On the temple hangings of the Vallabhacharya sect, Jain patas, phadas and panchangas of western India, Orissa patachitras, cloth paintings of Nepal, and other regional styles; includes an annotated catalog of the Museum's collection.

Of All The Indian Handicrafts, Textiles Form A Class By Themselves Over Which The Rest Of The World Went Into Ecstasies From Time Immemorial.With An Enormous Store Of Myths, Symbols, Imagery And Inspiration From Other Art Forms Indian Textile-Craft Never Faced A Slump Or Stagnation. On The Other Hand It Transcended From A Craft Identity To The Status Of An Art.With Shades Of Classicism, Folk Tradition And Regional Flavour The Rich And Unrivalled Fabrics Of India Have Rightly Been Called Exquisite Poetry In Colour .Indian Fabric Art Can Be Classified Into Three Broad Categories Woven, Painted Or Printed And Embroidered. Within This Broad Outline The Present Study Pinpoints The Historical Background Of Some Representative Forms Each Unique In Its Distinctiveness.A Search For Any Linkage With Allied Art Forms As Well As Their Socio-Cultural Significance Also Provides A New Perspective.Though Apparently Widely Dispersed In Contents, They Form A Composite Tapestry Of Indian Fabric Art Tradition And Call For More Scrutiny Before Our Precious Heirlooms Are Totally Submerged In The Tide Of The Synthetic Era. The Book Is Enriched By Illustrations Of Rare Specimens Of Historical Art Fabrics Collected From Different Museums In The Country. Coupled With Extensive References This Volume Spotlights A New Facet Of Indian Art Heritage Which Will Fascinate Both The Social Scientists As Well As The Connoisseurs Of Indian Art And Culture.

The little-known paintings to which this volume serves as a catalogue once belonged to the Sarabhai family. The works collected by the Sarabhais reflect great discrimination and aesthetic sensibility. This remarkable collection offers a well-rounded view of the broad historical development of Indian painting. There are works here that come from as early as the 11th century and as late as the 19th; small Pala works on palm-leaf jostle against some of the earliest works done on paper when that material came into use; Mughal works like those from some of the most celebrated series like the Hamza Nama or the Padshahnama stand close to dazzling folios from the so-called 'Palam' Bhagavata; the painter Chokha of Deogarh figures in the collection as much as the great Nainsukh of Guler does.

The Grove Encyclopedia of Decorative Arts covers thousands of years of decorative arts production throughout western and non-western culture. With over 1,000 entries, as well as hundreds drawn from the 34-volume Dictionary of Art, this topical collection is a valuable resource for those interested in the history, practice, and mechanics of the decorative arts. Accompanied by almost 100 color and more than 500 black and white illustrations, the 1,290 pages of this title include hundreds of entries on artists and craftsmen, the qualities and historic uses of materials, as well as concise definitions on art forms and style. Explore the works of Alvar Aalto, Charles and Ray Eames, and the Wiener Wekstatte, or delve into the history of Navajo blankets and wing chairs in thousands of entries on artists, craftsmen, designers, workshops, and decorative art forms.

What makes Darjeeling tea, Pashmina shawl, Monsooned Malabar Arabica coffee and Chanderi saree special? Why is it that some goods derive their uniqueness through their inherent linkage to a place? In a pioneering study, this book explores this intriguing question in the Indian context across 199 registered goods with geographical indications, linked with their place of origin. It argues that the origin of these goods is attributed to a distinctive ecology that brews in a particular place. The attributes of their origin further endorse their unique geographical indications through legal channels. Drawing from a variety of disciplines including geography, history, sociology, handicrafts, paintings, and textiles, the author also examines the Geographical Indications Act of 1999, and shows how it has created a scope to identify, register and protect those goods, be they natural, agricultural, or manufactured. The work presents a new perspective on the indigenous diversities and offers an original understanding of the geography and history of India. Lucid and accessible, with several illustrative maps, this book will be useful to scholars and researchers in the social sciences, environmental studies, development studies, law, trade and history.

Filling a distinct gap in Indian scholarship, this original account presents a critical re-examination of the key Indian concepts of painting as described in the Sanskrit treatises. Drawing on the experiences of significant painters, Nardi suggests a new way of reading and understanding these concepts.