The book will cover the entire range of the Painted Stork--beyond its stronghold in India and Sri Lanka to other countries--E Asia as well. For the sake of comparison, relevant information will be included about the other species of storks--both solitary as well as colonial, of Asia, as well as those in other parts of the world. Certainly plenty of references will be made about the work done on the American Wood Stork. Studies are underway in order to better understand the role of the monsoon rains on the nesting pattern of Painted Stork, besides attempting a review of the global status of the species. The former is likely to be of interest in augmenting our understanding about how global climate change is going to affect birds across India and the second is likely to raise interesting points about the distribution of species and their ranges. Both these studies will be carried through 2009 and should hopefully be included in the proposed book. Naturally, the focused interest in field research on the Painted Stork has resulted in accumulation of considerable information on this particular species, which is beyond the information contained on some standard Indian and international works and ornithological texts. The author hopes to include the entire spread of information of this species--from its systematics, evolution, distribution, ecology to its role in human culture as well as its association with mythologies. In other words, topics have not been restricted to the areas of the author’s research but have spilled over into areas of anthropology, ecology, conservation, etc.

Everything you ever wanted to know about storks, ibises and spoonbills. Some of the world's largest and most spectacular birds are to be found among this group of wading birds. Tragically, they also include many of the world's most endangered species, as changes in land use erode their wetland habitats. Some like the White Stork have lived alongside humans for hundreds of years and are well known from numerous studies. Others, like the Storm's stork and ibises of West Africa, South-East Asia and South America live so secluded a life in the remote corners of the globe that they will probably be extinct before even the most basic details of their biology are known. In this monograph, three authors and two artists have combined their skills to capture what is known of this group of wading birds. The text opens with general chapters on taxonomy and feeding, breeding and behaviour, followed by detailed coverage of each species.

A charismatic and arresting bird, the Painted Stork inhabits the plains and wetlands of India and Southeast Asia. This near-threatened species provides a good model through which to explore a variety of ecology and conservation issues. As a colonial nester, it is also useful for considering questions related to evolution and the development of avian coloniality. The Painted Stork sometimes nests opportunistically in the middle of large cities – the Delhi Zoo colony, for instance, has been active since 1960. This offers a splendid opportunity to study the species at close range, as attested by this book's lively photographic component. The Painted Stork is an important indicator of its wetland habitats, which themselves are highly threatened. Since environmental toxins, particularly organochlorine pesticides, travel rapidly along aquatic food chains, the study of piscivorous birds like the Painted Stork assumes special significance. Equally vulnerable today are the nesting colonies, located in marshes, village reservoirs and the wider countryside, including in urban settings. Perhaps because their natural nesting areas are becoming scarce due to habitat loss, colonial waterbirds look for suitable sites in parks and gardens. Hence, the behaviour of this species reflects changes occurring in its environment. Birds also help us monitor the effects of global climate change, and one of the most significant dimensions of the Painted Stork is its dependence upon the monsoon. How exactly do these seasonal rains govern the food cycles in wetlands? And what happens when the monsoon fails? Covering all aspects of Painted Stork ecology, behaviour, conservation and its relationship with humans, this accessible monograph contains a wealth of new insights.

As the East India Company extended its sway across India in the late eighteenth century, many remarkable artworks were commissioned by Company officials from Indian painters who had previously worked for the Mughals. Published to coincide with the first UK exhibition of these masterworks at The Wallace Collection, this book celebrates the work of a series of extraordinary Indian artists, each with their own style and tastes and agency, all of whom worked for British patrons between the 1770s and the bloody end of the Mughal rule in 1857. Edited by writer and historian William Dalrymple, these hybrid paintings explore both the beauty of the Indian natural world and the social realities of the time in one hundred masterpieces, often of astonishing brilliance and originality. They shed light on a forgotten moment in Anglo-Indian history during which Indian artists responded to European influences while keeping intact their own artistic visions and styles. These artists represent the last phase of Indian artistic genius before the onset of the twin assaults - photography and the influence of western colonial art schools - ended an unbroken tradition of painting going back two thousand years. As these masterworks show, the greatest of these painters deserve to be remembered as among the most remarkable Indian artists of all time.

"In 1845, Sammy, a Chinese American girl, and Annamae, an African American slave girl, disguise themselves as boys and travel on the Oregon Trail to California from Missouri"--

Now considered a classic among readers interested in Tibetan Buddhism and pilgrimages of the spirit of all kinds, A Journey in Ladakh is Andrew Harvey's spiritual travelogue of his arduous journey to one of the most remote parts of the world--the highest, least populated region in India, cut off by snow for six months each year. Buddhists have meditated in the mountains of Ladakh since three centuries before Christ, and it is there that the purest form of Tibetan Buddhism is still practiced today.

Leslie and her friend, Oolipika learn about the northern lights.

Johannes Vermeer's luminous paintings are loved and admired around the world, yet we do not understand how they were made. We see sunlit spaces; the glimmer of satin, silver, and linen; we see the softness of a hand on a lute string or letter. We recognise the distilled impression of a moment of time; and we feel it to be real. We might hope for some answers from the experts, but they are confounded too. Even with the modern technology available, they do not know why there is no evidence of any preliminary drawing; why there are shifts in focus; and why his pictures are unusually blurred. Some wonder if he might possibly have used a camera obscura to capture what he saw before him. The few traces Vermeer has left behind tell us little: there are no letters or diaries; and no reports of him at work. Jane Jelley has taken a new path in this detective story. A painter herself, she has worked with the materials of his time: the cochineal insect and lapis lazuli; the sheep bones, soot, earth, and rust. She shows us how painters made their pictures layer by layer; she investigates old secrets; and hears travellers' tales. She explores how Vermeer could have used a lens in the creation of his masterpieces. The clues were there all along. After all this time, now we can unlock the studio door, and catch a glimpse of Vermeer inside, painting light.