The 50th anniversary edition of this classic work on the art of Northwest Coast Indians now offers color illustrations for a new generation of readers along with reflections from contemporary Northwest Coast artists about the impact of this book. The masterworks of Northwest Coast Native artists are admired today as among the great achievements of the world’s artists. The painted and carved wooden screens, chests and boxes, rattles, crest hats, and other artworks display the complex and sophisticated northern Northwest Coast style of art that is the visual language used to illustrate inherited crests and tell family stories. In the 1950s Bill Holm, a graduate student of Dr. Erna Gunther, former Director of the Burke Museum, began a systematic study of northern Northwest Coast art. In 1965, after studying hundreds of bentwood boxes and chests, he published Northwest Coast Indian Art: An Analysis of Form. This book is a foundational reference on northern Northwest Coast Native art. Through his careful studies, Bill Holm described this visual language using new terminology that has become part of the established vocabulary that allows us to talk about works like these and understand changes in style both through time and between individual artists’ styles. Holm examines how these pieces, although varied in origin, material, size, and purpose, are related to a surprising degree in the organization and form of their two-dimensional surface decoration. The author presents an incisive analysis of the use of color, line, and texture; the organization of space; and such typical forms as ovoids, eyelids, U forms, and hands and feet. The evidence upon which he bases his conclusions constitutes a repository of valuable information for all succeeding researchers in the field. Replaces ISBN 9780295951027

This book explores the creation of imperial identities in Britain and several of its colonies - South Africa, India, Australia, Wales - and the ways in which the Victorian press around the world shaped and reflected these identities. The concept of co-histories, borrowed from Edward Said and Frantz Fanon, helps explain how the press shaped the imperial and national identities of Britain and of the colonies into co-histories that were thoroughly intertwined and symbiotic. Exploring a variety of press media, this book argues that the press was a site of resistance and revision by colonized authors and publishers, as well as a force of colonial authority for the British government. editors, and publishers, who projected a view of the empire to their British, colonial, and colonized readers. Topics include The Journal of Indian Art and Industry produced by the British art schools in India, women's periodicals, Indian writers in the British press, The Imperial Gazetteer published in Scotland, the rise of telegraphic news agencies, the British press's images of China seen through exhibitions of its art, the Tory periodical Blackwood's Magazine, and the Imperial Press Conference of 1909. University.

The Journal of Indian Art is still one of the most consulted books on Indian jewellery. It is an authentic source for scholars and collectors who are engaged with traditional Indian jewellery or ancient techniques. The original of Indian Jewellery was edited in 1909 by Thomas Holbein Hendley, comprising Nos. 95-107 of The Journal of Indian Art. The picture plates of this book show native ornaments of British India, demonstrating the vast of Indian jewellery in the eight provinces at the end of the nineteenth century. Examples of the jewellery of past civilizations of Asia and Europe were added for consideration of the history and development of the different styles. The book s illustrations and descriptions of old Indian royal and peasant ornaments are of unaltered interest now, one hundred years later. During this past period, new developments and designs of jewellery have come up, frequently based on the old traditions. The centenary reprint edition of Indian Jewellery was therefore supplemented with photographs of recent Indian jewellery, as an attempt to present revival pieces that are still en vogue after one hundred years, as well as to show examples of new developments which were manufactures after the old style, yet with modifications and adaptations, answering to a modernized taste and demand.

The Square and the Circle of the Indian Arts is a major contribution in Indian art history. More than a book on the theories of arts, it has far-reaching implications for the way one thinks about the future of indology and art history. It provides a model to be emulated for inter-disciplinary research, not only between the arts but also the sciences and the arts. The book begins by re-examining the imagery of the Vedas and the Upanisads, highlighting some aspects of early speculative thought which influenced the enunciation of aesthetic theories, particularly of Bharata in the Natyasastra. The next chapter introduces a new methodology of analyzing the rituals (yajna) as laid down in the Yajurveda and the Satapatha Brahmana, the best way to focus the relationship between the text and the practice. Four chapters follow – one each on drama (natya), architecture (vastu), sculpture (silpa), and music (sangita). Each presents some fundamental concepts of speculative thought, concerned with each of the arts and purposefully correlates these with actual examples both of the past and the present. The afterward to this second edition remains an event not only because the book benefits from the works published since the first edition, but also because it presents the author’s integral vision and her unique adventure into the boundaries of several disciplines. It demonstrates the efficacy of her earlier approach of investigating the imagery and the metaphors as basic to the discourse of the Indian tradition. She proposes a multi-layered cluster of concepts and metaphors which enable one to uncode the complex multi-dimensional character of the Indian Arts. Also significantly she suggests a deeper comprehension of the relevance of the developments in the field of traditional mathematics and biology for the study of the language of form of the Indian Arts.

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.