Exploring India's Sacred Art presents a selection of Stella Kramrisch's influential essays, along with a biographical essay. The writings collected here emphasize the cultural and symbolic values of Indian art. The first section discusses the social and religious contexts of art. This is followed by essays on various forms of ritual art. The section entitled The Subtle Body is derived from her term for the form that underlies concrete shapes; it includes studies of literary and visual symbolism. Further essays concentrate on formal and technical aspects of temple structure and painting in the context of their symbolic meaning. Over 150 illustrations, many of them prepared especially for this volume, provide a vital visual dimension to her writings. Also included is Joseph Dye's comprehensive bibliography of her works. Exploring India's Sacred Art testifies to the life and work of one of this century's greatest art scholars and provides an unparalleled source of insight into Indian art and culture.

India in Art in Ireland is the first book to address how the relationship between these two ends of the British Empire played out in the visual arts. It demonstrates that Irish ambivalence about British imperialism in India complicates the assumption that colonialism precluded identifying with an exotic other. Examining a wide range of media, including manuscript illuminations, paintings, prints, architecture, stained glass, and photography, its authors demonstrate the complex nature of empire in India, compare these empires to British imperialism in Ireland, and explore the contemporary relationship between what are now two independent countries through a consideration of works of art in Irish collections, supplemented by a consideration of Irish architecture and of contemporary Irish visual culture. The collection features essays on Rajput and Mughal miniatures, on a portrait of an Indian woman by the Irish painter Thomas Hickey, on the gate lodge to the Dromana estate in County Waterford, and a consideration of the intellectual context of Harry Clarke's Eve of St. Agnes window. This book should appeal not only to those seeking to learn more about some of Ireland's most cherished works of art, but to all those curious about the complex interplay between empire, anti-colonialism, and the visual arts.

The Encyclopedia of Hinduism contains over 900 entries reflecting recent advances in scholarship which have raised new theoretical and methodological issues as well as identifying new areas of study which have not been addressed previously. The debate over the term 'Hinduism' in the light of post-Orientalist critiques is just one example of how once standard academic frameworks have been called into question. Entries range from 150-word definitions of terms and concepts to 5,000-word in-depth investigations of major topics. The Encyclopedia covers all aspects of Hinduism but departs from other works in including more ethnographic and contemporary material in contrast to an exclusively textual and historical approach. It includes a broad range of subject matter such as: historical developments (among them nineteenth and twentieth century reform and revival); geographical distribution (especially the diaspora); major and minor movements; philosophies and theologies; scriptures; deities; temples and sacred sites; pilgrimages; festivals; rites of passage; worship; religious arts (sculpture, architecture, music, dance, etc.); religious sciences (e.g. astrology); biographies of leading figures; local and regional traditions; caste and untouchability; feminism and women's religion; nationalism and the Hindu radical right; and new religious movements. The history of study and the role of important scholars past and present are also discussed. Accessibility to all levels of reader has been a priority and no previous knowledge is assumed. However, the in-depth larger entries and the design of the work in line with the latest scholarly advances means that the volume will be of considerable interest to specialists. The whole is cross-referenced and bibliographies attach to the larger entries. There is a full index.

2009 marked the 60th anniversary of the diplomatic relations of the Republic of India and the Republic of Austria. The Conservation Department of the University of Applied Arts Vienna presents this volume largely based on papers reported at the conference "Cultural Heritage Counts - Research, Conservation and Management" held in New Delhi in August, 2009. The conference was a crucial contribution initiated by the Austrian Cultural Forum New Delhi to celebrate this important jubilee. The successful and intensive cooperation of both countries in the fields of the research and conservation of cultural heritage is reflected in numerous research and conservation projects presented in this book.

As pointed out in my last two publications, no comprehensive study has been undertaken about the American Learned Men and Women with Czechoslovak roots. The aim of this work is to correct this glaring deficiency, with the focus on immigration from the period of mass migration and beyond, irrespective whether they were born in their European ancestral homes or whether they have descended from them. Whereas in the two mentioned monographs, the emphasis has been on scholars and social and natural scientists; and men and women in medicine, applied sciences and engineering, respectively, the present compendium deals with notable Americans of Czechoslovak ancestry in arts and letters, and in education. With respect to women, although most professional fields were closed to them through much of the nineteenth century, the area of arts and letters was opened to them, as noted earlier and as this compendium authenticates.

Age of Entanglement explores the patterns of connection linking German and Indian intellectuals from the nineteenth century to the years after the Second World War. Kris Manjapra traces the intersecting ideas and careers of philologists, physicists, poets, economists, and others who shared ideas, formed networks, and studied one another's worlds. Moving beyond well-rehearsed critiques of colonialism, this study recasts modern intellectual history in terms of the knotted intellectual itineraries of seeming strangers. Collaborations in the sciences, arts, and humanities produced extraordinary meetings of German and Indian minds. Meghnad Saha met Albert Einstein, Stella Kramrisch brought the Bauhaus to Calcutta, and Girindrasekhar Bose began a correspondence with Sigmund Freud. Rabindranath Tagore traveled to Germany to recruit scholars for a new university, and Himanshu Rai worked with Franz Osten to establish movie studios in Bombay. These interactions, Manjapra argues, evinced shared responses to the hegemony of the British empire. Germans and Indians hoped to find in one another the tools needed to disrupt an Anglocentric world order. As Manjapra demonstrates, transnational encounters are not inherently progressive. From Orientalism to Aryanism to scientism, German-Indian entanglements were neither necessarily liberal nor conventionally cosmopolitan, often characterized as much by manipulation as by genuine cooperation.

The book responds to the challenge of the global turn in the humanities from the perspective of art history. A global art history, it argues, need not follow the logic of economic globalization nor seek to bring the entire world into its fold. Instead, it draws on a theory of transculturation to explore key moments of an art history that can no longer be approached through a facile globalism. How can art historical analysis theorize relationships of connectivity that have characterized cultures and regions across distances? How can it meaningfully handle issues of commensurability or its absence among cultures? By shifting the focus of enquiry to South Asia, the five meditations that make up this book seek to translate intellectual insights of experiences beyond Euro–America into globally intelligible analyses.

How can we reconfigure our picture of modern art after the postcolonial turn without simply adding regional art histories to the Eurocentric canon? Transmodern examines the global dimension of modern art by tracing the crossroads of different modernisms in Asia, Europe and the Americas. Featuring case studies in Indian modernism, the Harlem Renaissance and post-war abstraction, it demonstrates the significance of transcultural contacts between artists from both sides of the colonial divide. The book argues for the need to study non-western avant-gardes and Black avant-gardes within the west as transmodern counter-currents to mainstream modernism. It situates transcultural art practices from the 1920s to the 1960s within the framework of anti-colonial movements and in relation to contemporary transcultural thinking that challenged colonial concepts of race and culture with notions of syncretism and hybridity.