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The notions of space are made physically manifest in architecture through the different elements that constitute the basic identifiable parts of the manmade or built environment. Each of these elements possess attributes inherent to their morphological construct which endow them as particular spatial properties, providing potential for their use and design in architectural compositions. This book examines the inherent attributes of ‘spacemaking’ elements, namely roofs, walls, doors, windows, columns, stairs and floors and analyzes their implicit influences in the design of space. It traces the linguistic origin of the terms as well as the evolution of each element through history from primeval structures to modern architecture. The effective applications of these are illustrated through extensive drawings and sketches of detailed case studies from all over the world.

This book is an attempt to answer the questions: What makes historic architecture awe-inspiring? How have the Indian architectural masterpieces retained their vitality even after so many centuries? What spatial qualities and organizational principles have rendered them timeless? At the outset the author sets forth fundamental Indian philosophical and ideological tenets—the Indian notion of time, the duality of existence, the concept of a world within a world, the idea of opposites as counterpoints, the role of semiotics in providing visual clues in architecture, and the changing perception of space while in movement. The study unravels the inherent virtues of traditional Indian architecture, inferred and exemplified in a range of traditional Indian architectural examples. Discussion of each site is illustrated with a wealth of visual materials—photographs, architectural plans with analytic overlays and volumetric constructs. Miniature-style reproductions drawn for each example reconstruct their spatial, environmental and experiential qualities and are used to demonstrate the universality of communication in Indian architecture.

A jali is a perforated or latticed stone screen, with ornamental patterns that draw on the compositional rhythms of geometry and calligraphy. In the parts of India, western Asia and the Mediterranean where solar rays are strongest and brightest, ustads (or master artisans) were able to evolve an aesthetic language of light, giving it form and shape through lattices of stone and other materials. Jalis share a common aim of bringing filtered light into enclosed spaces, while providing protection and privacy. The expansive volume covers more than two hundred jalis across India, from the temple-inspired designs of the Gujarat Sultanate to imperial symbolism and Sufi allusions in Mughal jalis, the innovations and adaptations of jalis across Rajasthan and central India and, further south, calligraphy in pierced stone in the Deccan. With contributions by Mitchell Abdul Karim Crites, George Michell, and Ebba Koch, this lavishly illustrated publication reveals the poetry etched in these stone screens.

Pushtimarg, a Vaishnava sect founded by Vallabhacharya in the 15th century, lays great stress on worship of the deity Shrinathji through the joys of life and living and devotion through kirtan (devotional poem-songs), bhog (offerings of sumptuous food and beverages), shringara (offerings of adornment, through dressing and ornamentation), and decoration and painting. The paintings constitute the Nathdwara school, so named because the image of Shrinathji is enshrined in a temple in Nathdwara, Rajasthan. Shringara of Shrinathji catalogs a set of previously unpublished miniature paintings of the Pushtimarg tradition from the collection of late Shri Gokal Lal Mehta. These 60 splendid artworks were executed by Sukhdev Gaur, the mukhia (chief artist) of the temple, during the dynamic stewardship of Tilkayat Govardhanlalji (1862–1934 AD). Documenting the high degree of skill in draughtsmanship, portraiture and in composition, expositions by artist Amit Ambalal accompany the exceptional, high-quality photographic reproductions of these beautiful paintings in this captivating volume.

India is a nation of conflicting realities, where the old and the new, the traditional and modern regularly coexist. Here, the artists are concerned not solely with telling their own tales but also with exploring what it means to live in a nation steeped in tradition. Within the context of modern and contemporary India, works on paper offered artists a way of cultivating transnational modernist expression while continuing to explore the potential of a medium that had deeper roots in older artistic traditions native to the subcontinent. This volume features over 100 watercolors, drawings, etchings, sketches and lithographs by senior Indian modernists, born primarily before the 1950s and who came of age in the decades directly following Independence in 1947. These artists span the transition from colonial to post-colonial India, embracing both realism and abstraction, exploring complex metaphors, and making political statements that directly engage India’s past, present, and future. With contributions by Tamara Sears, Michael Mackenzie, Paula Sengupta, Emma Oslé, Darielle Mason, Rebecca M. Brown, Jeffrey Wechsler, Kishore Singh and Swathi Gorle.

