About us

NIYOGI BOOKS

Over one hundred books, out of which twenty-five
have won awards—Niyogi Books is one of India’s
youngest and fastest growing publishing houses.
The journey has been remarkable, the progress
and pace commendable. The team at Niyogi
Books is involved in every stage of the publishing
process—from selection, sourcing, research and
commissioning of subjects and authors to the
evaluation, editing and designing of manuscripts
to the production, promotion, marketing and
distribution of books. Our publications are easily
accessible and available to all sections of readers
and book lovers, bookstores, libraries and
institutions. We believe in the sanctity of the written
word and are committed to bringing out high quality
books at an affordable price.

One comment on “About us

  1. niyogibooks says:

    CONTENTS

    NEW RELEASES

    HAMPI (HC) 6
    Mussoorie Medley (FB) 7
    Thanjavur (HC) 8
    Rethinking Modernity (HC) 9
    The Honest Always Stand Alone (HC) 10
    Kayakalpa (HC) 10
    Never A Disconnect (HC) 11
    Dancing with Kali (FB) 11
    In Search of Your America 12
    Inner Guidance 12

    FORTHCOMING TITLES

    Sir Padampat Singhania (HC) 14
    Nainsukh of Guler 15
    Rabindranath Tagore: A Chronicle of his Life and Works 16
    Kutiyattam 17
    Rapture: The Art of Indian Textiles 18
    Indian Painting: The Lesser Known Traditions 19
    Invisible City: The Hidden Monuments of Delhi (FB)/(HC) 20
    Folk Arts of West Bengal and the Artists’ Community 21
    Middle Time 22
    Well Met in Cyprus 22
    Soiled Clothes 23
    Tantu: The Loom of Life 23

    bACkLIST

    The Dialogue of: Awaara (FB) 26
    The Dialogue of: Mother India (FB) 27
    Akriti to Sanskriti (HC) 28
    Indian Paintings: in the Sarabhai Foundation (HC) 29
    Tibetan Art (HC) 30
    Pahari Masters (HC) 31
    Chitra-pothi: Illustrated Palm-leaf Manuscripts from Orissa (HC) 32
    The Word is Sacred; Sacred is the Word: The Indian Manuscript Tradition (HC) 33
    Close to Events: Works of Bikash Bhattacharjee (HC) 34
    Visual Rhapsody (HC) 35
    Uttara Yogi (HC) 36
    Half A Face (FB) 36
    The Girmitiya Saga (HC) 37
    Lata Mangeshkar in Her Own Voice (HC) 38
    Field Marshal KM Cariappa (HC) 39
    Sunil Gavaskar (HC) 40
    Sourav Ganguly: The Maharaja of Cricket (HC) 41
    Karan Singh: A Tryst with History (HC) 42
    In the Shadows: Unknown Craftsmen of Bengal (FB) 43

    Beethoven and Friends (HC) 44
    Wit and Humour in Colonial North India (HC) 45
    White & Black: A Journey to the Centre of Calcutta (HC) 46
    The Forgotten Palaces of Calcutta (HC) 47
    Heaven on Earth: The Universe of Kerala’s Guruvayur Temple (HC) 48
    The Ramayana: Love and Valour in India’s Great Epic (HC) 49
    Hindu: Joy of Life (FB) 50
    Sayings from the Vedas, Upanishads and Bhagvad Gita (Slip case) 51
    Dilli’s Red Fort: By the Yamuna (HC) 52
    Jama Masjid: Call of the Soul (HC) 53
    Partners in Freedom: Jamia Millia Islamia (HC) 54
    The Bakkarwals (HC) 55
    Delhi: Light, Shades, Shadows (FB)/(HC) 56
    A Guide for Gentlemen Chefs (FB) 57
    So Many Journeys (HC) 58
    Odissi: The Dance Divine (HC) 59
    Wild Wonders of India (HC) 60
    Sunderbans: The Mystic Mangrove (HC) 61
    Riding the Himalayas (FB) 62
    India Through the Ages (HC) 63
    The Trial of Mangal Pandey: State Papers (FB) 63
    Mutiny Memoirs (FB) 64
    The Alipore Bomb Case (FB) 65
    Meeting Lives (HC) 66
    A Triptych (FB) 66
    A to Z of 121 Unconventional Management Concepts (FB) 67
    Office Fables (FB) 67
    Wings of Fantasy (FB) 68
    Stop Smoking Stay Cool (PB) 68
    Ranga Roopa (FB) 68
    I Believe I Can Fly (FB) 69
    World Cup Cricket Quiz (FB) 69
    Ashray (FB) 69

    4

    NEW RELEASES

    Hampi is one of the greatest heritage sites in India. It
    has not merely temples and palaces but the remains of
    a complete medieval city—the magnificent Vijayanagar.
    There is an exquisite collection of monuments that lie
    scattered across a picturesque landscape.

    Founded in the 14th century, the kingdom of
    Vijayanagar thrived for three hundred years. It was one
    of the greatest cities of the medieval world, legendary
    not just for its wealth and military prowess but also
    for its art, architecture, crafts and culture. Some of the
    finest architecture and sculpture can be seen at Hampi.
    It is one of the World Heritage Sites of the UNESCO.

    Once traders and adventurers across the globe
    came to Vijayanagar, but in the 16th century the

    city was sacked by invaders, abandoned by its
    people, and it never rose again. Today as travellers
    and pilgrims wander through its beautiful palaces and
    temples, it seems that the world has returned to Hampi
    once again.
    6
    HAMPI

    Discover the Splendours of Vijayanagar

    by Subhadra Sen Gupta

    THE AUTHOR
    Subhadra Sen Gupta writes on various aspects of Indian history and
    culture through fiction and travel writing. Her books aim to capture the
    fascinating, vibrant and many-hued aspects of the people, places and
    history of India. She also enjoys writing historical fiction for children and
    scripting comic books.

    THE PHOTOGRAPHER
    Clare Arni is a Bangalore-based photographer and specialises in
    architecture, travel and documentary photography. She has worked with
    UNESCO, Wall Street Journal, Wallpaper City Guides and Conde Nast and
    her work has been exhibited across the world.

    Specifications:
    Size: 9 inches x 9 inches
    binding: Hardcover with Dust Jacket
    Paper: 150 gsm matt coated
    Page extent: 262
    Photographs: 158
    ISbN: 978-81-89738-64-8
    Price: INR 995

    MUSSOORIE MEDLEY

    Tales of Yesteryear

    by Ganesh Saili

    THE AUTHOR
    Mussoorie born Ganesh Saili has had a life-long love affair with the
    Garhwal Himalayas. Settled atop a spur in Landour, he has taught
    English and American literature at Mussoorie’s post-graduate college.
    Having had the good fortune of living in the hills, he has seen the
    changing facets of the hill station. For thirty years and more, he has
    researched and trekked these mountains, capturing in words and
    film the awe-inspiring beauty of the hills. Several of his books have
    been translated into French, German, Dutch, Italian and other foreign
    languages. Numerous periodicals, journals, magazines, films, books and
    national awards are a testimony to his roots.

    Specifications:
    Size: 8.5 inches x 7 inches
    binding: Flexiback
    Paper: 150 gsm matt coated
    Page extent: 208
    Photographs: 143
    ISbN: 978-81-89738-59-4
    Price: INR 695

    In the spring of 1808, Captain Hyder Jung Hearsey and
    Captain Felix Raper became the first visitors to get a
    view of the Garhwal Himalayas from the bend near Lal
    Tibba in Landour.

    For centuries the Himalayan foothills have been
    summer retreats, where, the chaans or temporary
    thatch-shelters of the local hill folk were the only signs
    of human habitation. It was left to the British to come
    up, move in and claim all the credit for discovering hill
    stations all over India.

    In the early nineteenth century, Capt Young, an
    intrepid official of the East India Company arrived
    in Landour, was charmed by the gentle climate—an
    indispensable relief from the heat of the plains down
    below—and built a shooting lodge in Mullingar.

