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The description for this book, The Art of Gupta India: Empire and Province, will be forthcoming.

The description for this book, The Art of Gupta India: Empire and Province, will be forthcoming.

For thousands of years in India the great philosophical themes have been handed down through the method of aphorisms - simple yet profound statements of truth. In Fire Without Fuel Baba Hari Dass continues the tradition - revealing the nature of the mind, of the world and attachments, of the Self and its realization. Each aphorism, together with its commentary, is a memorable and separate teaching. Yet throughout the 124 aphorisms presented here runs the central thread of Babaji's philosophy: that the seeker can find inner peace. Running concurrent with the text is a photographic biography of Babaji's first 15 years living and teaching in the West. --- from book's back cover

Pages: 79 (B & W Illus: 149, Maps: 1)About the BookThis is the first comprehensive survey of the sculpture of the Gupta period in India (4th, 5th and 6th centuries). The Gupta age is the classical period of Indian civilization, still regarded as a golden age, when many of the elements of Indian civilization which have endured to this day assumed their present form. More than 140 examples of Gupta sculpture, in both stone and terracotta, are illustrated. These include well known masterpieces like the Sarnath Buddhas as well as numerous work discovered in the past thirty years before its publication, both Hindu and Jain. Terracottas, in which the Gupta modelers reached heights rarely if ever surpassed and which have been hither-to grossly neglected, are here for the first time given proper attention.An introduction briefly describes the historical and social background of Gupta art, and its development, and suggests some of its most salient characteristics. While Gupta is remarkably homogeneous in style, the Gupta dominion stretched across the whole of north India, and separate sections are devoted to the various regions. More detailed description of individual pieces, with other relevant information and bibliographical reference, are contained in the notes to the plates.About the Author Dr. James C. Harle, who was trained as a historian and a Sanskritist, has been a visitor to India over the past forty years. He was the keeper of the Department of Eastern Art, Ashmolean Museum, for most of this period and lectured for the faculty of Oriental Studies, Oxford University, on Indian Art and Architecture. He teaches Indian Art History at Oxford University. In 1990 the University awarded him the degree of D. Litt. For his published works which include along with many articles, Temple Gateways in South India (New Delhi, 1995), and The Art and Architecture of the Indian Subcontinent (New H

Sri Satguru Publications,India Verbal Knowledge In Prabhakara-Mimansa: With Sanskrit Text (Sri Garib Dass Oriental Series)

Discusses the archaeology and civilizations of the Indus Valley, the Indo-Aryans of the Vedic era, the first Buddhists, and the Gupta empire

This definitive study brings together recent critiques of development and work in postcolonial studies to explore what the postcolonial condition has meant to rural people in the Third World. Focusing on local-level agricultural practices in India since the “green revolution” of the 1960s, Akhil Gupta challenges the dichotomy of “developed” and “underdeveloped,” as well as the notion of a monolithic postcolonial condition. In so doing, he advances discussions of modernity in the Third World and offers a new model for future ethnographic scholarship. Based on fieldwork done in the village of Alipur in rural north India from the early 1980s through the 1990s, Postcolonial Developments examines development itself as a post–World War II sociopolitical ideological formation, critiques related policies, and explores the various uses of the concept of the “indigenous” in several discursive contexts. Gupta begins with an analysis of the connections and conflicts between the world food economy, transnational capital, and technological innovations in wheat production. He then examines narratives of village politics in Alipur to show how certain discourses influenced governmental policies on the green revolution. Drawing links between village life, national trends, and global forces, Gupta concludes with a discussion of the implications of environmentalism as exemplified by the Rio Earth Summit and an examination of how global environmental treaties may detrimentally affect the lives of subaltern peoples. With a series of subtle observations on rural politics, nationalism, gender, modernization, and difference, this innovative study capitalizes on many different disciplines: anthropology, sociology, comparative politics, cultural geography, ecology, political science, agricultural economics, and history.

