Cover

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pp. 1-1

Title Page, Copyright

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pp. 2-6

Contents

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pp. 7-9

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Acknowledgments

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pp. ix-x

Writing is almost always spoken of as an isolated, isolating experience. That is not untrue, though my own days and nights of search and scribble were often shared, my world warmed by many hands. Where else to begin but with ma and papa, whose love is as...

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1 | Introduction

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pp. 1-14

On a late afternoon in October 2001 the gods went to war on a large, dusty playground in the heart of a little hill town named Kullu, set in a narrow valley widely regarded by its inhabitants as the land of the gods—devabhumi. Police forces swung into...

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2 | The Object

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pp. 15-34

A mohra is the material manifestation of divinity, its physical representation. It is between 8 and 12 inches in height, and 5 to 8 inches wide, made of cast metal or embossed on thin sheets of gold and silver. Cast mohras are made of...

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3 | The Process

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pp. 35-74

In the creation of objects—in their design and in the patterns that embellish them, in the recognizable forms of mohras and chhatris of the deity—the tools and technology, the method and manufacture of object and design, adhere to the past with fierce tenacity. Change occurs...

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4 | Speaking of Aesthetics

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pp. 75-88

The predawn mist that routinely gathers in the accordion folds of the narrow valley had already begun to disappear, revealing distant mountain ranges and aretes, and more of the steep slopes descending into visual oblivion. It was...

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5 | The Artisan

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pp. 89-101

Some things are too powerful—such as atoms. Only atomic (nuclear) scientists have the knowledge to make a bomb, but, once it is ready, they have to hand it over to governments (who decide how it is to be used). They cannot touch it anymore. Some things are too...

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Epilogue

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pp. 103-113

The consecration of objects is not much different from the consecration of spaces and structures. The various components of ceremony and ritual remain more or less the same for the part as for the whole. As I was unable to witness the consecration of either mohra or chhatri while I was...

Notes

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pp. 115-129

Glossary

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pp. 131-132

Bibliography

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pp. 133-141

Index

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pp. 143-147

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About the Author

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pp. 149-162

Alka Hingorani is an independent scholar whose interests in Indian art lie geographically in the lower Himalayas (Himachal Pradesh), and thematically in issues of aesthetics and identity. An architect by training, she holds an advanced degree in photography and a PhD in art history...