Baroque India : the neo-roman religious architecture of South Asia : a global stylistic survey
Author(s)
Bibliographic Information
Baroque India : the neo-roman religious architecture of South Asia : a global stylistic survey
Indira Gandhi National Centre for the Arts : Aryan Books International, 2000
- Other Title
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Neo-roman religious architecture of South Asia
Available at 1 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references (p.[443]-445) and index
Description and Table of Contents
Description
In addition, he is the author of a survey of Islamic architecture world-wide, which includes, of course, the Indo-Islamic traditions. It is his belief that Indian Baroque - or, more correctly, Indian Neo-Roman - cannot be properly appreciated without an understanding of the architectural styles that preceded it on the subcontinent, and which exercised a significant impact on it. To produce the book the author not only visited the various sites which contain the monuments of Indian Neo-Roman, but has travelled as an architectural pilgrim over much of the Neo-Roman world, in Europe and the Americas. He has also familiarized himself with the art-historical theories on the various styles of architecture, in particular, the Neo-Roman. He has thus prepared himself to contemplate Baroque India's contribution against the Neo-Roman background. In consequence, the method adopted in this book has been that of summarily describing the distinctive spatial modalities of the various Neo-Roman styles, as reflected in their major monuments, especially the styles which impacted on India: a method that facilitates the discernment of the specific Indian contribution to Neo-Roman taken as a whole.
In so doing, the author has tried to outline a consistent aesthetic theory of Neo-Roman, to portray its five major modes - Renaissance, Mannerism, Baroque, Rococo and Neoclassicism - as expressions of the Neo-Roman essence, immanently developing, in the indicated sequence, one from the other, and pullulating a rich variety of spatial themes that both display a marked originality and manifest a capacity for assimilating the spatial nuances of the other architectural styles. This theory, he believes, has enabled him to distinguish the originality of Indian Neo-Roman, and describe what it has absorbed from the subcontinent's Indian and Indo-Islamic styles, while integrating the absorbed material into its Neo-Roman substance.
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