The Temple Architecture In The Himalayas Has Been Wholly Of Wood As Extensive Forests Of Deodar Have Been In Existence Here Since Times Immemorial. The Wooden Shrines, Richly Carved, Are Very Large, Look Picturesque, And Evocative Than The Secular Buildings.

The Present Study, Divided Into Two Parts, Deals With The Socio-Geographical Mosaic, The Racio-Cultural Background And Discusses The Factors Responsible For The Development Of The Wooden Temple Architecture In The Western Himalayas.

An attempt has been made in this work to project a descriptive account of nearly three hundred religious edifices belonging to different period of Indian history in the twelve districts of the state,arranged in a chronological order,also classifying them in (i) Sakti temples,(ii) Siva temples,(iii)Vaishnava temples and (iv) Temples of the other deities.

"The volume thoroughly examines the origins and principal types of Buddhist architecture in Asia primarily between the third century BCE-twelfth century CE with an emphasis on India. It aims to construct shared architectural traits and patterns alongwith the derivative relationships between Indian and Asian Buddhist monuments. It also discusses the historical antecedents in the Indus Civilization and the religious and philosophical foundations of the three schools of Buddhism and its founder, Buddha. Previously obscure topics such as Aniconic and Vajrayana (Tantric) architecture and the four holiest sites of Buddhism will also be covered in this comprehensive volume. The author further investigates the influences of Buddhist architecture upon Islamic, Christian, and Hindu architecture that have been overlooked by past scholars."

This Work Will Be Of Great Interest To Scholars, Teachers And Students Of The History Of Himachal Pradesh, Of Indian Constitutional History And Indian Politics.

The Afterward To This Second Edition Remains An Event Not Only Because The Book Benefits From The Works Published Since The First Edition, But Also Because It Presents The Author S Integral Vision And Her Unique Adventure Into The Boundaries Of Several Disciplines. It Demonstrates The Efficacy Of Her Earlier Approach Of Investigating The Imagery And The Metaphors As Basic To The Discourse Of The Indian Tradition. She Proposes A Multi-Layered Cluster Of Concepts And Metaphors Which Enable One To Uncode The Complex Multi-Dimensional Character Of The Indian Arts. Also Significantly She Suggests A Deeper Comprehension Of The Relevance Of The Developments In The Field Of Traditional Mathematics And Biology For The Study Of The Language Of Form Of The Indian Arts.