Histories, Historiography, Archeology: An Introduction pg. 1\\r\\n1. Antiquarianism and South Asia: Questioning Histories of Origins pg. 30\\r\\n2. Nineveh Bombay: The Curation of Foreign Antiquities and Histories of India pg. 67\\r\\n3. The Connected Histories of Philology and Archeology pg. 99\\r\\n4. Fashioning the Unknown: Gordon Childe’s Imprints upon the Indus Civilisation pg. 141\\r\\n…
Traditionally, Indian paintings have been classified by regional styles or dynastic periods, with an emphasis on subject matter. Stressing the combined tools of connoisseurship and inscriptional evidence the pioneering research reflected in this book has identified individual artist and their oeuvres through the analysis of style
In Indian Communities in Southeast Asia thirty-one scholars provide an analytical commentary on the contemporary position of ethnic Indians in Southeast Asia.
Buku ini berisi tentang sejarah patung Parvati.
Buku ini merupakan katalog yang berisi tentang macam-macam patung yang ada di Museum Prince of Wales yang sekarang menjadi Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (King Shivaji Museum) Mumbai, India.
1. The Broken Pitcher of Dogmas. Lokesh Chandra. pg. 13\\r\\n2. On Constitutionalism. Arvind Sharma. pg. 23\\r\\n3. Fallacies of Understanding Maoist politics. Shankar Sharan. pg. 27\\r\\n4. Naxalism 2002: A complete picture. M. K. Narayanan pg. 39\\r\\n5. The Maoist Insurgency in India and Nepal. Prakash Singh. pg. 43
I. Intruduction pg. 1-5\r\nII. Iconographic gleanings from Benedictory Verses pg. 6-11\r\nIII. Siva and his popular iconographic forms as revealed in the verses from epigraphic records and anthologies pg. 12-59\r\nIV. Visnu and his popular incarnations as witnessed by the Verses from epigrahs pg. 60-75\r\nV. Poetic-fancies on parallel and other aspects of Hindu iconography pg. 76-95