Through analysis of an impressive array of "low" and "high" Hindi literature, particularly pamphlets, tracts, magazines and newspapers, compounded with archival data, Gupta explores the emerging discourse of gender and sexuality, which was essential to th

In Facing India, the multimedia works of seven female Indian artists focus on borders in Indian society, whether related to gender, territory, ecology or religion. The artists are Vibha Galhotra, Shilpa Gupta, Bharti Kher, Prajakta Potnis, Reena Saini Kallat, Mithu Sen and Tejal Shah.

Red Tape presents a major new theory of the state developed by the renowned anthropologist Akhil Gupta. Seeking to understand the chronic and widespread poverty in India, the world's fourth largest economy, Gupta conceives of the relation between the state in India and the poor as one of structural violence. Every year this violence kills between two and three million people, especially women and girls, and lower-caste and indigenous peoples. Yet India's poor are not disenfranchised; they actively participate in the democratic project. Nor is the state indifferent to the plight of the poor; it sponsors many poverty amelioration programs. Gupta conducted ethnographic research among officials charged with coordinating development programs in rural Uttar Pradesh. Drawing on that research, he offers insightful analyses of corruption; the significance of writing and written records; and governmentality, or the expansion of bureaucracies. Those analyses underlie his argument that care is arbitrary in its consequences, and that arbitrariness is systematically produced by the very mechanisms that are meant to ameliorate social suffering. What must be explained is not only why government programs aimed at providing nutrition, employment, housing, healthcare, and education to poor people do not succeed in their objectives, but also why, when they do succeed, they do so unevenly and erratically.

In Facing India, the multimedia works of seven female Indian artists focus on borders in Indian society, whether related to gender, territory, ecology or religion. The artists are Vibha Galhotra, Shilpa Gupta, Bharti Kher, Prajakta Potnis, Reena Saini Kallat, Mithu Sen and Tejal Shah.

A unique autobiography that provides an incomparable insight into the mind of a genius The Renaissance man of modern India, Rabindranath Tagore put his country on the literary map of the world when he won the Nobel Prize for Literature in 1913. My Life in My Words is, quite literally, Tagore on Tagore. Uma Das Gupta draws upon the vast repertoire of Tagore s writings to create a vivid portrait of the life and times of one of India s most influential cultural icons. The result is a rare glimpse into the world of Tagore: his family of pioneering entrepreneurs who shaped his worldview; the personal tragedies that influenced some of his most eloquent verse; his groundbreaking work in education and social reform; his constant endeavour to bring about a synthesis of the East and the West and his humanitarian approach to politics; and his rise to the status of an international poet. Meticulously researched and sensitively edited, this unique autobiography provides an incomparable insight into the mind of a genius. Book Reviews A seamless interweaving of reminiscence, memoirs, letters and public lectures ... A reliable and honest guide to Rabindranath s life in his own words as could ever be attempted The Hindu She [Uma Das Gupta] does a marvellous job bringing Tagore alive to those who know him only from his numerous creative works Time Out

Coomaraswamy's Introduction to Indian Art traverses the historic panorama of Indian art, from its Indo-Sumerian and Vedic-Mound beginnings to the various peaks reached during the Maurya, Sunga, Andhra, Kusana and Gupta periods and beyond the seas to further India and Indonesia. It is a handbook of immense value both to the beginner and scholar alike.This present reprint, appearing after more than half a century, has been ably edited by Mrs. Coomaraswamy and incorporates new material earmarked for the book by Coomaraswamy himself.

The only extant treatise on statecraft from classical India, the Arthsastra is an invaluable resource for understanding ancient South Asian political thought; it also provides a comprehensive and unparalleled panoramic view of Indian society during the period between the Maurya (320-185 BCE) and Gupta (320-497 CE) empires.This volume offers modern English translations of key selections, organized thematically, from the Arthasastra. A general Introduction briefly traces the arc of ancient South Asian history, explains the classical Indian tradition of statecraft, and discusses the origins and importance of the Arthasastra. Thorough explanatory essays and notes set each excerpt in its intellectual, political, and cultural contexts.