    ‘Like meat, we keep better here,’ gushed Lady
    Emily Eden… ‘The climate! No wonder I could not live
    down below. We were never allowed a scrap of air to
    breathe…The air is a cool sort of stuff, refreshing, sweet
    and apparently pleasing to the lungs…I see this as the
    best part of India.’

    The Raj summers in Mussoorie, chintz tablecloths
    and lace doilies, amateur dramatics of the Mussoorie
    Theatre Group at the Happy Valley Club: all these are
    woven together with long years of research. Ganesh
    Saili’s Mussoorie Medley: Tales of Yesteryear takes the
    reader down nostalgia lane to evoke the mystery and

    7
    magic of the times gone by.

    In this fascinating study, in words and images, Pradeep
    Chakravarthy and Vikram Sathyanathan narrate the
    cultural history of Thanjavur—starting from its early
    days of grandeur during the Chola Empire when the
    Chola ruler Raja Raja I built the Rajarajeswaram temple,
    now known as the Brihadeeswara temple, which
    celebrates its 1000th year of consecration in 2010.
    They weave together known and unknown histories
    of the various rulers—the Cholas, the Nayaks, the
    Marathas and the British— and of the Big Temple into
    a rich tapestry of cultural heritage that is Thanjavur.
    They reveal to the readers the treasure house of the
    Sarasvati Mahal Library and lead them into the narrow
    lanes, or sandhus, where the painters who created the
    now famous Thanjavur style lived beside bangle-sellers,
    textile merchants, perfumers and the devadasis. They
    invite the reader on a long trip on the fertile river bank
    of Kaveri where Carnatic music and Bharatanatyam
    as we know them today were created and flourished
    alongside drama forms like the bhagavatha mela and
    yakshagana.

    The temples, the palace, the bronzes, the
    paintings, the frescoes, the cuisine, the weapons of
    war and ivory dolls, the kalamkaris, and literary genres
    like the abhyudayamus, the prabandhams and the
    kuravanjis—they are all brushstrokes that make up a
    colourful painting, which tells the story of the city of
    Thanjavur.

    THANJAVUR

    A Cultural History

    Text: Pradeep Chakravarthy
    Photographs: Vikram Sathyanathan

    THE AUTHOR
    Pradeep Chakravarthy was born in Tirunelveli in 1975. He completed his
    education in Madras, New Delhi and London and works in leadership
    training in a premier information technology company. He has published
    more than a hundred articles in leading dailies. Aseries of articles on the
    Sarasvati Mahal Library was the beginning of his tryst with Thanjavur.
    His other books which are in press include one on temple vahanas and
    another on the lesser known temples in Tamil Nadu. Pradeep’s other
    interests include aquariums, Carnatic music and gardening. Pradeep
    and his wife Anusha live in Madras with their son Raghavan.

    THE PHOTOGRAPHER
    Vikram Sathyanathan was born in Coimbatore in 1976. He has a Masters
    in Business Administration from Richmond College, UK. Vikram is an
    entrepreneur who manages a family business and runs a company
    with interests in the chemical industry. Besides photography Vikram is
    involved in several related pursuits. Nature and wildlife conservation
    are two of his important hobbies. Vikram and his wife Sandhyaa live
    in Coimbatore with their son Prahalad.

    Specifications:
    Size: 11 inches x 8.5 inches
    binding: Hardcover with Dust Jacket
    Paper: 150 gsm matt coated
    Page extent: 220
    Photographs: 174 Map: 5
    ISbN: 978-81-89738-62-4
    Price: INR 1250

    RETHINKING MODERNITY

    Towards Post Rational Architecture

    By Jaimini Mehta

    THE AUTHOR
    Prof. Jaimini Mehta is a practising architect and an academician based in
    Vadodara, India. He studied architecture at M.S. University of Vadodara,
    and at the University of Pennsylvania in the Louis Kahn Studio. He went
    on to work in the offices of Louis Kahn and Mitchell/Giurgola Associates
    in Philadelphia.

    Returning to India in 1975, he set up his own practice and taught
    at a number of Indian as well as American universities. He was an
    Adjunct Professor at Rensselaer Polytechnic Institute at Troy, New York
    and at CEPT University in Ahmedabad, India. He also worked as Head
    of the Schools of Architecture at Vadodara and Goa. At present he is
    an Honorary Director of the Vadodara based “Centre for the Study of
    Urbanism and Architecture” which he instituted in 2006.

    He contributes regularly in the ongoing discourse on architecture
    through articles in Indian as well as international journals. Among his
    many writings is the book, Louis Kahn, Architect co-authored with
    Romaldo Giurgola and published in 1975.

    Specifications:
    Size: 10 inches x 9 inches
    binding: Hardcover with Dust Jacket
    Paper: 150 gsm matt coated
    Page extent: 146
    Photographs:
    ISbN: 978-81-89738-72-3
    Price: INR 795

    The enlightenment project to usher in Modernity,
    launched in 16th century Europe, did not spare
    Architecture either. However, the normal historical
    progression of architectural thought (and production)
    towards Modernity suffered a paradigm shift during the
    mid-18th century. This was caused by an epistemological
    obstacle in the form of the separation of architecture
    and engineering and resulted in the increasing
    rationalization of Architecture.

    Critical writings of a number of post Renaissance
    scholars and academicians aided this process; Prof.
    Mehta terms it “Academic Architecture”. While the pre-
    Renaissance literature was content to codify the practice
    of architecture, the new writings actively sought to
    “construct” an identity of architecture commensurate
    with the prevailing rise of rationalism and to reconcile
    modern architecture with modern science and industry.
    The overwhelming need to validate architecture from
    the logico-mathematical perspectives of Rationalism
    favoured the cerebral over the sensuous and away from
    the existential qualities of architecture.

    Drawing from a number of diverse sources such
    as philosophy, social sciences, art and technology,
    Prof. Mehta argues that alternatives to the rationalist
    and positivist narratives have always existed in the
    West as well as in several non-Western cultures but
    the very strong “foregrounding” of Rationalism during
    the last two and a half centuries confined them to
    the academia. Through his analysis he brings to focus
    the fact that since the middle of the 20th century the
    epistemological obstacle is effectively ruptured and the
    contours of the Post Rational Architecture are emerging
    in the works of several young architects.

    THE HONEST
    Always Stand Alone

    By CG Somiah

    Candid and outspoken, CG Somiah shares his experiences as
    an Indian Administrative Officer, from his first posting to Orissa as
    Assistant Collector to the more heady days of fighting terrorism in
    Punjab, keeping an eye on the country as Home Secretary and Central
    Vigilance Commissioner and, finally, a six-year tenure as Comptroller and
    Auditor General of India.

    His efforts to stem corruption resulted in a loss of promotion for
    two years. His colleagues were upset about his plight and some of them
    were of the view that it was not prudent to defy corrupt politicians who
    can harm one’s career. Somiah, however, heartily disagreed with them.

    Speaking straight from the heart, Somiah’s narrative is well-
    knit and crisply put together. It takes us back to the exciting days
    of Rajiv Gandhi’s prime ministership and gives us a glimpse into
    the discussions that took place at the highest political level.
    As its title suggests, The Honest Always Stand Alone marks
    the journey of a man who always upheld the truth.

    THE AUTHOR
    CG Somiah was the Comptroller and Auditor General of India from
    1990 to 1996. He was the first Indian to be elected a member of
    the United Nations Board of Audit by the UN General Assembly in
    1993. In 1995 he became the Chairman of the Board responsible for
    the audit of the UN, its many agencies across the world and the UN
    Peace Keeping Force.

    An enthusiastic tennis player as well as a regular golfer,
    CG Somiah has held many important posts in the Government of
    India, including Home Secretary and Central Vigilance Commissioner.
    He lives in Bengaluru with his wife, Indira and still enjoys his game
    of bridge.

