Choosing bronze as her favorite medium, Meera Mukherjee (1923-1998) formed her own simplistic, modernist, life-like world of sculptures. They possess a ‘lifeforce’ that speaks to the ordinary being instead of alienating them. Mukherjee’s commitment to her practice made her valiant enough to step out of her comfort zone and dedicate herself to visual arts. Her devotion to the craft traditions of India guided her to Madhya Pradesh, Bengal and South India. The artist’s language is similar to that of the quotidian life in her immediate surroundings, shedding light upon social issues.

This one of a kind volume offers an understanding of Mukherjee’s art through the most comprehensive collection of essays by writers who have known her personally and professionally, as well as from translated texts and excerpts from her diary and letters. Published in association with Akar Prakar Gallery, Kolkata, Emami Art, New Delhi, and supported by Raza Foundation.

Postcards were to people in 1900 what the Internet was to the world in 2000. The world went from a thousand to a billion postcards in a very short span of time, with the finest painters from India, Austria and Japan getting involved. Paper Jewels is the story of postcards during the Raj, and covers India, Pakistan, Sri Lanka and Burma. It is the first book on the subject and features hundreds of professionally-restored images in original format, weaving together the postcard artists, photographers, and publishers who define the rich history of the medium. The author’s research also charts the history and progression of the technological aspects of postcard publishing and its key players. The concluding chapters explore the role postcards played in the Independence struggle, from the First Non-Cooperation Movement through the Dandi March and Partition. It includes some of the earliest cards of Mahatma Gandhi, Mohammed Ali Jinnah and other political figures. Many of the images in the book have not been seen since they were first published nearly a century ago. Published in association with The Alkazi Collection of Photography.

In an age where contemporary art has changed in mediums and language, scope and intent, this book weighs in on the moodiness, methodology, efforts, mental blitzkriegs and inner workings of modern master of art Syed Haider Raza. This book unravels the workings of Raza’s oeuvre and life at the age of 94 years. It is an attempt at appraising and transmitting the prevailing winds of intent and insight in the works of Raza through conversations with him about contemporary art. Living now in Delhi, Raza is going through a revolution in which he is bringing back his past in his works he is ploughing the depths of past trends in his use of color fields, in contextualizing genres in his journey of the ‘Bindu’ and explaining intuitive strategies that reflect his journeys. Looking at Raza’s art is an intimate act of prolonged engagement. The Bindu too has transformed through decades it signifies a different tenor in a world torn by terrorism and death.

In tone and technique Raza is meticulous, historically informative, and has a sensitive yet straight-eyed approach that often takes the form of a discourse that invites cogent considerations; his reflections of spirituality and his favorite poets Rilke and Kabir build up into a flashback tinted in-your-face reflection that might involve the desire to dig deeper into his quotations.

Nevertheless, in his own specific way, Raza brings to his own works that essential recipe of criticism illustrated in essence with his own brand of expertise and taste. When he discusses his works done over the past two years, he travels through verbal and visual dynamics, and gives us a set of references and details that define his sensibility that brims to an inner core of intellectual and aesthetic insignias. In his twilight years, Syed Haider Raza is unveiled as a modern master who comes through more like a sage who swims in the fervor and ferment of thoughts shaped by 60 years in Paris as well as formative years in India.

Contents: Preface by Ashok Vajpeyi; Foreword by Reena Lath; Curatorial Note by Uma Nair; Plates; Biography of S.H Raza.

This comprehensive account traces James Waterhouse’s early career in Central India in the 1860s, through to his technical achievements in Britain in the 1900s. The works of this enigmatic figure devoted to the medium, acknowledged by his peers as “the father of photo-mechanical work”, until today remain unjustly neglected within the world of photography.

In Immersions: Bombay/Mumbai, Priya Sarukkai Chabria weaves an elegant narrative around the ever-pulsating metropolis – India’s financial capital – accompanied by Christopher Taylor’s fascinating photographs that complement the text. Readers receive a fresh experience of Mumbai – layered with pungent edginess, abundant human stories, ruin versus new rooting and its throbbing – often decomposed – corporeality. The cross genre book – memoir, travelogue, investigation, poetic expositions all perfectly blended – maps several rhythms of time as the author and photographer travel round the city. Unexplored precincts, high-rises and heritage villages, poignant stories from the streets, the city’s history and the illusory yet surreal Bollywood images come to the fore, outlined by the city’s inequality, demographics and vitality in the stimulating prose and fabulous photographs – ruminating on the flow of life in a cruel yet captivating city. Contents: Introduction; Concrete to Basalt; Mosaics of Movement; Tides; Transport: Movements Seen and Unseen; Tales of Migrants; Money; South to North: From Old to New; Immersions; Mills to Malls; Holy Trinity: Bhuleshwar-Kalbadevi-Madhav Baug; Mazagaon; Dadar & Matunga: Once Bombay’s Suburbs, Now Central Mumbai; Behind Bollywood; Urban Forest; Cab ride through; Bombay/Mumbai; Notes; Select Bibliography; Acknowledgements.

