[A]n excellent analytical study of a sensationally beautiful type of temple. . . . This work is not just art historical but embraces . . . religious studies, anthropology, history, and literature." —Catherine B. Asher "[A]dvances our knowledge of . . . Bengali temple building practices, the complex inter-reliance between religion, state power, and art, and the ways in which Western colonial assumptions have distorted correct interpretation. . . . A splendid book." —Rachel Fell McDermott In the flux created by the Mughal conquest, Hindu landholders of eastern India began to build a spectacularly beautiful new style of brick temple, known as Ratna. This "bejeweled" style combined features of Sultanate mosques and thatched houses, and included second-story rooms conceived as the pleasure grounds of the gods, where Krishna and his beloved Radha could rekindle their passion. Pika Ghosh uses art historical, archaeological, textual, and ethnographic approaches to explore this innovation in the context of its times. Includes 82 stunning black-and-white images of rarely photographed structures. Published in association with the American Institute of Indian Studies
In Bengal, mothers swaddle their infants and cover their beds in colorful textiles that are passed down through generations. They create these kantha from layers of soft, recycled fabric strengthened with running stitches and use them as shawls, covers, and seating mats. Making Kantha, Making Home explores the social worlds shaped by the Bengali kantha that survive from the nineteenth and early twentieth centuries. In the first study of colonial-period women’s embroidery that situates these objects historically and socially, Pika Ghosh brings technique and aesthetic choices into discussion with iconography and regional culture. Ghosh uses ethnographic and archival research, inscriptions, and images to locate embroiderers’ work within domestic networks and to show how imagery from poetry, drama, prints, and watercolors expresses kantha artists’ visual literacy. Affinities with older textile practices include the region’s lucrative maritime trade in embroideries with Europe, Africa, and China. This appraisal of individual objects alongside the people and stories behind the objects’ creation elevates kantha beyond consideration as mere handcraft to recognition as art.
Through richly sensual visual and narrative treatments of textiles, their makers, and their users, Making Kantha, Making Home explores the social worlds created by Bengali kantha that survive from the nineteenth and early twentieth century. The first study of colonial-period women's embroidery to situate these objects historically and socially, it brings technique and aesthetic choices into discussion with iconography and regional culture. Kantha typically are created from layers of recycled, soft fabric that are strengthened with running stitches and then further embroidered with colored threads. They have commonly been understood as the work of women, created for domestic use as shawls, bedcovers, seating mats, and infant swaddling blankets. Through examination of individual objects and the people and stories behind their creation, the book elevates kantha beyond consideration as mere handcraft to recognition as art. Drawing on ethnographic and archival research, inscriptions, and images, it situates embroiderers' work within domestic networks, entangled with memories, perceptions, sensorial resonance, and emotional experience. The textiles testify to the visual literacy and sophisticated mechanisms whereby skills were transmitted among embroiderers. Particular relationships with imagery in other media such as poetry, drama, prints, and watercolors testify to their access to a shared visual and social vocabulary, as well as affinity with older textile practices, including the region's lucrative maritime trade in embroideries"--
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