Pushkar Sohoni – författare

This book analyses engagements with non-Shia practices of Muḥarram celebrations in the past and present, in South Asia and within a larger diaspora. Breaking new ground by bringing together a variety of regional perspectives (the Deccan, the Punjab, Singapore, South Africa, and Trinidad and Tobago) and linguistic backgrounds (Bhojpuri, Gujarati, Marathi, Punjabi, Tamil, Urdu), the chapters discuss the importance of Muḥarram celebrations in terms of their respective actors. While in some cases these include an interrelationship with Shia Muslims and their traditions of mourning during Muḥarram, other contributions address contexts in which Shias, and even Muslims, form only a minor component of the celebrations, or even none at all. Focusing on Muḥarram celebrations that are beyond the script provided by Shia Muḥarram practices, this book opens up new perspectives on Muḥarram as a social practice widely shared by South Asians across regions. The book will be a key resource to scholars and students of South Asian studies, Asian religion, in particular rituals and religious practices, and Islamic studies but also engaging to non-academic readers interested in the practices of several regions.

This book analyses engagements with non-Shia practices of Muḥarram celebrations in the past and present, in South Asia and within a larger diaspora. Breaking new ground by bringing together a variety of regional perspectives (the Deccan, the Punjab, Singapore, South Africa, and Trinidad and Tobago) and linguistic backgrounds (Bhojpuri, Gujarati, Marathi, Punjabi, Tamil, Urdu), the chapters discuss the importance of Muḥarram celebrations in terms of their respective actors. While in some cases these include an interrelationship with Shia Muslims and their traditions of mourning during Muḥarram, other contributions address contexts in which Shias, and even Muslims, form only a minor component of the celebrations, or even none at all. Focusing on Muḥarram celebrations that are beyond the script provided by Shia Muḥarram practices, this book opens up new perspectives on Muḥarram as a social practice widely shared by South Asians across regions. The book will be a key resource to scholars and students of South Asian studies, Asian religion, in particular rituals and religious practices, and Islamic studies but also engaging to non-academic readers interested in the practices of several regions.

Taming the Oriental Bazaar examines the public market-hall as a key architectural feature of colonial South Asia. Representing a transition in the architectural programme, these buildings were meant to be monuments and markers of modernity in South Asia.

The book:

A key text in the study of colonial architecture, this book will be of interest to students, researchers as well as general readers of architecture, colonialism, history of architecture, history of medicine, public health, urbanism, and South Asian studies.

Taming the Oriental Bazaar examines the public market-hall as a key architectural feature of colonial South Asia. Representing a transition in the architectural programme, these buildings were meant to be monuments and markers of modernity in South Asia.

The book:

A key text in the study of colonial architecture, this book will be of interest to students, researchers as well as general readers of architecture, colonialism, history of architecture, history of medicine, public health, urbanism, and South Asian studies.

Chakshudana or rituals of opening the eyes are practiced across multiple South Asian communities by artists, sculptors, and priests. The ritual offers gods access to the mortal world. This practice, applied to the study of material and visual culture, offers a distinctive perspective to interrogate the complex engagements with paintings, sculptures, found objects, fragments, built environments, and ecologies.

This volume takes the process of seeing as its focus—to look closely, remaining true to the object, but also to see widely—from multiple subjective stances and diverse bodily engagements such as walking to dreaming, glancing to looking askance, hypnotic stares, and to see beyond the visible. It examines art history through nuanced considerations of materiality, aesthetics, and regional specificities. The essays emerge from current research that builds on the contributions of Michael W. Meister, W. Norman Brown Distinguished Professor of History of Art and South Asia Studies at the University of Pennsylvania, whose works laid the foundations for the study of South Asian visual and material culture. The essays in this book underscore methodological resonances rather than privileging conventional categories of media or chronology, exploring artistic media including temples and paintings as well as Bengali-quilted textiles, manuscript ‘lozenges,’ and metal repousse.

This volume, part of the Visual Media and Histories Series, will be of interest to students and researchers of history of art, religious studies, and history as well as the allied disciplines of anthropology and folklore studies.

Chapter 2 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons (CC-BY-NC-ND) 4.0 license.

Chakshudana or rituals of opening the eyes are practiced across multiple South Asian communities by artists, sculptors, and priests. The ritual offers gods access to the mortal world. This practice, applied to the study of material and visual culture, offers a distinctive perspective to interrogate the complex engagements with paintings, sculptures, found objects, fragments, built environments, and ecologies.

This volume takes the process of seeing as its focus—to look closely, remaining true to the object, but also to see widely—from multiple subjective stances and diverse bodily engagements such as walking to dreaming, glancing to looking askance, hypnotic stares, and to see beyond the visible. It examines art history through nuanced considerations of materiality, aesthetics, and regional specificities. The essays emerge from current research that builds on the contributions of Michael W. Meister, W. Norman Brown Distinguished Professor of History of Art and South Asia Studies at the University of Pennsylvania, whose works laid the foundations for the study of South Asian visual and material culture. The essays in this book underscore methodological resonances rather than privileging conventional categories of media or chronology, exploring artistic media including temples and paintings as well as Bengali-quilted textiles, manuscript ‘lozenges,’ and metal repousse.

This volume, part of the Visual Media and Histories Series, will be of interest to students and researchers of history of art, religious studies, and history as well as the allied disciplines of anthropology and folklore studies.

Chapter 2 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons (CC-BY-NC-ND) 4.0 license.