The Forgotten Palaces of Calcutta scans the old areas of Calcutta, where heritage houses and history fill every crowded lane and secret courtyard. Languishing in another time and place, at the end of narrow lanes and behind untidy shop-fronts, Calcutta’s rich heritage waits to be rediscovered. The ‘Great Houses’ of Calcutta are an important but forgotten part of Calcutta’s architectural history. While British colonial architecture and lifestyle has been extensively photographed and written about, very little has been done on the indigenous equivalent. Focussing on Calcutta’s heritage mansions and palaces, The Forgotten Palaces of Calcutta, makes an important contribution to the architectural history of both Calcutta and India. The Forgotten Palaces of Calcutta received the Best Book Award, 2007, in Book Cover Category from the Federation of Indian Publishers.

The Forgotten Palaces of Calcutta discovers the old areas of the city, where heritage houses and history fill every crowded lane and secret courtyard. Languishing in another time and place, at the end of narrow lanes and behind untidy shop-fronts, Calcutta's rich heritage waits to be discovered. The great houses of Bengal's merchant princes have been largely forgotten and rarely photographed. Many of the interiors have remained the same for over 200 years. While much has been written and photographed on the British colonial architecture and lifestyle, very little has been

The primary era of this study - the twentieth century - symbolizes the peak of the colonial rule and its total decline, as well as the rise of the new nation state of India. The processes that have been labeled 'westernization' and 'modernization' radically changed middle-class Indian life during the century. This book describes and explains the various technological, political and social developments that shaped one building type - the bungalow - contemporaneous to the development of modern Indian history during the period of British rule and its subsequent aftermath. Drawing on their own physical and photographic documentation, and building on previous work by Anthony King and the Desais, the authors show the evolution of the bungalow's architecture from a one storey building with a verandah to the assortment of house-forms and their regional variants that are derived from the bungalow. Moreover, the study correlates changes in society with architectural consequences in the plans and aesthetics of the bungalow. It also examines more generally what it meant to be modern in Indian society as the twentieth century evolved.

"How far did colonialism transform north Indian art music? In the period between the Mughal empire and the British Raj, did the political landscape bleed into aesthetics, music, dance, and poetry? The Scattered Court presents a new history of how Hindustani court music responded to the political transitions of the nineteenth century. Examining musical culture through a diverse and multilingual archive, primarily using sources in Urdu, Bengali, and Hindi that have not been translated or critically examined before, challenges our assumptions about the period. The book presents a longer history of interactions between northern India and Bengal, with a core focus on the two courts of Wajid Ali Shah (1822-1887), the last ruler of the kingdom of Awadh. Wajid Ali Shah was one of the most colorful and controversial characters of the nineteenth century and has had a polarizing legacy. According to political histories and popular memory, he was a failure of a king, who was forced to surrender his kingdom to the East India Company, on the eve of the Indian Uprising of 1857. On the other hand, in musical histories, he is remembered either as a decadent aesthete or a path-breaking genius. The Scattered Court excavates the place of music in his court in Lucknow and his court-in-exile at Matiyaburj, Calcutta (1856-1887). The book charts the movement of musicians and dancers between these courts, as well as the transregional circulation of intellectual traditions and musical genres, and demonstrates the importance of the exile period for the rise of Calcutta as a celebrated center of Hindustani classical music. Since Lucknow is associated with late Mughal or Nawabi society, and Calcutta with colonial modernity, examining the relationship between the two cities sheds light on forms of continuity and transition over the nineteenth century, as artists and their patrons navigated political ruptures and social transformations. The Scattered Court challenges the existing historiography of Hindustani music and Indian culture under colonialism, by arguing that our focus on Anglophone sources and modernizing impulses has directed us away from the aesthetic subtleties, historical continuities, and emotional dimensions of nineteenth-century music"--