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The Varanasi Throw Pillow is a stunning celebration of artisanal mastery, beautifully reflecting the rich craftsmanship that infuses life into every stitch. Inspired by the lush gardens and spiritual tranquility of Varanasi, this pillow features delicate daisies intricately hand-stitched in soft white and blush pink, showcasing the remarkable skill of Indian artisans who transform fabric into a work of art. With its rectangular shape and versatile neutral base, this exclusive piece effortlessly enhances any decor style, making it more than just an accessory; it embodies a meaningful connection to cultural heritage and artistry. Adding the Varanasi Throw Pillow to your collection invites a touch of elegance and a story of craftsmanship into your home. Color: Multicolored.

This book highlights the tumultuous history of ups and downs of one of the most predominant and best known traditions of weaving in India that has steadfastly refused to be obliterated.

This book highlights the tumultuous history of ups and downs of one of the most predominant and best known traditions of weaving in India that has steadfastly refused to be obliterated.

Situated on the left bank of the Ganges, in the state of Uttar Pradash, Varanasi is one of the oldest continually inhabited cities in the world. For Hindus there is nowhere more sacred; for Buddhists, it is revered as a place where the Buddha preached his first sermon; for Jains it is the birthplace of their two patriarchs. Over the last four thousand years, perhaps no city in the world has stood witness to such a flux of history, from the development of Aryan culture along the Ganges, to invasions that would leave the city in Muslim hands for three centuries, to an independent Brahmin kingdom, British colonial rule, and ultimately independence. But what is the city like today? Home to 2.5 million people, it is visited by twice that number every year. Polluted, overpopulated, religiously divided, but utterly sublime, Varanasi is a living expression of Indian life like no other. Each day 60,000 people bathe in the Ganges. Elderly people come to die here. Widows pushed out by their families arrive to find livelihood. In the city center, the silk trade remains the most important industry, along with textiles and the processing of betel leaf. Behind this facade lurk more sinister industries. Varanasi is a major player in the international drug scene. There's a thriving flesh trade, and a corrupt police force that turns a blind eye.As with Suketu Mehta's Maximimum City Piers Moore Ede tells the city's story by allowing inhabitants to relate their own tales. Whether portraying a Dom Raja whose role it is to cremate bodies by the Ganghes or a khoa maker, who carefully converts cow's milk into the ricotta like substance that forms the base of most sweets, Ede explores the city's most important themes through its people, creating a vibrant portrait of modern, multicultural India.

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Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

A New York Times Notable BookA Best Book of the Year: The Economist, The New Yorker, San Francisco Chronicle, Slate.com, and TimeIn Venice, at the Biennale, a jaded, bellini-swigging journalist named Jeff Atman meets a beautiful woman and they embark on a passionate affair. In Varanasi, an unnamed journalist (who may or may not be Jeff) joins thousands of pilgrims on the banks of the holy Ganges. He intends to stay for a few days but ends up remaining for months.  Their journey—as only the irrepressibly entertaining Geoff Dyer could conjure—makes for an uproarious, fiendishly inventive novel of Italy and India, longing and lust, and the prospect of neurotic enlightenment.

Professional sitar in the style of Vilayat Khan, custom-made in Varanasi in 2013.Crafted by Tarak (son of Nitai), picked up and adjusted on site.It...

For centuries, the ruling dynasties of India promoted the skills of spinners, weavers, dyers, printers and embroiderers, commissioning textiles from renowned centres of excellence across the subcontinent. Delicate muslins from Dacca, fine silk brocades from Varanasi, complex woollen weaves from Kashmir, intricate gold embroideries from Lahore - all were transformed into costumes fit for kings and courtiers. After years spent searching for the last surviving examples of traditional court clothing, designer Ritu Kumar has uncovered a wealth of costumes. Her book is a celebration of thousands of years of craft tradition and a testimony to the survival of the world's richest textile repertoire.

The author explores the meaning and practice of religious pilgrimage as she recreates the Irish Catholic pilgrimage to Station Island, visits to holy sites in Israel, the Hindu pilgrimage to Varanasi, and a trip to Lourdes, among others.

