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 period of Early Cholas (850 A.D – 970 A.D) forms an important epoch in the history of Tamilnadu. Starting from a scratch the Early Chola rulers exerted to establish a vast empire by their conquests. Rulers like Vijayalaya I, Aditya I and Parantaka I were great warriors who built the Chola empire inch by inch. Vijayalaya conquered Tanjavur, Aditya I annexed Tondai-mandalam and Parantaka I occupied Madurai. During the reign of Parantaka I his empire extended up to Nellore in the north to Kanyakumari in the south. Though the Takkolam battle put a poke into the expansion of the Cholas, it did not exhaust the vitality of the Chola empire. The Cholas recovered remarkably from the disaster and emerged like a phoenix and rebuilt the empire quickly. The early Cholas are best remembered for their signal contribution in the sphere of local administration. The rules relating to the mode of local administration best averred in the celebrated Uttaramerur inscriptions were conceived during the reign of Parantaka Chola I. The Early Cholas also left their imprints on art, architecture and sculpture.

Five thousand years ago there began the most momentous revolution in human history. Starting in Mesopotamia, city civilization emerged for the first time on earth, to be followed in Egypt, India, China and the Americas. The ideals of these ancient civilizations still shape the lives of the majority of mankind. In Search of the First Civilizations (previously published as Legacy) asks the intriguing question: what is civilization? Did it mean the same to the Chinese, the Indians and the Greeks? What can the values of the ancient cultures teach us today? And do the ideals of the West - a latecomer to civilization - really have universal validity? In this fascinating historical search, Michael Wood explores these ancient cultures, looking for their essential character and their continuing legacy. A brilliant exploration. Sunday Times Well-written, gorgeous and guaranteed to induce thought... Wood takes great care to put everything in a large historical perspective, which is actually more disturbing than comforting. New York Post

Traditionally, research on the history of Asian religions has been marked by a bias for literary evidence, privileging canonical texts penned in ‘classical’ languages. Not only has a focus on literary evidence shaped the dominant narratives about the religious histories of Asia, in both scholarship and popular culture, but it has contributed to the tendency to study different religious traditions in relative isolation from one another. Today, moreover, historical work is often based on modern textual editions and, increasingly, on electronic databases. What may be lost, in the process, is the visceral sense of the text as artifact – as a material object that formed part of a broader material culture, in which the boundaries between religious traditions were sometimes more fluid than canonical literature might suggest. This volume brings together specialists in a variety of Asian cultures to discuss the methodological challenges involved in integrating material evidence for the reconstruction of the religious histories of South, Southeast, Central, and East Asia. By means of specific ‘test cases,’ the volume explores the importance of considering material and literary evidence in concert. What untold stories do these sources help us to recover? How might they push us to reevaluate historical narratives traditionally told from literary sources? By addressing these questions from the perspectives of different subfields and religious traditions, contributors map out the challenges involved in interpreting different types of data, assessing the problems of interpretation distinct to specific types of material evidence (e.g., coins, temple art, manuscripts, donative inscriptions) and considering the issues raised by the different patterns in the preservation of such evidence in different locales. Special attention is paid to newly-discovered and neglected sources; to our evidence for trade, migration, and inter-regional cultural exchange; and to geographical locales that served as "contact zones" connecting cultures. In addition, the chapters in this volume represent the rich range of religious traditions across Asia – including Hinduism, Buddhism, Taoism, Shinto, and Chinese religions, as well as Islam and eastern Christianities.

This pioneering book is the first full-length study of the matha, or Hindu monastery, which developed in India at the turn of the first millennium. Rendered monumentally in stone, the matha represented more than just an architectural innovation: it signaled the institutionalization of asceticism into a formalized monastic practice, as well as the emergence of the guru as an influential public figure. With entirely new primary research, Tamara I. Sears examines the architectural and archaeological histories of six little-known monasteries in Central India and reveals the relationships between political power, religion, and the production of sacred space. This important work of scholarship features scrupulous original measured drawings, providing a vast amount of new material and a much-needed contribution to the fields of Asian art, religious studies, and cultural history. In introducing new categories of architecture, this book illuminates the potential of buildings to reconfigure not only social and ritual relationships but also the fundamental ontology of the world.