; techniques used; tattoo artists; different tattoo groups; types of tattoos; and personal stories. Contents: The Konyaks; Headhunting; Traditional Tattooing Art; Tattoo Artist; Face Tattoo Group SHEN-TU; Body Tattoo Group TANGTA-TU; Nose Tattoo Group KONG-TU; The Last of the Tattooed Headhunters; Glossary.

This book from Mysore, stands out, not only because of the splendour of its illustrations but also because it engages with that great and sacred text, the Bhagavata Purana, in a manner that is completely different from almost anything else that one sees.

There are leaps of imagination here that take one’s breath away, and the episodes picked up by its great but unnamed illustrators are explored in dense, brilliant detail. At each step the painters seem to have been aware of the importance of the text itself. For the Purana they were engaging with has a very special place in the heart of devotees, there being the belief that the Bhagavata ‘is equal in status to the Veda’.

The scope of the volume is restricted to the second half of the Tenth Book of the Purana. Here the city of Dwarka is founded, a fierce contest with the bear king Jambavana is fought; the Khandava forest is burnt down, the great fortress of Narakasura is vanquished, the city of Hastinapura is dragged to the waters, great pilgrimages are undertaken, hordes of enslaved princes are freed, Shishupala is slain, Jarasandha is riven. Wide-eyed, one sees wonders piling upon majestic wonders.

Painted, Printed and Resist-dyed Textiles, Volume I of Traditional Indian Handcrafted Textiles, is a comprehensive text, put in a structured and coherent manner as a ready reference for all students, research scholars and academicians in the field of clothing, textiles and design. This book puts forth various traditional handpainted, printed and resist-dyed textiles, from different regions of India. It focuses on examining the history of textile traditions, their characteristic features, and analyzes the techniques of painting, printing and resist-dyeing; it includes documenting and understanding processes, colors, materials and motifs with their symbolism. Photographs have been provided to help the readers identify the textiles.

Woven Textiles, Volume II of Traditional Indian Handcrafted Textiles, is a comprehensive text, put in a structured and understandable manner as a ready reference for all students, research scholars, and academicians in the field of clothing, textiles, and design. This book puts forth various traditional handwoven textiles from different regions of India. It focuses on examining the history of these textile traditions, their characteristic features, and analyzes the techniques of weaving and types of looms used. It includes documenting and understanding the weaving processes, colors, raw materials, and motifs used in the handwoven textiles. Photographs have been provided to help the readers identify the textiles.