    Specifications:
    Size: 8.5 inches x 5.5 inches
    binding: Hardcover with Dust Jacket
    Page extent: 276
    ISbN: 978-81-89738-71-6
    Price: INR 395

    KAYAKALPA

    Translated by Biman Arandhara

    Anuj Kripalani is an internationally renowned scientist who apparently
    has everything—scientific breakthroughs, awards, fame, wealth and a fine
    family. A deep personal crisis makes him return to India, to rediscover
    himself and to find out an answer to the question that has always
    haunted the human race from time immemorial. Anuj thus sets forth on a
    physical, emotional, spiritual and scientific journey in India. He is reunited
    with his former sweetheart and finds spiritual solace in his guru. But the
    answer to the question—the key to rejuvenation—continues to elude him
    till he finally learns the secret, in which he is helped by a yogi’s Kayakalpa
    treatment and modern science.

    While he feels like a creator, sculpting his human subjects anew,
    unforeseen complications arise. He is caught in a dilemma and has to
    make a difficult choice. His discovery tests his ethics and ultimately a
    profound realisation dawns upon him.

    THE AUTHOR
    An agro-meteorologist by profession, Dr Lakshmi Nandan Bora has so
    far authored twenty-nine novels and twenty-six short story collections,
    some of which have been bestsellers for a number of years. He has been
    honoured with the prestigious ‘Saraswati Samman’ (2008), besides
    a number of awards, including ‘Sahitya Akademi Award’ (1988) and
    ‘Assam Valley Literary Award’ (2004). A former professor of physics and
    agro-meteorology and chairman of the Assam Pollution Control Board,
    he now edits the widely circulated Assamese weekly Goriyoshi.

    Biman Arandhara, a journalist with The Assam Tribune, has
    translated over sixty short stories, three novels (including Kayakalpa), a
    couple of biographies and several other articles of varying interests.

    Specifications:
    Size: 8.8 inches x 5.8 inches
    binding: Hardcover with Dust Jacket
    Paper: 70 gsm book Print
    Page extent: 280
    ISbN: 978-81-89738-67-9
    Price: INR 395

    NEVER A DISCONNECT

    By Sadhna Shanker By Lalita Das

    What did the three of them have? Abha had Parul, Rekha a marriage
    and a lover, and Simran a steadfast longing for a man who
    Goa, land of sun, surf and sand, of secluded coves, and of forested hills,
    where foreigners frolic on the beaches without restraint and where, in the
    refused to hold her hand. Not much, when life has so much to
    offer. Yet each stood at this crossroad by choice.

    Never a Disconnect is a journey. It is a multi-layered story of subtle
    anguish, yearning and hope, moving back and forth from past to present.

    Abha, Rekha and Simran pass through the portals of Delhi University
    on a roller coaster ride of idealism, romance and dreams. Then they wake
    up. Meeting professional challenges, grappling with failed and failing
    relationships, parenthood, religious differences, and myriad expectations,
    they face life – with its simple joys and complex desires.

    From mothers who lived for others, to daughters who try to live for
    themselves, there is always hope that perhaps, someday, granddaughters
    will actually live for themselves.

    THE AUTHOR
    Sadhna Shanker is a multi-faceted craftsperson of words. Author,
    essayist and travel writer, her first book, Ahlan- wasahlan – A Syrian
    Journey was published in English, Hindi and Arabic in 2006. Her
    collection of essays When the parallels meet was published in 2007.

    Ms Shanker has been published widely including in the
    International Herald Tribune, Christian Science Monitor, The
    Times of India, Hindustan Times, The Hindu, Indian Express,
    and Femina.

    This is her debut novel. A senior officer of the Indian Revenue
    Service, she lives in New Delhi.

    Specifications:
    Size: 8.8 inches x 5.8 inches
    binding: Hardcover with Dust Jacket
    Paper: 70 gsm book Print
    Page extent: 312
    ISbN: 978-81-89738-66-2
    Price: INR 395

    Hindu villages just a few kilometres inland, repressive traditions still rule.
    When the boundary between the two is crossed, the consequences can be
    unpredictable.

    In Goa, while roaming the beaches with a band of hippies, Alec, an upand-
    coming English lawyer, meets Anu, the daughter of a prominent Hindu
    landowner, who is yearning for the freedom of choice. Their marriage sets in
    motion a chain of events that culminates eighteen years later when Ronnie
    comes to Goa to visit the beach where his mother was lost in the sea and
    meets Meera, a young girl – whose mother is also dead – living with her
    grandparents all three of whom are being ostracised by the community.

    And watching over them is Maushi—Anu’s mother and Meera’s
    grandmother.

    An intricately woven saga of love, revenge and retribution, the
    book resonates with the ethos of karma; the eternally intertwined dance
    of destruction and creation—the dance of Kali, who wipes out the karma
    and fulfils the desires of her devotees. Weaving in Hindu and Christian
    philosophies, Goan and hippie cultures, the modalities of Western urban
    gentry and the Indian rural structure, the lucid narrative skilfully juxtaposes
    human emotions—tribulations with failures; empathy with apathy; vengeance
    with resurrection—celebrating the poise and strength of womanhood.

    THE AUTHOR
    Lalita Das was born in Mumbai and studied architecture in Sir J J College
    of Architecture, Mumbai, Planning and Urban Design in A A School of
    Planning, London, and Regional Planning at MIT, Boston.

    Her projects and numerous articles on diverse subjects—
    interdependence of architecture and social systems, architecture
    designed by women, life of the adivasis—have been published in Indian
    and international publications. She has presented papers on town
    planning in ancient India and on position of women in Hinduism at
    various international conferences held in London, Manchester, Cardiff,
    Toronto and Colombo.

    She now lives in Mumbai and is a practicing architect.
    Specifications:
    Size: 8.8 inches x 5.8 inches
    binding: Flexiback
    Paper: 70 gsm book Print
    Page extent: 300
    ISbN: 978-81-89738-60-0
    Price: INR 295

    IN SEARCH OF YOUR
    INNER GUIDANCE

    and the FOUR SPIRITUAL GIFTS

    AMERICA

    By Olga Mark Landsberg
    By Howard Wimer

    This reference book is intended for use by students, immigrants and
    visitors to the United States of America.

    It is a complete handbook for life in the United States of America,
    from application for visa, travelling arrangements through all the stages of
    life as an immigrant to life insurance policies.

    The reader will find it helpful in all aspect of life in the USA.

    It is intended to be a manual for all those who dream to settle in the
    United States of America, students and the casual visitor who is in search
    of adventure.

    Specifications:
    Size: 7.5 inches x 4.5 inches
    binding: Flexiback
    Paper: 70 gsm NS Maplitho
    Total pages: 488
    ISbN: 978-81-89738-61-7
    Price: INR 295

    Communication is the key to living a successful life—both inner and
    outer communication. Inner Guidance and the Four Spiritual Gifts
    explores how your personal communication system works and how to
    make the most of it to live true to your life’s purpose.

    Each of us is born with four spiritual gifts—clairvoyance (inner
    vision), clairaudience (inner thoughts or ideas), prophecy (inner
    knowing) and healing (inner feelings). Some of these gifts are more well
    developed in us than others, and they are the foundation for how we
    individually communicate and use our intuition in daily life. These gifts
    are like personality traits that define us as a person and determine how
    we relate to others.

    This intriguing and practical book shows you how to identify your
    primary gifts—your strong points and main avenues of communication—
    and use them to make your best decisions. You’ll also learn:


    How to make the most of the hunches, visions, ideas and
    feelings you receive every day

    Where inspiration really comes from and how to overcome the
    specific challenges that prevent you from recognizing and acting
    on it

    How to trust your intuition

    How to become more sensitive to the inner guidance that is
    meant to help you in specific and practical ways
    Finally, Inner Guidance and the Four Spiritual Gifts shows how you
    can use each of the four gifts to better relate to and communicate with
    yourself, your inner guidance and others in your personal, family and
    business life.