When her father loses his job and leaves India to look for work in America, Asha Gupta, her older sister, Reet, and their mother must wait with Baba’s brother and his family, as well as their grandmother, in Calcutta. Uncle is welcoming, but in a country steeped in tradition, the three women must abide by his decisions. Asha knows this is temporary—just until Baba sends for them. But with scant savings and time passing, the tension builds: Ma, prone to spells of sadness, finds it hard to submit to her mother- and sister-in-law; Reet’s beauty attracts unwanted marriage proposals; and Asha's promise to take care of Ma and Reet leads to impulsive behavior. What follows is a firestorm of rebuke—and secrets revealed! Asha’s only solace is her rooftop hideaway, where she pours her heart out in her diary, and where she begins a clandestine friendship with Jay Sen, the boy next door. Asha can hardly believe that she, and not Reet, is the object of Jay’s attention. Then news arrives about Baba . . . and Asha must make a choice that will change their lives forever.

"‘Feroz’s practical insights on how to leverage a powerful ERP for actual business outcomes are exemplary. This book is in line with the same philosophy –taming SAP Plant Maintenance to achieve and user needs.’ ---Rajiv Gupta, Partner, Management Consulting, KPMG India ‘Even though the book is about SAP Plant Maintenance, some of concepts and best practices that Feroz talks about in his book can easily be carried over and applied to any other ERP product implementation.’ ---Deepak Kini, Dynamic Lead, Microsoft Consulting Services, India SAP Plant Maintenance (PM) is a part of the SAP Business Suite, which gives organizations the unique ability to perform their essential business processes with modular software. Salient features of the book: · Covers all PM sub modules · Relevant for all R/3 releases · Shows how to make sound design decisions and avoid common pitfalls · Delivers functionality that meets internal and external business needs The only book its kind, SAP Plant Maintenance is a detailed and intuitive guide to understand and configure PM module. Packed with instructions and examples for all PM modules and associated sub modules, this book would enable any beginner or aspiring student in SAP MM to build flexible solutions and designs for any project."

The only extant treatise on statecraft from classical India, the Arthsastra is an invaluable resource for understanding ancient South Asian political thought; it also provides a comprehensive and unparalleled panoramic view of Indian society during the period between the Maurya (320-185 BCE) and Gupta (320-497 CE) empires.This volume offers modern English translations of key selections, organized thematically, from the Arthasastra. A general Introduction briefly traces the arc of ancient South Asian history, explains the classical Indian tradition of statecraft, and discusses the origins and importance of the Arthasastra. Thorough explanatory essays and notes set each excerpt in its intellectual, political, and cultural contexts.

An Introduction to Indian Philosophy offers a profound yet accessible survey of the development of India’s philosophical tradition. Beginning with the formation of Brahmanical, Jaina, Materialist, and Buddhist traditions, Bina Gupta guides the reader through the classical schools of Indian thought, culminating in a look at how these traditions inform Indian philosophy and society in modern times. Offering translations from source texts and clear explanations of philosophical terms, this text provides a rigorous overview of Indian philosophical contributions to epistemology, metaphysics, philosophy of language, and ethics. This is a must-read for anyone seeking a reliable and illuminating introduction to Indian philosophy.

It covers Gupta experiments in brick and stone, Vakataka temple - remains, evidence from Western Ghats caves, early Hindu and Buddhist brick structures from eastern India, Manadapika pandals in central India, pent-roof stone structure of Kashmir, etc.,

Coomaraswamy's Introduction to Indian Art traverses the historic panorama of Indian art, from its Indo-Sumerian and Vedic-Mound beginnings to the various peaks reached during the Maurya, Sunga, Andhra, Kusana and Gupta periods and beyond the seas to further India and Indonesia. It is a handbook of immense value both to the beginner and scholar alike.This present reprint, appearing after more than half a century, has been ably edited by Mrs. Coomaraswamy and incorporates new material earmarked for the book by Coomaraswamy himself.