Kathak: The Dance of Storytellers explores the philosophical and practical aspects of Kathak dance – its origin, development, and techniques. Investigating this compelling dance style from cultural and historical perspectives, the book delves into the essential principles of Kathak, its schools and major artists, the format of Kathak performance, repertoire, Kathak music, predominant trends in training, and the system of practice through the lens of theory and application. A rare resource, the text is a comprehensive read for dancers, teachers, and Kathak lovers. Due to the increase of Kathak performances along with dance classes in the west, Kathak practitioners living outside India will immensely benefit from this book.

With the recent recognition of Chandigarh’s Capitol Complex as a UNESCO World Heritage Site, the spotlight on its creator, Le Corbusier considered the 20th century’s greatest architect-planner attains a more illustrious glow. Against this backdrop, Le Corbusier Rediscovered: Chandigarh and Beyond weaves together an anthology of inspired essays by eminent, global experts on Corbusier’s life, ideas and work, both in Chandigarh and at other places. The diverse yet interlinked themes forming a composite compendium, rediscover the timelessness of Corbusier’s architecture and revisit his impact in India and the world over. Current issues like conservation of Chandigarh’s architectural heritage, future strategies for its growth and the Smart City model for Indian urbanization are also addressed. The book is imbued with a patina of historicity imparted by the inclusion of some rare archival images and texts. With focussed essays by international experts like B.V. Doshi, William J.R. Curtis, Raj Rewal, Rahul Mehrotra, Jacques Sbriglio, Michel Richard, Alfredo Brillembourg, S.D. Sharma, Jagan Shah, Rajnish Wattas and Sumit Kaur on thematically linked topics this richly illustrated book – with nearly 250 images – constitutes a seminal new publication. It rediscovers Le Corbusier and his crowning glory Chandigarh, viewed afresh in a new light.

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. Contents: Foreword by H.E.M.S. Puri, Ambassador of India in Belgium; Preface by Martin Gurvich; Imaging the Divine: Artscape of Bharati Dayal by Sushma K Bahl; Krishna; Shiva; Ganesha; Devi; The Mahabharata Nature; Bharati Dayal.

As the first ever organized collection of Delhi’s maps, containing a chronology of magnificent ancient and modern hand-drawings as well as digital maps of the city, this book is as visually stunning as it is informative. Dr Guerrieri describes each map as an individual entity. She gives the maps unique and detailed focus, elaborating on their idiosyncrasies, aesthetic details, and rich historical relevance. The evolution of planning and architecture, which elegantly unfolds through the maps, mirrors the political, social, and historical progression of the capital. Maps of Delhi is both beautiful and stimulating, while also offering deeply insightful commentary that will be appreciated by the most discerning of scholars. It is an indisputable milestone for those wanting to research the capital. The book reveals, as A.G. Krishna Menon notes in the foreword, the charm of printed maps and the many pleasures and insights they offer when they are physically handled. It is a remarkable tribute to a remarkable city.

This beautifully illustrated two-volume set is the most comprehensive survey of Indian painting that the West has ever seen. Spanning 800 years and including some 600 artworks by more than 40 artists, it dispels the notion of anonymity in Indian art. The high points of artistic innovation in the history of Indian painting are demonstrated through works of the greatest Indian masters, some of whom are identified for the first time. The two-part volume is structured chronologically, which is unusual since Indian paintings have traditionally been classified according to regional styles or dynastic periods, with an emphasis on subject matter and narrative content.