    Specifications:
    Size: 8.5 inches x 5.5 inches
    binding: Flexiback
    Paper: 70 gsm book Print
    Page extent: 328
    ISbN: 978-81-89738-57-0
    Price: INR 395

    FORTHCOMING TITLES

    This book presents in words and pictures the story of This book presents in words and pictures the story of
    an exemplary nationalist who was destined to change
    the course of Indian history. This is also the story of
    an innovative industrialist who has touched the lives of
    many, both in India and across the world. Sir Padampat
    Singhania: Man of All Seasons is a tribute to this great
    man, presented by his sons, Dr Gaur Hari Singhania and
    Govind Hari Singhania.

    The builder of a vast industrial empire, JK Organisation,
    Sir Padampat Singhania was a visionary and a towering
    personality. He was an upholder of noble values and came
    across as a karamyogi to everyone. Sir Padampat had
    many firsts to his credit. An honorary doctorate holder, he
    was decorated with the title of ‘The Knight of the British
    Empire’.

    Today he is remembered most of all for his significant
    contributions to the world of industry and commerce,
    legislative bodies, federation of assemblies, educational,
    sports and religious institutions.

    14
    SIR PADAMPAT SINGHANIA

    Man of All Seasons

    By Dr. Gour Hari Singhania
    Govind Hari Singhania

    THE AUTHORS
    Dr Gaur Hari Singhania, Vice-President of the JK Organisation, is a
    distinguished industrialist who is associated with a number of
    educational, religious, social, charitable and sports organisations. He
    holds a Master of Arts degree in Economics and a PhD degree in
    Economics from Agra University. He has held the position of Chairman
    of the Merchant Chambers of Uttar Pradesh and Employers Association
    of Northern India. A multifaceted personality, he has played an
    important role in promoting trade bodies and contributing to voluntary
    organisations.

    Govind Hari Singhania, Director, JK Organisation, is an entrepreneur
    in his own right. He graduated from Christ Church College, Kanpur (Agra
    University). A dynamic Rotarian, his untiring efforts to promote India
    while he was President, ASSOCHAM, have been highly appreciated.
    He is equally devoted to the arts, cultural and sports activities and
    gardening. He has contributed in a significant manner to the growth of
    the JK Organisation, one of the largest business houses in India. Along
    with his brother, Dr Gaur Hari, he has enhanced the rich legacy that
    they inherited from their illustrious father, Sir Padampat Singhania.

    NAINSUKH OF GULER

    A great Indian painter from small hill-state

    By BN Goswamy

    THE AUTHOR
    bN Goswamy, distinguished art historian, is Professor Emeritus of Art
    History at the Panjab University, Chandigarh. His work covers a wide
    range and is regarded, especially in the area of Pahari painting, as having
    influenced much thinking. He has received the Jawaharlal Nehru Fellowship,
    the Rietberg Award for Outstanding Research in Art History, the Padma
    Shri (1998) and the Padma Bhushan (2008) from the President of India.
    Among his publications are: Pahari Painting: The Family as the Basis of
    Style (Marg, Bombay,1968); Essence of Indian Art (San Francisco, 1986);
    Wonders of a Golden Age (with E. Fischer, Zurich, 1987); Pahari Masters:
    Court Painters of Northern India (with E. Fischer; Zurich, 1992); Indian
    Costumes in the Collection of the Calico Museum of Textiles (Ahmedabad,
    1993); Nainsukh of Guler: A great Indian Painter from a small Hill State
    (Zurich, 1997); Painted Visions (New Delhi, 1999); Piety and Splendour:
    Sikh Heritage in Art (New Delhi, 2000); Domains of Wonder (with Caron
    Smith; San Diego, 2005), and I See No Stranger: Early Sikh Art and
    Devotion (with Caron Smith; New York, 2006).

    At Haridwar, where the Ganga descends from the
    mountains into the plains and begins its magestic
    journey towards the sea a long, long way off, every
    evening devotees light simple earthen lamps, place
    them on small platters of leaves along with some
    flowers and standing on the long brick steps on the
    bank, release them gently on the surface of the sacred
    waters. The lamps float steadily at first and then, when
    the current takes them over and sweeps them along
    towards the middle of the river, they begin to dip and
    toss as they join countless others, similary released by
    other hands from those very banks. It is a magnificent
    sight. The night becomes filled with sounds and
    silences and the stars of lamp-light. But, in a sense,
    one cane take in the scene only as a whole: to follow
    the course of a single lamp on those waters is almost
    impossible, for every thing shifts, eddies form; objects
    become obscured from view and merge with others,
    and then they disappear.

    To trace the life and career of a painter in India is
    somewhat akin to following the course of an earthen
    lamp on swift waters. The glow is bright and warm, and
    one can keep it within sight for a while, but quickly
    things turn and uncharted vastness takes over.

    If then, knowing this and going against the
    prevailing (perhaps even comfortable) state of anonymity
    that is almost a defining condition of hearths of India,
    this book concerns itself with one individual painter,
    Nainsukh, it is because the glow that comes from him
    is remarkably soft yet definite and alluring.

    Rabindranath Tagore, a name very close to our hearts,
    evokes a feeling of pride, awe and inspiration and
    continues to arouse our curiosity to know more about
    this multi-faceted personality. Biographers have either
    tried to analyse his works in the light of his life or in the
    perspective of his contemporary time. This book chronicles
    the Poet’s contributions in the context of the period to
    which he belonged, bringing into light those incidents,
    anecdotes and issues which have often been overlooked
    but which nonetheless are significant as they enable us to
    understand Tagore better.
    His role as a son, brother, husband, father; his
    accomplishments as a poet, philosopher, writer, painter,
    choreographer, actor; his relations with his family, friends,
    contemporary writers and poets, as well as predecessors;
    his correspondences with the political leaders of his time
    within the nation as well as abroad; and above all, his
    interpretations about life, revealing his quest for love, faith
    and devotion and his deep-rooted anguish, his unfulfilled
    dreams and expectations as projected in the broad sweep
    of this lucid narration reveal two facets of the Poet—a
    man of extraordinary abilities yet a man having ordinary
    expectations, who could thereby understand the joys and
    sorrows of the common man keeping aside his own gains
    and losses. And it is for this reason that Tagore remains
    dear to all people cutting across boundaries, generations,
    caste, creed or sect.

    RABINDRANATH TAGORE

    A Chronicle of his Life and Works

    By Nitapriya Ghosh

    THE AUTHOR
    Born (3 December 1934) at Barisal town, Nityapriya Ghosh came to Calcutta
    with his family in 1947. He studied in Hindu School, Presidency College
    and Calcutta University. After a stint as a college lecturer in English and a
    brief tenure in the Government of India’s central civil service, he became
    a corporate publicity and public relations executive, retiring from service
    in 1992.

    Working as an assistant editor in 1966-1967 with Samar Sen, the
    editor of Now, he wrote a monograph on him, for Sahitya Akademi, New
    Delhi, in 1990. He contributed to The Statesman, Calcutta, as its weekly
    television columnist for ten years. A book reviewer for newspapers and
    magazines, he has co-edited a book of documents on The Partition of
    Bengal, 1905. He has written three books of essays in Bengali on popular
    literature. A prolific writer, he has also written and edited several books
    on Rabindranath Tagore; Dakgharer Harkara, Ranur Chithi Kabir Sneha,
    The English Writings of Rabindranath Tagore, vol. 4 (edited), Mukher Katha
    Lekhar Bhashay Vol 1-4 (edited) and In the Company of a Great Man being
    a few of them.