Pioneering publication exploring in depth the lost textile traditions of Bengal from the 16th to 20th century and impact on the historical and cultural aspects of the region.The famed Bengal textiles which once ‘clothed the world’ have received little scholarly attention. With the systemic destruction of Bengal’s textile industry, prompted by the Industrial Revolution in Europe, the muslins and Balucharis of Bengal were lost in obscurity. The partition of the Indian subcontinent and the consequent varieties of cultural and social identity in present-day India and Bangladesh have contributed to this neglect. This pioneering publication explores in depth the lost textile traditions of Bengal from the 16th to the 20th century and traces its impact on the historical and cultural aspects of the region. Supported by superb illustrations of textiles, maps and trade documents from the past, most of which have never been published before, the book serves as a public history, with engaging chapters presenting a unique perspective on the textiles of wider Bengal. This volume will inspire the reader, reorient scholarly attention and provoke a rethinking of the nature and history of Bengal textiles.

Explores the relationship between Indian contemporary painting and inspiration from medieval miniature painting traditions through the art of five significant Indian modern and contemporary artists.A miniature painting holds wondrous powers, beyond its defined space. A single image can summon up a world of adventures, enclosed chambers, gardens, rivers, lakes, forests, flowers, and an infinite variety of trees in bloom. In Indian art, miniatures were conceived as sets of narrative illustrations based on classic texts, such as the Ramayana, Bhagavata Purana, Ragamala, etc. Miniature painting continues to hold its appeal well into the 21st century. Contemporary artists of importance have imbibed influences from the miniature traditions, in technique, theme and coloration. This book explores a relationship between Indian contemporary painting and inspiration from medieval miniatures. The author studies the art of five significant Indian modern and contemporary artists—Abanindranath Tagore, Manjit Bawa, Waswo X. Waswo with Rakesh Vijayvargiya, and Nilima Sheikh—who have resourced and reinvented iconic traditions with different perspectives and using different techniques. Accompanied with splendid illustrations, the essays bring attention to the Indian art of today with the magical transformation of older concepts and techniques in miniature painting into contemporary practice.

Presents the first comprehensive study of the impactful artwork of Mithu Sen, a major Indian contemporary artist and poet, in all its multiplicity and complexity.This artist monograph presents the first comprehensive study of the artwork of Mithu Sen, a major contemporary artist and poet based in New Delhi, India. Her work spans over two decades of making and hundreds of exhibitions, projects, performances and word art, unveiling an unparalleled history of experiments with materials and concepts. The book’s title, Unmyth, speaks to Sen’s impactful work in all its multiplicity and complexity. Sen’s art imagines for us new worlds—including to escape to and from. Some elements are familiar, others are alien. As with myths, they are lulling and disturbing at the same time. These worlds are built around the key concepts in Sen’s work: mything, unmything and postmything; radical hospitality; untaboo sexuality; lingual anarchy; critiquing institutions and countering capitalism; unmonolith identity; byproducts and contract. These and other concepts are engaged with systematically in wide-ranging essays, written by eminent scholars, curators, and critics who have followed Sen’s work for many years. The artist herself contributes conceptual captions, dispersed citations, and the experimental Fictional Interview.

In ancient Indian sciences, the courtyard assumes the central position as Brahmasthana, the nucleus of the living environment. Lying at the genesis of the urban dwelling form in India across geography and time, it provided for an open-to-sky outdoor space while being away from the public eye and thus suited an introverted lifestyle. In this book, the author traces the metaphysical, mythical, socio-cultural, environmental and spatial roles of the courtyard in the domestic architecture of India — from early civilization and Vedic times to Islamic and colonial influences. This volume documents traditional and vernacular courtyard dwelling types across India within diverse climatic, cultural as well as geographic zones of the country. It then discerns the spatial elements constituting the court, and the arts and crafts as well as the elements integral to the court. Illustrated with splendid photographs and representative drawings, the book attempts to understand the presence and resolution, continued use and adaptation as well as the diverse interpretations and abstractions of the courtyard.

Ganesh Pyne (1937-2013) traced his early influences to his grandmother's folk tales and Abanindranath Tagore's stories and illustrations for children. The gruesome violence which attended the Partition of India, including The Great Calcutta Killing of 1946, left a permanent effect on Pyne's creative personality, revealing itself in the premonitions of death and destruction visible on his canvas. Pyne was a multi-faceted artist, always honing his skill in standardized art practice as well as adapting technology for his personal idiom. He dabbled in animation and print media, not just to make a living but also to widen his horizon of the visual study of art. This illustrated volume presents a rich, expansive study of Pyne's creative career, including previously unseen work made while the artist was a young man. Through sensitive essays, the author also brings to fore the shy reticence of the artist himself, who nevertheless took a great interest in Calcutta's artistic milieu, becoming a member of the Society of Contemporary Artists. This volume hopes to reveal the intensity of Pyne's engagement with the world around him and his urgent voice capturing the apprehensions and ideals of a country on the brink of both disaster and freedom. Published in association with Lalit Kala Akademi, New Delhi, and Akar Prakar, Kolkata.