Contents: Volume I: Foreword; Introduction; Indian Painting from1100 to1500; Mahavihara Master; The Master of the Jainesque Sultanate Shahnama; The Master of the Devasano Pado Kalpasutra; Indian Painting from1500 to1575; The Masters of the dispersed Bhagavata Purana; Master of the Laur Chanda Series; ‘Abd al-Samad; Indian Painting from 1575 to1650; Basawan; Manohar; Keshav Das; Miskin; Farrukh Beg; Aqa Riza and Abu’l; ‘Abid; Mansur; Bishandas; Muhammad ‘Ali; The Masters of the Chunar Ragamala and the Hada Master; Daulat; Payag; Balchand; Govardhan; ‘Ali Riza (The Bodleian Painter); Sahibdin; The Early Master at the Court of Mandi; Indian Painting from1650 to1730; Kripal, Devidasa and Golu of Nurpur; Masters of Early Kota Painting; The Sirohi Master; The First Bahu Master; The Master at the Court of Mankot, possibly Meju “The Stipple Master”; Bhavanidas Chitarman II (Kalyan Das); Dalchand; Indian Painting from1730 to1825; Nihal Chand; Mir Kalan Khan; Sahib Ram; Manaku; Nainsukh of ; The First Generation after Manaku and Nainsukh of Guler; Purkhu of Kangra; Bagta and Chokha; Indian Painting from1825 to1900; A Maisor Court Painter of the Early 19th Century; Masters of the “Company” Portraits; Ghasiram Sharma; Appendices: The Technique of Indian Painters; A short note; Painting Workshops in Mughal India; Bibliography; Image Credits; Index of Painters. Volume II: Foreword; Introduction; Indian Painting from1100 to1500 29 Mahavihara Master; The Master of the Jainesque Sultanate Shahnama; The Master of the Devasano Pado Kalpasutra; Indian Painting from 1500 to1575; The Masters of the dispersed Bhagavata Purana; Master of the Laur Chanda Series; ‘Abd al-Samad; Indian Painting from1575 to1650; Basawan Manohar; Keshav; Miskin Michael Brand; Farrukh Beg; ‘Aqa Riza and Abu’l Hasan; ‘Abid; Mansur; Bishandas; Muhammad ‘Ali; The Masters of the Chunar Ragamala and the Hada Master; Daulat; Payag; Balchand; Govardhan; ‘Ali Riza (The Bodleian Painter); Sahibdin; The Early Master at the Court of Mandi; Indian Painting from1650 to1730; Kripal, Devidasa and Golu of Masters of Early Kota Painting; The Sirohi Master; The First Bahu Master; The Master at the Court of Mankot, possibly Meju; The “Stipple Master”; Bhavanidas; Chitarman II (Kalyan Das); Dalchand; Indian Painting from1730 to1825; Nihal Chand; Mir Kalan Khan; Sahib Ram; Manaku; Nainsukh of Guler B; The First Generation after Manaku and Nainsukh of Guler; Purkhu of Kangra; Bagta and Chokha; Indian Painting from1825 to1900; A Maisor Court Painter of the Early 19th Century; Masters of the “Company” Portraits; Ghasiram Sharma; Appendices; The Technique of Indian Painters; A short note; Painting Workshops in Mughal India; Bibliography; Image Credits; Index of Painters.

Rabindranath Tagore: His World of Art focuses on the artist’s world, including cultural influence, visual development and use of color both in his art and in his writing. It features his work in the context of German Expressionism, his role in the development of a modern art in India, his idea of aesthetics and its introduction into Santiniketan as well as accounts of his exhibitions and his interaction with the global art world. This volume traces the course of the artist’s life; his paintings are discussed chronologically, his unique perspective is reflected throughout his writing, and has now been translated from Bengali into English. A brilliant insight into his life and influences and the impact that his work has within the international art scene.

A large bulk of Indian miniature paintings comes from Rajasthan. These miniatures are endowed with warm colors, primitive vigour, directness of expression and all that corresponds to the unique land of Rajasthan. They encompass its fun and festivities, the charming women and heroic men who fought with valour, loved with great zeal and warmth, celebrated each moment of life and died like great heroes. The major schools of miniatures of Rajasthan are Mewar, Bikaner, Jodhpur, Nagaur, Jaipur, Alwar, Bundi, Kotah, Kishangarh and Nathdwara. The Rajasthani painter saw hardly any contradiction in combining romance with religion, or the mundane with the transcendental. Rajasthani Miniatures: The Magic of Strokes and Colours presents, through a detailed narrative and exquisite photographs, a glimpse into this art that has spanned several millenia. It traces the stylistic sources of Rajasthani miniatures, discovering elements that go beyond geography and time to reveal Rajasthani art’s generic growth. The miniatures have varying styles, belong to different schools and have been painted under many succeeding patrons with different tastes and preferences. This book reflects the uniqueness of Rajasthani art, where shades and strokes come together in what almost appears as a divine interplay to create magic.

The temples of the Early Chalukyas, dating from the 6th to 8th centuries, are unrivalled in all of India for their comparatively early date and unusually complete condition, the remarkable juxtaposition of their different constructional techniques and building styles, and for the sheer beauty of their figural and decorative carvings. In spite of their appeal and outstanding historical significance, these monuments have until now lacked an adequate publication.

This volume is the first to fully describe and illustrate the architecture and art of the Early Chalukya temples in Badami, and nearby Mahakuta, Aihole and Pattadakal, all situated on or near to the Malprabha River in central Karnataka. Michell’s definitive text is complemented by forty of his measured drawings, which constitute the most thorough graphic documentation ever undertaken. These are accompanied by more than 150 splendid, newly commissioned photographs by Surendra Kumar.

