The Hindu-Buddhist Sculpture of Ancient Kashmir and Its Influences is primarily based on the study of the largely unpublished corpus of sculpture, mostly of stone, in the Sri Pratap Singh Museum in Srinagar, and of other examples in situ elsewhere in the valley. The disparate nature and fragmentary condition of these sculptures as well as their artistic and iconographical influences have for long defied accurate analysis. The method used in the classification of these sculptures is based on close analysis of their style concentrating on recurring features such as facial and physical typology, modelling, dress and ornamentation. Comparisons are made with other examples of Kashmir bronze, ivory and stone sculpture in private and public collections both within India and abroad.

"An important cultural bridge between the Indian subcontinent and regions to the west and east for over two millennia, the Kashmir Valley was a vibrant hub of intellectual activity for its Buddhist, Hindu, and Muslim populations. Multiple cultural influences have fostered a unique artistic environment of diverse aesthetics, witnessed in this landmark exhibition of 130 sumptuous objects of exemplary quality, dating from the 2nd to the 20th centuries. The Arts of Kashmir comprises works of Buddhist, Hindu, and Islamic art, including sculpture, painting, and calligraphy loaned from collections in the U.S., Europe, and India. Many of the objects have never been seen outside of India; in some cases they have never been exhibited or published anywhere. To provide a sense of the broad artistic contributions of this famously lush and beautiful region, the exhibition includes examples of stone and bronze sculptures and manuscript paintings, in addition to the fine examples of papier-mache, carpets, shawls, and embroidery for which Kashmir is renowned."--Publisher's website.

What is history? How does a land become a homeland? How are cultural identities formed? The Making of Early Kashmir explores these questions in relation to the birth of Kashmir and the discursive and material practices that shaped it up to the 12th century CE. Reinterpreting the first work of Kashmiri history, Kalhana’s Rajatarangini, this book argues that the text was history not despite being traditional Sanskrit poetry but because of it. It elaborated a poetics of place, implicating Kashmir’s sacred geography, a stringent critique of local politics, and a regional selfhood that transcended the limits of vernacularism.Combined with longue durée testimonies from art, material culture, script, and linguistics, this book jettisons the image of an isolated and insular Kashmir. It proposes a cultural formation that straddled the Western Himalayas and the Indic plains with Kashmir as the pivot. This is the story of the connected histories of the region and the rest of India.

This is the first full-length history of early Kashmir locating it beyond its regional context, from pre-history to the thirteenth century. Drawing on a variety of sources—including conventional archaeological and literary sources, as well as non-conventional sources like philology, toponym and surnames—it presents a connected history of early Kashmir over the longue duree. It challenges tendencies towards nationalist historiographies of the region by situating it in the context of the shared histories of humanity. The volume will be of great interest to scholars and researchers of history, archaeology, anthropology and South Asian studies.

Vaisnavism Played A Very Significant Role In Socio-Religious And Artistic Expressions Of Kashmir In Ancient And Medieval Periods. Vaisnavism Carved Its Due Place In The Minds Of The People In The Valley With Equal Amount, If Not More Than That Of Buddhism And 'Saivism. In General, The Religion Of Vishnu In The Kashmir Valley Shared The Pan-Indian Notion, Yet In Certain Aspects, It Maintained Its Individualistic Approach. Such Differences Are Noted In The Texts As Well As In The Artistic Expressions Of The Valley. The Present Book Deals With The Various Facets Of Vaisnavism In Kashmir With Particular Reference To The Vaisnava Icons And Art. The Book Deals With Para, Vyuha And Vibhava Aspects Of Vishnu As Well As With Composite And Syncretic Aspects Of The God. Attention Has Also Been Paid To The Minor Vaisnavite Deities Including The Personification Of Vishnu'S Attributes. There Has Been A Dearth Of A Comprehensive Study On Vaisnava Art And Iconography Of Kashmir And This Book Is Likely To Fill The Gap