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This book breaks new ground by bringing together a variety of
regional perspectives and linguistic backgrounds. The book opens up
new perspectives on Muḥarram as a social practice widely shared
by South Asians in South Asia and the diaspora. A key resource to
scholars and students of South Asian Studies, Asian religion, in
particular rituals and religious practices, and Islamic Studies.
Taming the Oriental Bazaar examines the public market-hall as a key
architectural feature of colonial South Asia. Representing a
transition in the architectural programme, these buildings were
meant to be monuments and markers of modernity in South Asia. The
book: * Explores how market-halls became an essential feature of
colonial settlements from the mid-nineteenth through the
mid-twentieth centuries; * Discusses public health policies and
legislations central to the concerns of market-hall sanitation; *
Reviews the elements of modernity, including institutions and
systems established in the nineteenth century as India went from
Company to Crown; * Studies the specific circumstances and
histories of market halls in the towns and cities of Bangalore,
Baroda, Bombay, Calcutta, Hyderabad, Karachi, Lahore, Madras,
Poona, and others. A key text in the study of colonial
architecture, this book will be of interest to students,
researchers as well as general readers of architecture,
colonialism, history of architecture, history of medicine, public
health, urbanism, and South Asian studies.
Chakshudana or rituals of opening the eyes are practiced across
multiple South Asian communities by artists, sculptors and priests.
The ritual offers gods access to the mortal world, this practice
applied to the study of art offers a distinctive perspective to
interrogate the complex engagements with paintings, sculptures,
found objects, fragments, built environments, and ecologies. This
volume takes as its focus the process of seeing—to look closely,
remaining true to the object, but also to see widely, from multiple
subjective stances and diverse bodily engagements from walking to
dreaming, from glancing to looking askance, and hypnotic stares,
and to see beyond the visible. It examines art history through
nuanced considerations of materiality, aesthetics and regional
specificities. The essays emerge from current research building on
the contributions of Michael W. Meister, W. Norman Brown
Distinguished Professor of History of Art and South Asia Studies at
the University of Pennsylvania, whose works laid the foundations
for the study of South Asian visual and material culture. The
essays in this book underscore methodological resonances rather
than privileging conventional categories of media or chronology
exploring artistic media including temples and paintings, as well
as Bengali quilted textiles, manuscript ‘lozenges,’ and metal
repousse. This volume, part of the Visual Media and Histories
Series, will be of interest to students and researchers of history
of art, religious studies, history, as well as the allied
disciplines of anthropology and folklore studies.
This book breaks new ground by bringing together a variety of
regional perspectives and linguistic backgrounds. The book opens up
new perspectives on Muharram as a social practice widely shared by
South Asians in South Asia and the diaspora. A key resource to
scholars and students of South Asian Studies, Asian religion, in
particular rituals and religious practices, and Islamic Studies.
The Deccan sultans left a grand architectural and artistic legacy.
They commissioned palaces, mosques, gardens and tombs as well as
decorative paintings and coins. Of these sultanates, the Nizam
Shahs (r. 1490-1636) were particularly significant, being one of
the first to emerge from the crumbling edifice of the Bahmani
Empire (c. 1347-1527). Yet their rich material record remains
largely unstudied in the scholarly literature, obscuring their
cultural and historical importance. This book provides the first
analysis of the architecture of the Nizam Shahs. Pushkar Sohoni
examines the critical relationship between architectural
production, courtly practice and royal authority in a period when
the aspirations and politics of the kingdom were articulated
through architectural expression. Based on new primary research
from key sites including the urban settlements of Ahmadnagar,
Daulatabad, Aurangabad, Junnar and the port city of Chaul, Sohoni
sheds light on broader Islamicate ideas of kingship and shows how
this was embodied by material artefacts such as buildings and
sites, paintings, gardens, guns and coins. As well as offering a
vivid depiction of sixteenth-century South Asia, this book revises
understanding of the cultural importance of the Nizam Shahs and
their place in the Indian Ocean world. It will be a vital primary
resource for scholars researching the history of the medieval and
early modern Deccan and relevant for those working in Art History,
Islamic Studies, South Asian Studies and Archaeology.
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