This book is a pioneering work presenting Christian themes in Indian art from the beginnings of Christianity in India till today. The authors have, in the main, dealt with paintings and sculptures, but have supplemented this with one chapter on architecture, particularly that of church buildings, and one on popular art, including stamps. Over 1,100 rare coloured illustrations make this publication a unique reference book. It is the first complex treatment of the theme done in the last 25 years. Special emphasis is given to artists who as Hindus, Muslims and Parsees have chosen to paint Biblical themes. Already in the 16th century the encouraging and surprising encounter between European Christian prints and Indian miniature paintings took place. The Muslim Emperor Akbar invited three Jesuit missions from Goa to the Mogul court. Fascinated by European Madonnas and engravings, especially with Christian themes, he ordered his paintings to copy them in various ways. This was the start of a revolutionary fusion in Indian miniatures.

Following India’s independence in 1947, Indian artists creating modern works of art sought to maintain a local idiom, an “Indianness” representative of their newly independent nation, while connecting to modernism, an aesthetic then understood as both universal and presumptively Western. These artists depicted India’s precolonial past while embracing aspects of modernism’s pursuit of the new, and they challenged the West’s dismissal of non-Western places and cultures as sources of primitivist imagery but not of modernist artworks. In Art for a Modern India, Rebecca M. Brown explores the emergence of a self-conscious Indian modernism—in painting, drawing, sculpture, architecture, film, and photography—in the years between independence and 1980, by which time the Indian art scene had changed significantly and postcolonial discourse had begun to complicate mid-century ideas of nationalism. Through close analyses of specific objects of art and design, Brown describes how Indian artists engaged with questions of authenticity, iconicity, narrative, urbanization, and science and technology. She explains how the filmmaker Satyajit Ray presented the rural Indian village as a socially complex space rather than as the idealized site of “authentic India” in his acclaimed Apu Trilogy, how the painter Bhupen Khakhar reworked Indian folk idioms and borrowed iconic images from calendar prints in his paintings of urban dwellers, and how Indian architects developed a revivalist style of bold architectural gestures anchored in India’s past as they planned the Ashok Hotel and the Vigyan Bhavan Conference Center, both in New Delhi. Discussing these and other works of art and design, Brown chronicles the mid-twentieth-century trajectory of India’s modern visual culture.

"This book is published in conjunction with the exhibition, Christianity in Asia: sacred art and visual splendour, presented at the Asian Civilisations Museum, Singapore, from 27 May to 11 September 2016"--Title page verso.

From a world-renowned painter, an exploration of creativity’s quintessential—and often overlooked—role in the spiritual life “Makoto Fujimura’s art and writings have been a true inspiration to me. In this luminous book, he addresses the question of art and faith and their reconciliation with a quiet and moving eloquence.”—Martin Scorsese “[An] elegant treatise . . . Fujimura’s sensitive, evocative theology will appeal to believers interested in the role religion can play in the creation of art.”—Publishers Weekly Conceived over thirty years of painting and creating in his studio, this book is Makoto Fujimura’s broad and deep exploration of creativity and the spiritual aspects of “making.” What he does in the studio is theological work as much as it is aesthetic work. In between pouring precious, pulverized minerals onto handmade paper to create the prismatic, refractive surfaces of his art, he comes into the quiet space in the studio, in a discipline of awareness, waiting, prayer, and praise. Ranging from the Bible to T. S. Eliot, and from Mark Rothko to Japanese Kintsugi technique, he shows how unless we are making something, we cannot know the depth of God’s being and God’s grace permeating our lives. This poignant and beautiful book offers the perspective of, in Christian Wiman’s words, “an accidental theologian,” one who comes to spiritual questions always through the prism of art.

This study explores historical understandings of Christian communities, cultures, and institutions within the Indian world from their beginnings to the present time. Frykenberg focuses on trans-cultural interactions within Hindu and Muslim environments, uncovering complexities as Christianity intermingled with indigenous cultures.

Why be colorblind when we can be colorFULL instead? Imani and Kayla are the best of friends who are learning to celebrate their different skin colors. As they look around them at the amazing colors in nature, they can see that their skin is another example of God's creativity! This joyful story takes a new approach to discussing race: instead of being colorblind, we can choose to celebrate each color God gave us and be colorFULL instead.

Based on the Westcott–Teape Lectures given in India and at the University of Cambridge, this book explores the possibilities and problems attendant upon the field of Hindu–Christian Studies, the reasons for occasional flourishing and decline in such studies, and the fragile conditions under which the field can flourish in the 21st century. The chapters examine key instances of Christian–Hindu learning, highlighting the Jesuit engagement with Hinduism, the modern Hindu reception of Western thought, and certain advances in the study of religion that enhance intellectual cooperation.

With rare exceptions, serious intentional, reflective and sustained interfaith encounter is a novel and recent enterprise. This book looks in detail at one such encounter--the intentional recent Hindu-Christian dialog in India--and asks why and how the practice of dialog came to replace previous attitudes of confrontation and monologue (especially on the part of Christians). Part I sets the encounter in its global context. Part II offers a comprehensive and critical analysis of the actual encounter. Part III draws on aspects of the Christian tradition as it critically examines the ways in which the dialog has been justified in Christological categories. A final chapter discusses the future of the encounter. Unlike many other works in the area of interfaith studies, this work combines both descriptive detail of the actual encounter and critical theological analysis of the strengths and weakness of the dialog model.

This dictionary is a fascinating guide to the broad range of terms used in the study of the history of Christian art and architecture, including themes, artists, and movements. The long-awaited new edition includes entries by over a dozen expert contributors, and a fully revised online bibliography, bringing it up to date for the 21st century.