This book is a general account of the painting of the period when Tanjavur was under Maratha rule. It was a time of turmoil and change, notable for the strands of many different cultures which met and stimulated art in this small territory. Numerous forms arose, some traditional, others showing the assimilation of contemporary ideas. It was an exotic heterogeneous flowering reflecting the demands of different kinds of patrons and the versatility, skill and open-mindedness of the artists. The painting of this period is dealt with showing its connections to South Indian Art in general and also its responses to the impact of Western ideas. It is a tribute to the people of the South and their traditions that even in a period of comparative instability, wars, famine and confusion there was still a need and a desire for objects of art. The era is characteristically eclectic but its painting mirrors the faith, the values and the requirements of the people. So far the visual arts of this period have not received much attention. It is hoped that this study will lead one to see that art was an important facet of southern culture as a whole

Tanjore painting or Tanjavur painting is a form of art developed in the southern part of India at a place called Tanjavur and dates back to the ninth century AD. Painting of gods and humans on the walls of temples as murals turned over a period of time to painting on boards using precious stones, gold foil, and rich natural colours. This form of painting is painstaking and difficult, practised by very few artisans. There are no written guidelines for learning. The skill was passed on from artisan to artisan over generations. The author, an engineer by profession, learnt this fine art from a trained teacher. The author felt that written instructions with sketches will help many more to understand and learn. He has ventured to put into words his knowledge on the subject through this book. As no formal book of learning on this art exists, the author feels that the book with the paintings will help many more to appreciate and learn this fine age-old art. The paintings in the book were created by the author over a period of time for his own library and will last several generations if properly maintained.

1. Introduction, 2. Spiritual Heritage Tourist Centres in Tamil Nadu, 3. Cultural Heritage Tourist Centres in Tamil Nadu, 4. Natural Heritage Tourist Centres in Tamil Nadu, 5. Fairs, Festivals and Folk Entertainments in Tamil Nadu, 6. Tourism Plant Facilities in Tamil Nadu, 7. Conclusion and Suggestions. - PREFACE: “Tourism in Tamil Nadu - Growth and Development” is a captivating theme. Man has been fascinated by travel and tourism from the earliest historical period. He always has had the urge to discover the unknown, to explore new and strange places, to seek changes of environment and to undergo new experiences. Travelling to achieve these ends is not new, but tourism is of a relatively modern origin. Tourism is distinguishable by its mass character from the travel undertaken in the past. This is largely a post-second world war phenomenon. Until recently only affluent people participated in tourism. Increased leisure, higher incomes and greatly enhanced mobility have combined to enable more people to participate in Tourism. Revolution in transport, technological progress and the emergence of a middle class with time and money to spare for recreation, has led to the growth of tourism—”the modern holiday industry”. Thus tourism is no longer the prerogative of a few but is an accepted part of life of a large number of people. India is one of the oldest civilizations with a kaleidoscopic variety and rich cultural heritage. For centuries India has been a centre of attraction for different people for different reasons. The ancient invaders viewed it as a goldmine with unlimited wealth to plunder; the learned were fascinated by its mystic spiritualism and profound philosophy; the uninitiated saw it as a land of naked fakirs and snake charmers; while the others were simply charmed by the sheer beauty of its natural attractions and amazing variety of its flora and fauna.

This book presents the socio-cultural and historical trajectories of the Deccan plateau as well as the coastal areas of the current states of Andhra Pradesh, Maharashtra, Karnataka and Goa. It studies the art of diplomacy by discussing the diplomatic relations between the Marathas and various European companies, as well as the indigenous regional states. The author also probes into the Maratha naval policy, the evolution of a composite Deccani culture and the cultural flux that was taking place within the Maratha country. Through an interdisciplinary lens, the volume examines how caste and gender relations operated, how the idea of dissent was generated as well as the socio-political impact of various linguistic, ethnic and religious groups. Through a study of monuments, sculpture and paintings prevalent in the region, the book also discusses the developments in art and architecture in the Deccan. Rich in archival sources, this book is a must read for scholars and researchers of Indian history, colonial history, South Asian history, Maratha history and history in general.

With a curation of objects from the prehistoric ages through twenty-first century India, Sudeshna Guha provides a panoramic view of the rich histories of the subcontinent. The incisive essays in this collection detail not just the objects but the histories of their reception: examining how changing times and attitudes cast their shadow on the ways in which the past is interpreted and narrated. In doing so, A History of India through 75 Objects inspires us to interrogate our own notions of a knowable past and fixed national history. Teeming with thought-provoking insights and surprising anecdotes, the essays instill a sense of wonder about the continuous processes by which histories are constructed.