We are constantly surrounded by objects, by 'things' that channel and dictate our everyday life, 'things' that we take for granted. But these objects speak to us, and speak about us. They have a story to tell that reflects our values and aspirations, our achievements and dreams, and reveal more about us than we realise! This richly illustrated book focuses on 100 objects to tell a story of India that unravels in a series of thematic sections that allow the objects to take centre-stage. The stories that some objects tell will be new to readers; at other times, the objects themselves may be familiar but the story they tell may not be obvious. The 100 objects shed light on the varying priorities and the differing strands of achievement that arose over time to create the rich multi-cultural medley that is today's India.

The first book to put the sacred and sensuous bronze statues from India's Chola dynasty in social context From the ninth through the thirteenth century, the Chola dynasty of southern India produced thousands of statues of Hindu deities, whose physical perfection was meant to reflect spiritual beauty and divine transcendence. During festivals, these bronze sculptures-including Shiva, referred to in a saintly vision as "the thief who stole my heart"-were adorned with jewels and flowers and paraded through towns as active participants in Chola worship. In this richly illustrated book, leading art historian Vidya Dehejia introduces the bronzes within the full context of Chola history, culture, and religion. In doing so, she brings the bronzes and Chola society to life before our very eyes. Dehejia presents the bronzes as material objects that interacted in meaningful ways with the people and practices of their era. Describing the role of the statues in everyday activities, she reveals not only the importance of the bronzes for the empire, but also little-known facets of Chola life. She considers the source of the copper and jewels used for the deities, proposing that the need for such resources may have influenced the Chola empire's political engagement with Sri Lanka. She also investigates the role of women patrons in bronze commissions and discusses the vast public records, many appearing here in translation for the first time, inscribed on temple walls. From the Cholas' religious customs to their agriculture, politics, and even food, The Thief Who Stole My Heart offers an expansive and complete immersion in a community still accessible to us through its exquisite sacred art. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

The rule of the Chola dynasty in South India between the ninth and thirteenth centuries was a period of unparalleled creativity in Indian art. Known as the Golden Age of Tamil Culture, the Chola period produced dynamic royal personalities who shaped the artistic activity of theirtimes. Art of the Imperial Cholas examines the dynasty's architectural and sculptural achievements, which stand among the masterpieces of India.

The sensuous human form-elegant and eye-catching-is the dominant feature of premodern Indian art. From the powerful god Shiva, greatest of all yogis and most beautiful of all beings, to stone dancers twisting along temple walls, the body in Indian art is always richly adorned. "Alankara" (ornament) protects the body and makes it complete and attractive; to be unornamented is to invite misfortune.

In "The Body Adorned," Vidya Dehejia, who has dedicated her career to the study of Indian art, draws on the literature of court poets, the hymns of saints and "acharyas," and verses from inscriptions to illuminate premodern India's unique treatment of the sculpted and painted form. She focuses on the coexistence of sacred and sensuous images within the common boundaries of Buddhist, Jain, and Hindu "sacred spaces," redefining terms like "sacred" and "secular" in relation to Indian architecture. She also considers the paradox of passionate poetry, in which saints praised the sheer bodily beauty of the divine form, and nonsacred Rajput painted manuscripts, which freely inserted gods into the earthly realm of the courts.

By juxtaposing visual and literary sources, Dehejia demonstrates the harmony between the sacred and the profane in classical Indian culture. Her synthesis of art, literature, and cultural materials not only generates an all-inclusive picture of the period but also revolutionizes our understanding of the cultural ethos of premodern India.

This text looks at the role of art in the Indian subcontinent and then analyzes early art from the Indus civilization (2000 BC) to the time of Buddha (c.5000 BC). The Mauryan emperor Ashoka (4th century BC), was an important player in the dissemination of Buddhism, using art to this end. A stable economic base and the rise of a mercantile community were important in Buddhism's growth. Inscriptions show that the contributions to pay for art came from housewives, householders, merchants, traders and a range of other common people. The vibrant narrative tradition displayed in this art is analyzed.