The description for this book, The Art of Gupta India: Empire and Province, will be forthcoming.

The present work describes the material and moral progress which India had achieved during the paramount sovereignty of the Gupta emperors in the fourth and fifth centuries a.d. It traces the origin and rise of the ruling family to Srigupta (240-280 a.d.) and concludes with the reign of Kumaragupta III (543 a.d.). It discusses the spirit of the age and the various trends in the sphere of Religion, Economy, Society, Education, Administration, Art and Architecture. It seeks to bring together all the facts and data derivable from different sources--literary, epigraphic and numismatic, the accounts of foreign visitors, particularly of the Chinese pilgrim Fa-hien who has left a detached and valuable record of India`s civilization during the reign of Chandragupta II. Herein we get an accurate picture of India`s golden age, the growth of her various institutions, her activities of expansion, colonization and her intercourse with Indonesia, China and other countries. The work is divided into sixteen chapters. It has an index of proper names and an addenda on the hoard of new Imperial Gupta coins discovered at Bayana in Bharatpur. The work is very interesting and instructive and is designed to meet the requirements of the academic student of history and the general reader alike.

The Work Studies Basic Principles Of Ancient Indian Art And Architecture. It Deals With Hindu Thinking And Practice Of Art Including The Hindu View Of Godhead, Iconography And Iconometry And Symbols And Symbolism In Hindu Art. It Surveys Indian Art And Temple Architecture From The Ancient Times And Makes Comparative Studies Of Religious Art In India.

Indian Folk and Tribal Paintings introduces you to one of India s most glorious living traditions its tribal and folk painting. Vibrant and full of colour, it is said of tribal and folk painting that it has no beginning and no end. The rich red earth of river deltas, the fine white paste of crushed rice, the juice of fruits and berries, the wine from the mahua tree, the milk and even the dung, continue to provide the artist in the forest and village with his raw materials, while the floors and walls of his dwelling places, the bark of trees, leaves and, latterly, paper, are his surfaces. Whatever the surface or the medium, these paintings are intrinsically linked with the regional historico-cultural settings from which they arise.

This book takes stock of the results of some two decades of intensive archaeological research carried out on both sides of the Bay of Bengal, in combination with renewed approaches to textual sources and to art history. To improve our understanding of the trans-cultural process commonly referred to as Indianisation, it brings together specialists of both India and Southeast Asia, in a fertile inter-disciplinary confrontation. Most of the essays reappraise the millennium-long historiographic no-man's land during which exchanges between the two shores of the Bay of Bengal led, among other processes, to the Indianisation of those parts of the region that straddled the main routes of exchange. Some essays follow up these processes into better known "classical" times or even into modern times, showing that the localisation process of Indian themes has long remained at work, allowing local societies to produce their own social space and express their own ethos.