A catalogue showcasing the artistic journey of portraits from miniature to modern art. It starts with the miniature paintings done by different schools like Pahadi, Rajasthani, Central Province, Deccan, Company period, Bengal, Colonial Influence and goes all the way up to modern art. The catalogue has 37 portraits which were exhibited in October 2010.

Auction catalog; with reproduction of the original paintings by various painters.

The Pushtimarg, a Hindu sect established in India in the fifteenth century, possesses a unique culture--reaching back centuries and still vital today--in which art and devotion are deeply intertwined. This important volume, illustrated with more than one hundred vivid images, offers a new, in-depth look at the Pushtimarg and its rich aesthetic traditions, which are largely unknown outside of South Asia. Original essays by eminent scholars of Indian art focus on the style of worship, patterns of patronage, and artistic heritage that generated pichvais, large paintings on cloth designed to hang in temples, as well as other paintings for the Pushtimarg. In this expansive study, the authors deftly examine how pichvais were and still are used in the seasonal and daily veneration of Shrinathji, an aspect of Krishna as a child who is the chief deity of the temple town of Nathdwara in Rajasthan. Gates of the Lord introduces readers not only to the visual world of the Pushtimarg, but also to the spirit of Nathdwara.

In A Fragile Inheritance Saloni Mathur investigates the work of two seminal figures from the global South: the New Delhi-based critic and curator Geeta Kapur and contemporary multimedia artist Vivan Sundaram. Examining their written and visual works over the past fifty years, Mathur illuminates how her protagonists’ political and aesthetic commitments intersect and foreground uncertainty, difficulty, conflict, and contradiction. This book presents new understandings of the culture and politics of decolonization and the role of non-Western aesthetic avant-gardes within the discourses of contemporary art. Through skillful interpretation of Sundaram's and Kapur’s practices, Mathur demonstrates how received notions of mainstream art history may be investigated and subjected to creative redefinition. Her scholarly methodology offers an impassioned model of critical aesthetics and advances a radical understanding of art and politics in our time.

During states of emergency, normal rules and rights are suspended, and force can often prevail. In these precarious intervals, when the human potential for violence can be released and rehearsed, images may also emerge. This book asks: what happens to art during a state of emergency? Investigating the uneasy relationship between aesthetics and political history, Emilia Terracciano traces a genealogy of modernism in colonial and postcolonial India; she explores catastrophic turning points in the history of twentieth-century India, via the art works which emerged from them. Art and Emergency reveals how the suspended, diagonal, fugitive lines of Nasreen Mohamedi's abstract compositions echo Partition's traumatic legacy; how the theatrical choreographies of Sunil Janah's photographs document desperate famine; and how Gaganendranath Tagore's lithographs respond to the wake of massacre. Making an innovative, important intervention into current debates on visual culture in South Asia, this book also furthers our understanding of the history of modernism.