Contents:
Preface; Historical Background; Architecture; Sculpture; Badami; Mahakuta; Aihole; Pattadakal; Maps; Building Chronology; Glossary of Architectural Terms; Glossary of Indian Names; Select Bibliography; Photo Credits; Index.

This volume highlights the treasures of Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, formerly known as the Prince of Wales Museum of Western India, and houses a world-class collection of art objects. It is categorized primarily into three sections: Art, Archaeology and Natural History. The Museum has some fine and rare collections featuring ancient Indus Valley artifacts that date back to 3000 BC as well as relics from the Maurya and Gupta period (320 BC AD 800). The Indian Miniature Painting Gallery houses art treasures from almost every significant school of miniature painting.

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.

The Kama Sutra is a two thousand year old mystical treatize on sexuality – read and revered for generations. This first ever collector’s edition takes a contemporary look at the perennial classic and pairs the ancient text with vibrantly colored and richly detailed illustrations.

Rare miniatures, gouache and tantric paintings are published here for the first time. The gold edged book comes in a hand made box made of pure silk. The lavish packaging and sumptuous production of the book makes it a remarkable keepsake.

Bombay Art Deco Architecture presents a treasury of Art Deco buildings comprising residential, commercial and civic architecture. These monuments were created during the mid ’30s and ’40s, a glamorous and optimistic era that predated the official end of the British Raj. The architects, a small list of first-generation Indian architects and builders, were mostly educated in English schools and trained in western architectural traditionst. Impatient with the British reluctance to shed the Gothic and Indo-Saracenic architectural styles that had dominated Imperial Bombay’s urban landscape, these visionaries were determined to imbue the city with a new modern style. That style shares its provenance with the Art Deco architecture of Miami Beach, termed ‘Tropical Deco’ by author Laura Cerwinske in her seminal 1981 book. Built in the same era, the Art Deco architecture of the two cities exhibits similar scale, geometry, tropical vocabulary, and love of romance.

This monograph showcases the trajectory of an empire built by the sheer dint of its driving success. Archgroup has gained international recognition as a comprehensive service provider in the architectural segment, with special focus being on its prolific and vital role dominating the skyline of the UAE’s world-class destination, Dubai. The firm’s work has now become synonymous with epithets such as ‘tallest’, ‘highest’ and ‘longest’ across the Gulf region.

Inside, the richly illustrated pages chronicle close to 100 projects by Archgroup, both built and in progress. Each work provides insight into the values, design-thinking and process-orientated approach that is the firm’s signature, making this volume a valuable resource that goes beyond the study of the built form to talk about the firm’s inimitable ethos that guides its design candor.

Beginning with Habitat ’67, his seminal experimental housing project constructed for Montreal World’s Fair, Safdie has contributed meaningfully to the development of many building types – museums, libraries, performing arts centres, government facilities, airports and houses – and the realisation of entire cities. Volume Two of this new, two-volume monograph features an essay by Safdie presenting his current thoughts on the significant issues facing architecture today. Complementing it are texts by William Mitchell on the theme of a global practice responding to a wide range of varied local conditions, and by Thomas Fisher on Safdie’s books, which, like his buildings, continue to influence the international architecture community. Featured projects from around the world, include from the United States the Salt Lake City Main Public Library, the Peabody Essex Museum and the US Institute of Peace Headquarters; from Israel the Holocaust History Museum at Yad Vashem, the Yitzhak Rabin Center and the new city of Modi’in; from India, the Khalsa Heritage Memorial Complex; and from China, the Guangdong Science Center and the Guangzhou No. 2 Children’s Palace. Previously announced.

Delhi Then and Now comprises two masterful essays that trace the story of Delhi from the days when it was known by other names Indraprastha, Firozabad, Dinpanah to its reincarnation as New Delhi. Historian Narayani Gupta takes us through the city of Sultans, Mughal emperors and viceroys, while journalist Dilip Bobb shows us the face of New Delhi as it is now. A rich portfolio of archival photographs and illustrations, together with vibrant new pictures, edited by Pramod Kapoor, capture Delhi in all its glory past and present.

Delhi Then – A city of empires and dynasties, Delhi through the ages has evoked nostalgia of its history written on the red sandstone walls. From Quila Rai Pithora to the palace on Raisina Hill, the changing face of Delhi is remarkably discernible in these photographs – a special collection that give words to the spoken and unspoken history of this city. Delhi Now – A city of dreams and desires, Delhi’s urban landscape is incomplete without the stones of seven ancient cities which give it a distinct meaning, a distinct outlook. A modern city on the move, the colors and digital vibrancy of the photographs capturing Delhi in all moods and moments, is as imposing as the grand old structures of yesteryears. A twin city of old-world charm and new extravagance, Delhi has evolved through the ages and is looking forward to an era that will be remembered down the ages.