The acclaimed photographer Christopher Roche offers a stunning panoramic portrait of Banaras, the spiritual capital of India. Banaras, or “Varanasi” in Hindi, is a Northern Indian city on the banks of the Ganges in Uttar Pradesh. One of the oldest continuously inhabited cities in the world, it is also one of the holiest in Hindu, Jain, and Buddhist cultures. In this large-format book, the landscape and spiritualism of this beautiful city come to life through the lens of award-winning photographer Christopher Roche. Spending two years covering the city’s daily events, Roche turned his lens toward its holy men, temples, shrines, and religious ceremonies. He depicts the ubiquitous lingams and yonis, as well as the city’s fabled burning Ghats―a series of long, wide steps leading to the Ganges. Rarely photographed due to cultural restrictions, Banaras teems with life, color, and emotion. In his large, brilliantly hued images, Roche manages to capture the throbbing vitality of this important city as no one ever has before.

This is a travel classic - the story of Patrick Marnham's pilgrimage from Turkey to Nepal in 1968. He traveled over three thousand miles, passing through Ankara to Ararat, Tehran and Mashad, Herat, Kandahar and Kabul, Peshawar, Lahore and Varanasi...before finally reaching Katmandu. His journey is a kaleidoscopic blend of tortuous train journeys and lethal truck drives; wild deserts, mountains and isolated villages. At heart this is the story of a generation that was escaping from the routine of conventional life and of how it found--or lost--its way. It provides an alluring insight into the nature of the "hippie trail" and of those who forged it, before cheap air travel shrank the world

Francesco Clemente (born in Naples March 23, 1952) is an Italian-born contemporary artist. His work is influenced by thinkers as diverse as Gregory Bateson, William Blake, Allen Ginsberg, and J Krishnamurti. Dividing his time between New York and Varanasi, India, Clemente has adopted for his paintings a vast variety of supports and mediums, exploring, discarding, and returning to oil paint, watercolor, pastel, and printmaking. His work develops in a non-linear mode, expanding and contracting in a fragmentary way, not defined by a style, but rather by his recording of the fluctuations of the self. His work is also nomadic. In the 1980s he divided his time between India and New York. While briefly associated with Neo-Expressionism he took an interest in collaborative works both with Indian craftsmen and with painters like Basquiat and Warhol, and poets like Robert Creeley and Ginsberg in New York. In an interview with The Brooklyn Rail, Clemente commented "these poets had been looking at the East for inspiration and I was also anxious to evade the materialism of the West." In the 1990s Clemente explored intensely erotic imagery, inspired by the Tantra traditions both of India and Tibet, and turning contemporary preoccupations with identity and sexuality into an occasion to ask questions about the nature of the self. In the 2000s Clemente underwent a darker and grotesque phase, returning in recent years to luminous images of repose and transformation. Since the 1980s until today, Clemente has also chronicled New York intellectual and social life through a great number of portraits, contributing to the revival of a genre until then somehow discredited. Clemente's art has been presented in solo and group shows internationally. This is the catalogue for the exhibition in 1990-91 traveled from the Philadelphia Museum of Art to the Wadsworth Atheneum in Hartford, CT, to the San Francisco Museum of Modern Art.

When Heidi Wyder was traveling the world and arrived in Varanasi, India, she decided it was the perfect spot to dabble in a bit of yoga. The young novitiate had no inkling that this casual step to get in shape was the launch of a transformative, lifelong spiritual journey. Kriya Yoga: Four Spiritual Masters and a Beginner shares her remarkable immersion in an extremely powerful practice that leads to inner peace and supreme bliss. Logging her progress with the original Kriya Yoga, Wyder’s fascinating and uplifting account takes spiritual seekers everywhere on a captivating voyage along the ancient and much sought-after yoga path known in India as the “Holy Grail.” The book does this by recounting the extraordinary and miraculous lives of the renowned spiritual master Lahiri Mahasaya, his son Tinkori Lahiri, and his grandson Satya Charan Lahiri, who passed the authority to teach others to his most advanced disciple, “Guruji” Prakash Shankar Vyas. As she explores questions surrounding prayer, meditation, healing, levitation, and the meaning of life, Wyder presents Guruji’s logical and authoritative answers. Kriya Yoga now enables others to access the authentic and scientific Kriya Yoga, and further their own personal quest towards self-discovery and peace of mind.

