Impossible Picturesqueness

Arts & Photography

Dehejia, Vidya

History & Criticism

Columbia University Press

Edward Lear, best known as a writer of limericks and nonsense verse, was by profession a landscape draughtsman and painter. Traveling through exotic regions such as Calabria, Corsica, Egypt and India, he made sketches from nature, which, upon his return home, he worked up into oil paintings and watercolors for sale and exhibition. Impossible Picturesqueness presents a selection of Lear's Indian watercolors, and documents his journey to India in 1873-75

Impossible Picturesqueness: Edward Lear's Indian Watercolors, 1873–1875 (Columbia Studies on Art)

The rule of the Chola dynasty in South India between the ninth and thirteenth centuries was a period of unparalleled creativity in Indian art. Known as the Golden Age of Tamil Culture, the Chola period produced dynamic royal personalities who shaped the artistic activity of theirtimes. Art of the Imperial Cholas examines the dynasty's architectural and sculptural achievements, which stand among the masterpieces of India.

Art of the Imperial Cholas

The sensuous human form-elegant and eye-catching-is the dominant feature of premodern Indian art. From the powerful god Shiva, greatest of all yogis and most beautiful of all beings, to stone dancers twisting along temple walls, the body in Indian art is always richly adorned. Alankara (ornament) protects the body and makes it complete and attractive; to be unornamented is to invite misfortune. In The Body Adorned, Vidya Dehejia, who has dedicated her career to the study of Indian art, draws on the literature of court poets, the hymns of saints and acharyas, and verses from inscriptions to illuminate premodern India's unique treatment of the sculpted and painted form. She focuses on the coexistence of sacred and sensuous images within the common boundaries of Buddhist, Jain, and Hindu "sacred spaces," redefining terms like "sacred" and "secular" in relation to Indian architecture. She also considers the paradox of passionate poetry, in which saints praised the sheer bodily beauty of the divine form, and nonsacred Rajput painted manuscripts, which freely inserted gods into the earthly realm of the courts. By juxtaposing visual and literary sources, Dehejia demonstrates the harmony between the sacred and the profane in classical Indian culture. Her synthesis of art, literature, and cultural materials not only generates an all-inclusive picture of the period but also revolutionizes our understanding of the cultural ethos of premodern India.

The Body Adorned: Sacred and Profane in Indian Art

Religion & Spirituality

Impossible Picturesqueness: Edward Lear's Indian Watercolors

Early Buddhist rock temples: a chronological study (Studies in ancient art and archaeology)

Thames and Hudson

The first book to put the sacred and sensuous bronze statues from India's Chola dynasty in social context From the ninth through the thirteenth century, the Chola dynasty of southern India produced thousands of statues of Hindu deities, whose physical perfection was meant to reflect spiritual beauty and divine transcendence. During festivals, these bronze sculptures--including Shiva, referred to in a saintly vision as "the thief who stole my heart"--were adorned with jewels and flowers and paraded through towns as active participants in Chola worship. In this richly illustrated book, leading art historian Vidya Dehejia introduces the bronzes within the full context of Chola history, culture, and religion. In doing so, she brings the bronzes and Chola society to life before our very eyes. Dehejia presents the bronzes as material objects that interacted in meaningful ways with the people and practices of their era. Describing the role of the statues in everyday activities, she reveals not only the importance of the bronzes for the empire, but also little-known facets of Chola life. She considers the source of the copper and jewels used for the deities, proposing that the need for such resources may have influenced the Chola empire's political engagement with Sri Lanka. She also investigates the role of women patrons in bronze commissions and discusses the vast public records, many appearing here in translation for the first time, inscribed on temple walls. From the Cholas' religious customs to their agriculture, politics, and even food, The Thief Who Stole My Heart offers an expansive and complete immersion in a community still accessible to us through its exquisite sacred art. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

The Thief Who Stole My Heart: The Material Life of Sacred Bronzes from Chola India, 855–1280 (The A. W. Mellon Lectures in the Fine Arts)

Princeton University Press

A full and up-to-date history of the subcontinent's artistic heritage.

Indian Art

Phaidon Press

This book is a translation and study of the poems of a ninth-century woman saint and mystic. The Introduction is designed to make the translations accessible to a non-specialist audience, while the Notes provide insights into the poems and useful explications of allusions and convention with which readers who do not possess a specialized knowledge of Tamil Vaisnava bhakti may be unfamiliar.

Āṇāḷ and Her Path of Love: Poems of a Woman Saint from South India (Hindu Studies)

State University of New York Press

Tight, clean copy, inside pristine, writing on first page. some wear to cover, Qualifies for FREE SHIPPING!!

Early Buddhist Rock Temples

Politics & Social Sciences

Archaeology

NCROL

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