    Other titles will be available shortly

    1. Poetry and Beyond Paintings of Rabindranath Tagore
    by Shovon Som
    2. Tagore’s Dance
    by Utpal K. Banerjee
    3. In search of Frozen Music — Rabindranath Tagore and
    The Architecture of Santiniketan
    by Samit Das
    4. Two Sisters and Three Companions
    Translated by Nirmal Kanti Bhattacharjee
    5. The Other Tagore: Essays, Speeches, Letters
    of Rabindranath Tagore
    Compiled and Edited by Subrangshu Maitra

    KUTIYATTAM

    The Heritage Theatre of India

    By Sudha Gopalakrishnan

    THE AUTHOR
    Sudha Gopalakrishnan has studied India’s traditional arts forms for three
    decades, especially the performing arts of Kerala. Her books include From
    the Comic to the Comedic (a comparative analysis of the comic mode
    in Bhasa and Shakespeare), Krishnagiti (a translation of the source text
    of Krishnattam with C.R. Swaminathan), Nalacharitam (a translation of
    the Kathakali text and performance manual) and Kaikottikkalippattukal (a
    compilation of the oral tradition of Kaikottikkali songs, in collaboration
    with Radha Madhavan).

    Sudha is a trained dancer of Kathakali and was Vice President of
    Margi (Thiruvananthapuram). She was the Founder Director of the National
    Mission for Manuscripts, which led India’s effort to source and place
    information on one million manuscripts on http://www.namami.org. She has
    been associated with UNESCO’s intangible heritage stream as an expert,
    and has steered three successful nomination dossiers for India to UNESCO.
    This resulted in the proclamation of Kutiyattam, Vedic Chanting and Ramlila
    as ‘Masterpieces of the Oral and Intangible Heritage of Humanity’.

    Currently, Sudha is President of the non-profit SAHA (Stirring Action
    on Heritage and the Arts). She is working to create Sahapedia, an online
    repository on Indian knowledge systems. She lives in New Delhi.

    Kutiyattam: The Heritage Theatre of India, is the first
    major book on this vibrant theatre tradition that existed
    in Indiafrom the times of the Natya Sastra. It traces the
    history and evolution of Kutiyattam through different
    ages, its aesthetics and theatre grammar as well as the
    challenges in its transmission to a new generation of
    artists and viewers.

    Kutiyattam is widely acknowledged as the only
    living link to India’s ancient theatrical tradition, right
    from the times of the Natya Sastra. While its origins
    are hazy, it is said to have an unbroken history of
    around two thousand years, and combines old Sankrit
    theatre with the regional forms of Kerala. It has its own
    distinctive theatrical conventions and improvisations,
    with highly sophisticated facial expressions and a fluent
    vocabulary of gestures. It elaborates action by extending
    the performance score to heights of imaginative fancy.
    Ever since it ventured outside Kerala’s temple-theatres
    in the 1950s, it has been appreciated by a wider circle
    of connoisseurs, and challenged by shifting systems of
    patronage.

    This book, the first such effort on Kutiyattam,
    discusses the theory and practice of the art form and
    aims to introduce it to a larger readership. It traces
    the history and evolution of Kutiyattam, its aesthetics
    and theatrical grammar as well as the ways in which
    it can be brought alive to a new generation of artists,
    critics and spectators. It also includes the translation
    of the performance manual of ‘Asokavanikanakam’,
    from Saktibhadra’s play Ascharyachudamani, as an
    illustrative example.

    This book celebrates India’s spectacular textile art. It takes
    the reader on a visual odyssey spanning 500 years, tracing
    the images created on cloth for India’s magnificent courts
    and temples, as well as for more distant but not less
    discerning patrons in Europe and Asia. It showcases the
    motifs and colours of some of the most remarkable Indian
    textiles to have survived from the past. Several of these
    have never been published before, and some appeared
    in textile books and journals so many decades ago that
    they are now nearly unknown. At a time when specialist
    studies have confined the appreciation and study of India’s
    historical textiles to academic circles and connoisseurs,
    this book offers a truly unique survey of the subject to a
    new generation of textile enthusiasts, practitioners, and
    researchers.

    18

    RAPTURE

    The Art of Indian Textiles

    By Rahul Jain

    THE AUTHOR
    Rahul Jain is a textile researcher and historian who lives and works in
    New Delhi.

    His publications include technical studies of the traditional Indian
    drawloom, the woven silks of Sultanate India, as well as the court velvets,
    sashes, and luxury fabrics of Mughal India. Among his other writings are
    art historical studies of Indian textiles in the Nasser D. Khalili Collection of
    Islamic Art, London, and in the royal collection of Mehrangarh, Jodhpur. He
    has also written about contemporary Indian hand-crafted textiles. He runs
    a workshop of traditional drawlooms in Varanasi. The workshop weaves
    silk samite, lampas, and velvet textiles modelled on historical Indian and
    Iranian fabrics.

    INDIAN PAINTING

    The Lesser Known Traditions

    Edited by Anna L Dallapiccola

    THE EDITOR
    Anna L. Dallapiccola was Professor of Indian Art at the South Asia Institute
    of Heidelberg University from 1971 to 1995. In 1991, she was appointed
    Honorary Professor at Edinburgh University, and has regularly lectured
    at the School of Oriental and African Studies, London, and was Visiting
    Professor at De Montfort University Leicester until 2004. Among her most
    recent publications are South Indian Paintings: a catalogue of the British
    Museum collection (2010), and The Great Platform at Vijayanagara (2010).

    Contributing Authors in this Volume:

    1. Jyotindra Jain
    2. Nina Sabnani
    3. Sona Datta
    4. T. Richard Blurton
    5. Samiran Boruah
    6. Mary Beth Heston
    7. Kavita Singh
    8. Kirtana Thangavelu
    9. Rosemary Crill
    India has an astonishingly rich variety of painting
    traditions. While miniature painting schools became
    virtually extinct with the decline of aristocratic
    patronage, a number of local vernacular idioms still
    survive and continue to develop, adjusting to social and
    political changes. The present collection of papers is
    the volume of the proceedings of the conference ‘Indian
    Painting: The Lesser Known Traditions’ held in Houston
    in 2008. The aim of the conference was to highlight
    these lesser known artistic expressions grouped, until
    the recent past, under the heading of ‘folk art’. These
    artistic expressions are now beginning to be recognized
    as of pivotal importance for an understanding of the
    social setting in which they have evolved. The essays
    concentrate on the following geographic areas: Assam,
    Bengal, Rajasthan, Andhra Pradesh, Tamil Nadu,
    Karnataka and Kerala. The time-span, covered by the
    works discussed by the contributors, ranges from the
    late seventeenth century to the present day.

    I asked my soul, what is Delhi?
    She replied: The world is the body
    and Delhi its soul.

    Mirza Ghalib may have been indulging in hyperbole
    when he penned these famous lines, but there is no
    denying that Delhi is a notch above the other great
    metropolises of India. What sets it apart is the multitude
    of historic ruins that dot the city. Every ruler down the
    ages wished to adorn his beloved Delhi, to leave a
    mark that would last and so left behind a landscape
    that is studded with jewels from the past.

    Neophyte New Delhi has been quick to discard
    most of them on the rubbish heap of history, choosing
    to validate a bare minimum with a name, an identity
    and a place of visibility.

    Where it was possible to make the law look the
    other way, many of these monuments were razed to the
    ground to make way for colonisation and development.
    Disregarded as no more than inconvenient piles of
    rocks and stones, many have been pulled down, built
    upon and built around.

    Invisible City: The Hidden Monuments of Delhi
    explores this other Delhi—the little-known, seldom-
    visited and largely unheard-of, the Delhi that has been
    rendered practically invisible.

    INVISIBLE CITY

    The Hidden Monuments of Delhi

    By Rakhshanda Jalil

    THE AUTHOR
    Rakhshanda Jalil has co-authored Partners in Freedom: Jamia Millia Islamia
    and Journey of Faith (forthcoming) with Mushirul Hasan.

    Among her books published in recent years are: Neither Night Nor
    Day, A Winter’s Tale & Other Stories by Premchand, Circle & Other Stories,
    Through the Closed Doorway and Black Borders.

    Rakhshanda Jalil is Media and Cultural Coordinator at Delhi’s Jamia
    Millia Islamia.