It is the biggest among Puranas. Named after Skanda, son of Siva, this Purana expounds doctrines and worship of Siva. It also contains legends of Siva, especially his battles with Daityas and Danavs. There are section of Yoga, Dhyana (Meditation) and Jnana (Knowledge). It describes Siva temples in and around Varanasi. It is encyclopaedic in character and throws light on different topics of general interest. This Purana is divided in to Seven Khandas: Mahesvara, Brahma, Vaisnava, Kasi, Avantya, Nagara and Prabhasa. While the first three include episodes related to Trinity, the last four deal with the holy places of pilgrimage, the meaning and significance thereof and the anecdotes illustrating the same. Skanda is the biggest among the Mahapuranas. It is in 23 parts and starts with 49 Volume of the series on Ancient Indian tradition and mythology. So far 17 parts have been brought out. Remaining parts are in different stages of processing. Each volume contains about 300-400 pages and uniformally priced.

When Heidi Wyder was traveling the world and arrived in Varanasi, India, she decided it was the perfect spot to dabble in a bit of yoga. The young novitiate had no inkling that this casual step to get in shape was the launch of a transformative, lifelong spiritual journey. Kriya Yoga: Four Spiritual Masters and a Beginner shares her remarkable immersion in an extremely powerful practice that leads to inner peace and supreme bliss. Logging her progress with the original Kriya Yoga, Wyder’s fascinating and uplifting account takes spiritual seekers everywhere on a captivating voyage along the ancient and much sought-after yoga path known in India as the “Holy Grail.” The book does this by recounting the extraordinary and miraculous lives of the renowned spiritual master Lahiri Mahasaya, his son Tinkori Lahiri, and his grandson Satya Charan Lahiri, who passed the authority to teach others to his most advanced disciple, “Guruji” Prakash Shankar Vyas. As she explores questions surrounding prayer, meditation, healing, levitation, and the meaning of life, Wyder presents Guruji’s logical and authoritative answers. Kriya Yoga now enables others to access the authentic and scientific Kriya Yoga, and further their own personal quest towards self-discovery and peace of mind.

Kenro Izu’s (born 1949) Eternal Light is a record of Indian spirituality. In Varanasi, known as the Indian “City of Light,” Izu photographed festivals, rituals and cremations as well as portraying individual experiences of joy and suffering related to death and the afterlife. In Allahabad, where the Ganges and Yamuna Rivers meet, Izu attended the festival of Kumbh Mela, and in the city of Vrindavan, he photographed among the thousands of temples dedicated to Krishna.Highly attuned to the emotions of his subjects, Izu’s exquisitely rendered black-and-white photographs are intended to convey dignity and hope. He has stated: “It’s as though the Hindu gods have suggested that I think about the question, where are people heading, in this life and after?” Through these photographs Izu strives to find the answers.

Francesco Clemente (born in Naples March 23, 1952) is an Italian-born contemporary artist. His work is influenced by thinkers as diverse as Gregory Bateson, William Blake, Allen Ginsberg, and J Krishnamurti. Dividing his time between New York and Varanasi, India, Clemente has adopted for his paintings a vast variety of supports and mediums, exploring, discarding, and returning to oil paint, watercolor, pastel, and printmaking. His work develops in a non-linear mode, expanding and contracting in a fragmentary way, not defined by a style, but rather by his recording of the fluctuations of the self. His work is also nomadic. In the 1980s he divided his time between India and New York. While briefly associated with Neo-Expressionism he took an interest in collaborative works both with Indian craftsmen and with painters like Basquiat and Warhol, and poets like Robert Creeley and Ginsberg in New York. In an interview with The Brooklyn Rail, Clemente commented "these poets had been looking at the East for inspiration and I was also anxious to evade the materialism of the West." In the 1990s Clemente explored intensely erotic imagery, inspired by the Tantra traditions both of India and Tibet, and turning contemporary preoccupations with identity and sexuality into an occasion to ask questions about the nature of the self. In the 2000s Clemente underwent a darker and grotesque phase, returning in recent years to luminous images of repose and transformation. Since the 1980s until today, Clemente has also chronicled New York intellectual and social life through a great number of portraits, contributing to the revival of a genre until then somehow discredited. Clemente's art has been presented in solo and group shows internationally. This is the catalogue for the exhibition in 1990-91 traveled from the Philadelphia Museum of Art to the Wadsworth Atheneum in Hartford, CT, to the San Francisco Museum of Modern Art.