Book on traditional art and craft of Odisha

Contributed articles.

Orissa Society of Americas 39th Annual Convention Souvenir for Convention held in 2008 at Toronto, Canada re-published as Golden Jubilee Convention July 4-7, 2019 Atlantic City, New Jersey commemorative edition. Odisha Society of the Americas Golden Jubilee Convention will be held in Atlantic City, New Jersey during July 4-7, 2019. Convention website is http://www.osa2019.org. Odisha Society of the Americas website is http://www.odishasociety.org

With 600 signed, alphabetically organized articles covering the entirety of folklore in South Asia, this new resource includes countries and regions, ethnic groups, religious concepts and practices, artistic genres, holidays and traditions, and many other concepts. A preface introduces the material, while a comprehensive index, cross-references, and black and white illustrations round out the work. The focus on south Asia includes Afghanistan, Bangladesh, India, Pakistan, and Sri Lanka, with short survey articles on Tibet, Bhutan, Sikkim, and various diaspora communities. This unique reference will be invaluable for collections serving students, scholars, and the general public.

This Publication For The First Time Focuses On A Local Art Tradition In Orissa, Vividly Documented And Substantiated With Visuals. This Publication Has National Relevance As An Art Historical And Art Ethnological Study.

The study of technical treatises in Indian art has increasingly attracted much interest. This work puts forward a critical re-examination of the key Indian concepts of painting described in the Sanskrit treatises, called citrasutras. In an in-depth and systematic analysis of the texts on the theory of Indian painting, it critically examines the different ways in which the texts have been interpreted and used in the study of Indian painting, and suggests a new approach to reading and understanding their concepts. Contrary to previous publications on the subject, it is argued that the intended use of such texts as a standard of critique largely failed due to a fundamental misconceptualization of the significance of ‘text’ for Indian painters. Isabella Nardi offers an original approach to research in this field by drawing on the experiences of painters, who are considered as a valid source of knowledge for our understanding of the citrasutras, and provides a new conceptual framework for understanding the interlinkages between textual sources and the practice of Indian painting. Filling a significant gap in Indian scholarship, Nardi's study will appeal to those studying Indian painting and Indian art in general.