    FOLK ARTS OF WEST BENGAL

    and the Artists’ Community

    By Shankar Sen

    THE AUTHOR
    Born in an obscure village of Howrah District in West Bengal, Tarapada
    Santra had to struggle against stringent poverty and the innumerable
    handicaps of being born in one of the lowest echelons of a caste-ridden
    society to be recognized in the end as a leading authority on the folk arts
    of Bengal. He had successfully introduced a totally new set of systems and
    procedures for field survey and research, which were gratefully accepted
    by his successors and are being pursued in his home state even to this
    day.

    Shankar Sen, who has won wide recognition as a talented translator
    through his previously published books of prose and poetry, has done a
    brilliant job of reproducing Tarapada Santra’s meticulous descriptions of
    almost every conceivable item, which formed a part of Bengal’s rural life
    in earlier days, starting from clay-built dwelling houses and corn-bins to
    folk paintings, kanthas or patched cotton sheets, alpona floor decoration,
    hand-woven sitting mats, hand fans, dolls, terracotta horses, masks for
    folk dancing and even moulds for making traditional Bengali sweets.

    This book shall fulfill the dreams of many million admirers and
    followers of Tarapada Santra,— artists, artisans, art-lovers and enthusiasts
    who had long cherished hopes of seeing the works of Tarapada Santra
    presented before readers of the rest of the world.

    Tarapada Santra’s life was devoted entirely to the
    discovery of the rich heritage of art in rural Bengal.
    Folk Arts of West Bengal and the Artists’ Community
    is an eloquent testimony to this committed quest for
    indigenous efforts that would otherwise have been
    lost to posterity. Santra’s work, however, is no mere
    compendium of dry facts and precise information,
    even though the exactitude of specifics betrays the
    comprehensive research that had to be undertaken
    before writing a book of such breadth and magnitude.
    He had a keen, educated and sensitive eye which
    allowed him to comment upon the quality and validity
    of these varied art forms with knowledge and authority.
    The book describes a whole array of artistic efforts that
    range from corn-bins and folk paintings to doll-making
    and the making of masks for festivals. Santra’s love
    for these manifestations of the rural artistic spirit finds
    expression in the care and diligence with which he writes
    about them. It is a testament to his unflagging industry
    that there is no greater or more comprehensive work
    on this subject than his work. In this English translation
    by Shankar Sen, the keepers of his tradition hope for
    a wider readership for this seminal and inimitable work
    of scholarship.

    MIDDLE TIME WELL MET IN CYPRUS

    By Priya Vasudevan By Javaid Qazi

    As Maya drove to her parents’ house, she reflected on her meeting
    with Toni. So, Tulsi had been doing research. This seemed to be a
    clue. Maybe she had found the story of Thulasi’s murder or Achale’s
    story in the archives—how easily the names came to mind; it was
    almost as if she really knew them well! In a way, she did; they had
    been on her mind quite often since she’d been to the flat.

    Was Tulsi’s murder somehow connected to the story in Middle
    Time? Toni had seemed reluctant to discuss the dance drama’s
    script. Had Tulsi reproduced something she had found in her
    research? Had she been murdered because she had stumbled upon
    something? What bearing could a centuries’ old story have on
    modern secrets?

    THE AUTHOR
    Priya Vasudevan is a lawyer and writer. As a lawyer, she has written
    training manuals and trained teachers, lawyers and judges in human
    rights law. She has assisted or functioned as Member in Enquiry
    Commissions into Human Rights Violations, formal and informal, and
    has filed PILs on diverse issues such as dowry death, trafficking in
    children, housing rights, prisoners’ rights and bonded labour. Priya
    also serves as an Arbitrator and is a member of regional organizations
    such as Asia Pacific Forum for Women, Law and Development. She has
    written ‘Contempt of Court’ in Halsbury’s Laws of India for Butterworths
    India Limited (now Lexis Nexis).

    Priya’s articles have been published in magazines such as Femina.
    She has also published several short stories for children, including
    Nazreen’s Park (Orient Longman Ltd.) and short stories for children in
    Children’s World and Target.

    Priya lives with her husband and two daughters in Chennai.

    Well Met in Cyprus recounts the experiences of Robert, a not-soyoung
    American professor who meets and falls in love with Anara,
    a young Kazakh girl.

    Robert invites Anara to come and live with him in north Cyprus
    where he is teaching at a university in Kyrenia. Their idyllic life on
    Aphrodite’s Island and the quaint village of Karmi takes a serious
    turn when Anara’s visa problems bring uncertainty and tension.

    Anara takes a job at a casino, hoping to get a work visa,
    and gets enmeshed unwittingly in the dangerous world of big
    money, alchoholics, gamblers, pimps and prostitutes. When she
    vanishes suddenly, a desperate Robert launches a campaign to
    rescue her. Travel through picturesque Cyprus and discover where
    Anara’s destiny leads her.

    THE AUTHOR
    Javaid Qazi has been writing fiction for over four decades. His
    collection, Unlikely Stories, was published by Oxford University
    Press in 1998. His stories have appeared in Massachusetts Review,
    Chelsea, Toronto South Asian Review, Kansas Quarterly and
    Sequoia. He has also translated and published the stories of well-
    known Urdu authors such as Intezar Hussain, Nayyar Masood and
    Ahmed Hamesh.

    He was born near Lahore in 1947. In 1968 he went to the United
    States to study English literature. Over the last forty years, he has
    taught English literature in various universities in the U.S., at Manas
    University in Bishkek, Kyrghyz Republic and at Girne American University
    in the Turkish Republic of North Cyprus. He has also worked as a
    technical writer in the computer industry.

    He lives in San Jose, California with his wife.

    SOILED CLOTHES
    TANTU

    By Sunil Gangopadhyay
    The Loom of Life
    By S.L. Bhyrappa

    Mandira, a girl from Calcutta, goes to London to pursue higher
    studies. There she marries Thomas Brockway, a promising young
    aristocrat with enviable political lineage. By the time Tom (Thomas)
    has been elected M.P., Mandira finds herself celebrating the silver
    jubilee anniversary of their marriage. Her grown-up children, Robin
    and Liz, are well settled in life. At this juncture, Mandira experiences
    a strange emotional void. Suddenly, she opts for a different way of
    life—of self-imposed solitude, initially in England and then in India.
    But to what end? Does she attain what she has yearned for or does
    life still have surprises in store for her? And is her filial affection,
    particularly for her daughter, reciprocated?

    THE AUTHOR
    Sunil Gangopadhyay (b. 1934) is one of the most illustrious figures in
    the world of Bengali literature. A critically acclaimed poet and a bestselling
    novelist and writer, he has so far penned numerous novels,
    collections of poems, children’s books and short stories. He is the
    founder-editor of Krittibas, a groundbreaking Bengali poetry journal
    and joint editor of the reputed Bengali literary magazine, Desh.

    He has won many prestigious awards including Ananda Puraskar
    (1972 and 1989) Sahitya Akademi Award (1985) and Saraswati Samman
    (2005). He has been elected president of the Sahitya Akademi and is a
    visiting professor at Visva-Bharati University.

    TRANSLATOR
    An MA in English from Calcutta University, Sujal Bhattacharya has
    translated the works of Bibhutibhushan Bandopadhyay and Taslima
    Nasreen. He is a teacher by profession as well as a freelance writer.

    Bhyrappa examines the very fibre of contemporary Indian life—
    social, political and psychological in terms of the post-independence,
    post-Gandhian scenario. Panoramic in scope, moving as it does
    from a small village near Channarayapattana, Bangalore to Mysore,
    Banaras and Delhi. Police brutality, goondaism, the phoney five-
    star hotel culture, theft and smuggling of art objects—everything
    falls in the path of the novel. The ubiquitous corruption, bribery
    and nepotism—from the village to the city is portrayed with
    absolute candour and honesty prompting us to ponder over the
    steady erosion of traditional values and the rank philistinism that
    has enveloped the present day life corroding the very moral fibre
    of our nation today.

    The range of characters, entirely credible, is astonishingly
    comprehensive—the true Gandhian idealist, who, in spite of all odds
    holds on to his ideals; an honest and uncompromising journalist-
    editor, who, in spite of personal tragedy remains steadfast to his
    professional ethics and integrity; the liberated career woman who
    sleeps around in order to gain favours in business; the academic-
    politician with a carefully cultivated charm seducing gullible and
    impressionable young women. Simply a fascinating novel about
    modern India–surveying the state of the country from Mahatma
    Gandhi to the days of Indira Gandhi’s Emergency.

    THE AUTHOR
    Santeshivara Lingannaiah Bhyrappa is one of the best-selling Kannada
    novelists today.The uniqueness of Dr Bhyrappa is that he is as much
    a popular novelist as a scholarly writer.

    THE TRANSLATOR
    S Ramaswamy is a three-time Fulbrighter at the universities of
    California,Texas and Yale;twice a British Council Scholar at Oxford and
    London. He is a Fellow of the Silliman College, Yale University,USA.

    BACKLIST

    The Dialogue of Awaara, Raj Kapoor’s Immortal Classic
    is a book for lovers of both cinema and language,
    featuring K.A. Abbas’s original screenplay and dialogue,
    based on a story by K.A. Abbas and V.P. Sathe.

    A seriously neglected area of Indian cinema
    is the subject of film dialogue. Though cinema is
    mainly a visual experience, it is through dialogue
    that we know the thoughts and emotions of the
    film’s characters. Through K.A. Abbas’s words and
    the poetic songs by Shailendra and Hasrat Jaipuri,
    Awaara’s Judge Raghunath (Prithviraj Kapoor),
    Raj (Raj Kapoor) and Rita (Nargis) come alive. The film
    has a wonderful mix of one-liners, quips, punchlines
    and catchphrases while being modern, witty and full
    of nuance.

    Awaara’s dialogue and songs have been carefully
    transcribed from the film’s original soundtrack by Suhail
    Akhtar and Vijay Jani and presented in Hindi, Urdu and
    Roman scripts. The English translation of the dialogue,
    an introduction and commentary are by Nasreen Munni
    Kabir. With a foreword by Randhir Kapoor, this unique
    book also features many stills from a most loved and
    enduring classic by Raj Kapoor, one of Indian cinema’s
    master filmmakers.

    The Dialogue of: AWAARA

    Raj Kapoor’s Immortal Classic

    by Nasreen Munni Kabir

    THE AUTHOR
    Born in Panipat (now in Haryana) on 7 June 1914, Khwaja Ahmed Abbas,
    popularly known as K.A. Abbas, was a prominent man of many talents.
    A film director, novelist, screenwriter and a journalist, he wrote in Urdu,
    Hindi and English. An IPTA (Indian People’s Theatre Association) member,
    known for his strong political beliefs, Abbas was famously on the side of
    the underdog. Awaara is his first collaboration with Raj Kapoor.

    A celebrated journalist, film critic and publisher, V.P. Sathe
    was also an active IPTA member. Hugely knowledgeable about
    Indian cinema, Sathe ran a successful film advertising agency
    and was responsible for R.K. Films’ publicity for many years. He
    co-wrote with K.A. Abbas a number of film stories, including Awaara.

    Notes on translator:
    Author and documentary filmmaker, Nasreen Munni Kabir has written
    many books on Indian film, including Guru Dutt, a life in cinema (Oxford
    University Press, New Delhi, 1996) and Lata Mangeshkar in her own voice
    (Niyogi Books, 2009). Her next publication is The Dialogue of Mother
    India, Mehboob Khan’s Immortal Classic (Niyogi Books, 2010).

    Specifications:
    Size: 10 inches x 9 inches
    binding: Flexi Cover
    Paper: 150 gsm matt coated
    Page extent: 292
    Photographs: 260
    ISbN: 978-81-89738-54-9
    Price: INR 1250

    The Dialogue of: MOTHER INDIA
    Mehboob Khan’s Immortal Classic
    Specifications:
    Size: 10 inches x 9 inches
    binding: Flexi Cover
    Paper: 150 gsm matt coated
    Page extent: 320
    Photographs: 244
    ISbN: 978-81-89738-58-7
    Price: INR 1250
    THE AUTHOR
    Born in Lucknow in 1908, Vajahat Mirza began his cinema career as
    an assistant cameraman at New Theatres in Calcutta. He later moved
    to Mumbai in the 1940s where he worked as an actor and a director.
    An exceptional screenplay and dialogue writer, Vajahat Mirza’s poetry
    in Urdu, though never published, was also regarded as first-rate. He
    gave to Indian cinema extraordinary screenplays, including Mughal-e-
    Azam (co-writer), Shikast, Yahudi, Gunga Jumna and Leader. The award-
    winning Mother India was his sixth collaboration with Mehboob Khan.
    Nephew of celebrated writer Agha Jani Kashmiri, Syed Ali Raza’s
    distinctive and marvellous writing style shone through from his first
    film Andaaz (directed by Mehboob Khan). S. Ali Raza wrote dialogue
    for many Mehboob Khan films, including the popular Aan. During the
    making of the film, he met the actress Nimmi and they later married. S.
    Ali Raza passed away in Mumbai on l November 2007 at the age of 85.
    Notes on translator:
    Author and documentary filmmaker, Nasreen Munni Kabir has written
    many books on Indian film, including Guru Dutt, a life in cinema
    (Oxford University Press, New Delhi, 1996), Lata Mangeshkar in her own
    voice (Niyogi Books, 2009) and The Dialogue of Awaara, Raj Kapoor’s
    Immortal Classic (Niyogi Books, 2010).
    by Nasreen Munni Kabir
    The Dialogue of Mother India, Mehboob Khan’s Immortal
    Classic features the film’s complete dialogue by Vajahat
    Mirza and S. Ali Raza and songs by Shakeel Badayuni
    presented in Hindi, Urdu, and Roman scripts. Lavishly
    illustrated, the original dialogue is accompanied by an
    English translation, introduction and commentary.
    Though cinema is primarily a visual medium,
    dialogue is crucial to every aspect of the film narrative.
    It can identify the location of the story, direct and
    hold the attention of the viewer, develop plot, create
    atmosphere, situate the story in a social and cultural
    context and, most importantly, reveal and express every
    character’s emotion. The film’s dialogue, brilliantly
    delivered by Nargis, Raaj Kumar, Kanhaiyalal, Sunil Dutt
    and Rajendra Kumar bring alive this magnificent saga
    of survival and fortitude.
    Acknowledged as one of Indian cinema’s most
    important and best-loved films, Mehboob Khan’s
    Mother India has a powerful and poignant screenplay
    that matches its visual beauty and enduring appeal.
    27
    The Dialogue of: MOTHER INDIA
    Mehboob Khan’s Immortal Classic
    Specifications:
    Size: 10 inches x 9 inches
    binding: Flexi Cover
    Paper: 150 gsm matt coated
    Page extent: 320
    Photographs: 244
    ISbN: 978-81-89738-58-7
    Price: INR 1250
    THE AUTHOR
    Born in Lucknow in 1908, Vajahat Mirza began his cinema career as
    an assistant cameraman at New Theatres in Calcutta. He later moved
    to Mumbai in the 1940s where he worked as an actor and a director.
    An exceptional screenplay and dialogue writer, Vajahat Mirza’s poetry
    in Urdu, though never published, was also regarded as first-rate. He
    gave to Indian cinema extraordinary screenplays, including Mughal-e-
    Azam (co-writer), Shikast, Yahudi, Gunga Jumna and Leader. The award-
    winning Mother India was his sixth collaboration with Mehboob Khan.
    Nephew of celebrated writer Agha Jani Kashmiri, Syed Ali Raza’s
    distinctive and marvellous writing style shone through from his first
    film Andaaz (directed by Mehboob Khan). S. Ali Raza wrote dialogue
    for many Mehboob Khan films, including the popular Aan. During the
    making of the film, he met the actress Nimmi and they later married. S.
    Ali Raza passed away in Mumbai on l November 2007 at the age of 85.
    Notes on translator:
    Author and documentary filmmaker, Nasreen Munni Kabir has written
    many books on Indian film, including Guru Dutt, a life in cinema
    (Oxford University Press, New Delhi, 1996), Lata Mangeshkar in her own
    voice (Niyogi Books, 2009) and The Dialogue of Awaara, Raj Kapoor’s
    Immortal Classic (Niyogi Books, 2010).
    by Nasreen Munni Kabir
    The Dialogue of Mother India, Mehboob Khan’s Immortal
    Classic features the film’s complete dialogue by Vajahat
    Mirza and S. Ali Raza and songs by Shakeel Badayuni
    presented in Hindi, Urdu, and Roman scripts. Lavishly
    illustrated, the original dialogue is accompanied by an
    English translation, introduction and commentary.
    Though cinema is primarily a visual medium,
    dialogue is crucial to every aspect of the film narrative.
    It can identify the location of the story, direct and
    hold the attention of the viewer, develop plot, create
    atmosphere, situate the story in a social and cultural
    context and, most importantly, reveal and express every
    character’s emotion. The film’s dialogue, brilliantly
    delivered by Nargis, Raaj Kumar, Kanhaiyalal, Sunil Dutt
    and Rajendra Kumar bring alive this magnificent saga
    of survival and fortitude.
    Acknowledged as one of Indian cinema’s most
    important and best-loved films, Mehboob Khan’s
    Mother India has a powerful and poignant screenplay
    that matches its visual beauty and enduring appeal.
    27

    India is a civilization of many images, a culture of
    many visual feasts, a tradition where the visible and
    the palpable are as important as the oral and the
    occurrent, where our highest truths are embodied not
    only in our erudite texts but in our kathas (stories)
    and gathas (songs), akritis (visual forms) and rachanas
    (compositions), rich with a variety of forms, shapes,
    designs and motifs.

    Akriti to Sankriti: The Journey of Indian Forms
    explores some akritis that adorn both majestic and
    grand monuments, as well as common and ordinary
    spaces, and which through their purely visual language
    are pointers to not only our culture, but equally to
    brahma jnana or transcendental knowledge.

    These beautiful visual representations of both
    the ordinary people and artisans, are not individual
    expressions but that of the shared experiences of the
    community and the preserve of the family, passed down
    through endless generations. They are neither mere
    designs nor decorations, nor meant only for rites and
    rituals, but in their own unpretentious way become
    sources of visual knowledge and have a culture of
    their own.

    Akriti to Sanskriti, a unique analysis and repository
    of Indian visual forms, is a collector’s tome.

    AKRITI TO SANSKRITI

    A Journey of Indian Forms

    by Harsha V. Dehejia

    THE AUTHOR
    Harsha V. Dehejia has a double doctorate—one in medicine and the
    other in Ancient Indian Culture, both from Mumbai University. He is a
    practising physician, and Professor of Indian Studies at Carleton University
    in Ottawa, Ontario, Canada. His main interest is in Indian Aesthetics. A
    widely respected aesthete and art collector, he has written extensively
    on Indian art and culture, including Parvati, Goddess of Love (1999);
    Despair and Modernity: Reflections on Modern Indian Paintings (2000);
    A Celebration of Love: The Romantic Heroine in the Indian Arts (2004);
    Celebrating Krishna: Sensuous Images and Sacred Words (2005); Gods
    Beyond Temples (2006) and A Festival of Krishna (2008).

    Specifications:
    Size: 11 inches x 8.5 inches
    binding: Hardcover with Dust Jacket
    Paper: 150 gsm matt coated
    Page extent: 248
    Photographs: 282
    ISbN: 978-81-89738-53-2
    Price: INR 2500

    INDIAN PAINTINGS
    IN THE SARABHAI FOUNDATION

    by B.N. Goswamy

    THE AUTHOR
    B.N.Goswamy, distinguished art historian, is Professor Emeritus of Art
    History at the Panjab University, Chandigarh. A leading authority on Indian
    art, his work covers a wide range and is regarded, especially in the area
    of Pahari painting, as having influenced much thinking. He is the recipient
    of many honours, including the Jawaharlal Nehru Fellowship, the Rietberg
    Award from Switzerland for Outstanding Research in Art History, the Padma
    Shri (1998) and the Padma Bhushan (2008) from the President of India.

    Prof. Goswamy has written extensively. Among his publications are:
    Pahari Painting: The Family as the Basis of Style (Marg, Bombay, 1968);
    Painters at the Sikh Court (Wiesbaden, 1975); Essence of Indian Art (San
    Francisco, 1986); Wonders of a Golden Age (with E. Fischer, Zurich, 1987);
    Pahari Masters: Court Painters of Northern India (with E. Fischer; Zurich,
    1992); Indian Costumes in the Collection of the Calico Museum of Textiles
    (Ahmedabad, 1993); Nainsukh of Guler: A great Indian Painter from a
    small Hill State (Zurich, 1997); Painted Visions: The Goenka Collection of
    Indian Painting (New Delhi, 1999); Piety and Splendour: Sikh Heritage in
    Art (New Delhi, 2000), Indian Costumes II: Patkas in the collection of the
    Calico Museum of Textiles (Ahmedabad, 2002); Domains of Wonder (with
    Caron Smith; San Diego, 2005), and I See No Stranger: Early Sikh Art and
    Devotion (with Caron Smith; New York, 2006).

    As a guest curator, Professor Goswamy has been responsible
    for major exhibitions of Indian art in Paris, San Francisco, Zurich, San
    Diego, and Frankfurt. As Visiting Professor, he has taught at some of
    the most prestigious Universities, including the Universities of Heidelberg,
    Pennsylvania, California (at Berkeley and Los Angeles), Zurich, and Texas
    (at Austin), and lectured extensively at museums and universities in
    Europe, the U.S., and India.

    Specifications:
    Size: 11.81 inches x 9 inches
    binding: Hardcover with Dust Jacket
    Paper: 130 gsm matt coated
    Page extent: 160
    Photographs: 201
    ISbN: 978-81-86980-28-6
    Price: INR 2500

    The paintings to which this volume serves as a
    catalogue belonged once to one or the other member
    of the Sarabhai family. But, compared to so many other
    distinguished collections which the family owned, and
    later gifted either to the Calico Museum of Textiles
    or the Sarabhai Foundation—of textiles, pichhwais,
    manuscripts, Jain artifacts, and south Indian bronzes,
    among them—they have remained little known till
    now.

    There is no dominant theme that runs through
    the collection, and paintings may not, by themselves,
    have been a dominant passion in the life of the
    Sarabhais, but the works they collected reflect great
    discrimination and aesthetic sensibility. What is more,
    in the collection there is remarkable breadth and even
    the casual viewer would be struck by the well-rounded
    view it offers of the broad historical development of
    Indian painting. There are works here that come from
    as early as the 11th century and as late as the 19th;
    small Pala works on palm-leaf jostle here against some
    of the earliest works done on paper when that material
    came into use; Mughal works like those from some of
    the most celebrated series like the Hamza Nama or
    the Padshahnama stand close to dazzling folios from
    the so-called ‘Palam’ Bhagavata; the painter Chokha of
    Deogarh figures in the collection as much as the great
    Nainsukh of Guler does.

    The present volume, authored by one of India’s
    foremost art historians, invites one, through long and
    detailed notes, to linger over each work, and savour it.
    Looking at these paintings with studied leisure can turn
    into an experience akin to slowly and gently unrolling
    an unending, embroidered scroll with one’s hands.

    beings.
    30 30
    The rich artistic heritage of Tibet reveals the depths
    of meditations of great masters, translated into the
    majestic abundance of iconic symbols that take the
    form of three-dimensional images or two-dimensional
    thankas. Tibetan Art is a comprehensive introduction
    to the complex iconography of thankas. It provides a
    glimpse of the mindset of this art and

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