Here are 100 books that Indian Architecture fans have personally recommended if you like
Indian Architecture.
Book DNA is a community of 12,000+ authors and super readers sharing their favorite books with the world.
I am a professional historian who came to the Indian world years ago through studies of epic, mythology, and gender. When I read the Mahabharata, I was surprised that its internal coherence was not apparent. I connected with authors such as Alf Hiltebeite, who saw things in the same way. By then, I found evidence that its author used different materials, including Greco-Roman. And that his work was set at the time—around the turn of the era—when Afro-Eurasia was united in a very intense network of relations, exchanging merchandise, ideas, and many other things (including viruses). I have been trying to find out things about this brilliant author since.
I liked this book very much because it is a brave book. It is becoming more and more difficult to accept that ancient Indian culture was influenced by outside influences, as is the case with all parts of the world.
But at the time, it was already a debated issue. This book advocated an open perspective on the Indian past and present. I was very pleased to see the author's lack of prejudice and wide knowledge. I enjoyed it very much.
It is April 1st, 2038. Day 60 of China's blockade of the rebel island of Taiwan.
The US government has agreed to provide Taiwan with a weapons system so advanced that it can disrupt the balance of power in the region. But what pilot would be crazy enough to run…
I am a professional historian who came to the Indian world years ago through studies of epic, mythology, and gender. When I read the Mahabharata, I was surprised that its internal coherence was not apparent. I connected with authors such as Alf Hiltebeite, who saw things in the same way. By then, I found evidence that its author used different materials, including Greco-Roman. And that his work was set at the time—around the turn of the era—when Afro-Eurasia was united in a very intense network of relations, exchanging merchandise, ideas, and many other things (including viruses). I have been trying to find out things about this brilliant author since.
What I like about Prakash's book is that it is a very analytical text, very technical in a sense: it is simply trying to see if there are influences in Indian mythological stories from other cultures.
And with the same simplicity, he shows that there are, and in particular, Greek ones. He does it in such a way that you don't have to know much about Indian myths to understand it, and with a lot of (sometimes too much?) prudence.
Dr. Arora's present book is indeed a most welcome addition to the growing field of comparative mythological studies. The work is a very thorough investigation into some of the major themes and motifs in Indian mythology in a much wider and comparative perspective. He has carefully selected them from Indian, Greek, West-Asian, and other sources. The result obtained by him provides an amazing story of interaction between various cultural traditions through space and time. This is a painstaking work of research and a substantial contribution not only to the History of Indian Civilization but also to that of the ancient…
I am a professional historian who came to the Indian world years ago through studies of epic, mythology, and gender. When I read the Mahabharata, I was surprised that its internal coherence was not apparent. I connected with authors such as Alf Hiltebeite, who saw things in the same way. By then, I found evidence that its author used different materials, including Greco-Roman. And that his work was set at the time—around the turn of the era—when Afro-Eurasia was united in a very intense network of relations, exchanging merchandise, ideas, and many other things (including viruses). I have been trying to find out things about this brilliant author since.
Of the five recommended books, this is the most current. No wonder there are so many years in between. Maintaining that there are external influences in India is very dangerous academically. I like that Morales-Harley, a young scholar who knows Latin, Greek, and Sanskrit, dared to do it.
I like his book because it is well written, well argued, and always leaves open alternative interpretation possibilities.
This volume presents a sophisticated and intricate examination of the parallels between Sanskrit and Greco-Roman literature. By means of a philological and literary analysis, Morales-Harley hypothesizes that Greco-Roman literature was known, understood, and recreated in India. Moreover, it is argued that the techniques for adapting epic into theater could have been Greco-Roman influences in India, and that some of the elements adapted within the literary motifs (specifically the motifs of the embassy, the ambush, and the ogre) could have been Greco-Roman borrowings by Sanskrit authors.This book draws on a wide variety of sources, including Iliad, Phoenix, Rhesus and Cyclops (Greco-Roman)…
The Year Mrs. Cooper Got Out More
by
Meredith Marple,
The coastal tourist town of Great Wharf, Maine, boasts a crime rate so low you might suspect someone’s lying.
Nevertheless, jobless empty nester Mallory Cooper has become increasingly reclusive and fearful. Careful to keep the red wine handy and loath to leave the house, Mallory misses her happier self—and so…
I am a professional historian who came to the Indian world years ago through studies of epic, mythology, and gender. When I read the Mahabharata, I was surprised that its internal coherence was not apparent. I connected with authors such as Alf Hiltebeite, who saw things in the same way. By then, I found evidence that its author used different materials, including Greco-Roman. And that his work was set at the time—around the turn of the era—when Afro-Eurasia was united in a very intense network of relations, exchanging merchandise, ideas, and many other things (including viruses). I have been trying to find out things about this brilliant author since.
I wanted to end my list with another book by an Indian author. This is a text similar to Acharya's, a text that impressed me when I found it and that almost no one cites.
This is an author who argues not only that there are external influences in ancient India but that it is a constant in Indian history and that there is no reason to be ashamed of it. Why should there be? It is a basic text in the good sense of the word, a brave book that deserves to be reread.
I am an art historian and have been engaged with India for over 40 years. Among other topics, I write about the Rajput courts in Rajasthan – especially Jaipur and Jodhpur – and about the Mughal cities of Delhi and Agra. I taught courses on these subjects at the University of London (at SOAS) in the 1990s. Since 2004 I have been living in India, where I work with museum trusts and with travel companies. Before the pandemic, I lectured regularly to tour groups visiting sites like the Taj Mahal, my aim being to bring the insights provided by expert research to a wider audience.
This is a survey of all Mughal architecture, in which only a few pages are devoted to the Taj Mahal directly, but for anyone who wants to understand the Taj not as something unique and inexplicable, but as a logical part of a longer tradition of design, this book is essential reading. While there are other surveys of Mughal architecture on offer, a major strength of this one is the author’s inclusion of many minor and provincial buildings that provide a wider context for the famous stand-out masterpieces like the Taj.
In Architecture of Mughal India Catherine Asher presents the first comprehensive study of Mughal architectural achievements. The work is lavishly illustrated and will be widely read by students and specialists of South Asian history and architecture as well as by anyone interested in the magnificent buildings of the Mughal empire.
As an Indian writer of contemporary fiction revolving around family, relationships, emotions, and hope, I am constantly on the lookout for similar novels to take inspiration from them and learn how to build beautiful, well-etched characters and portray heart-wrenching emotions. I love books that make me cry as they give me a fulfillment like nothing else. I love characters that are likable and make me feel a strong connection with them. And I like to write similar characters in my books as well. The readers of my novel The Fragile Thread of Hope have corroborated the same. I live in Gangtok, a hill station in northeast India.
Set in South India in the 1950s, this is a story of Meera, Manuel, and Shankar—three conflicted souls, each with secrets that can destroy the other. It is a beautiful novel showing how one can become a prisoner of one's secrets and live compromised lives. The descriptions are so hauntingly vivid that they will remain etched in my mind forever. I loved the narration and the poetic language, and the bittersweet ending was like icing on the cake.
A most unusual story of love.Do relationships built upon the one foundation that relationships must never be built on – secrets – really crumble?Set in South India in the 1950s, this is the story of Meera, Manuel, and Shankar – three conflicted souls each with secrets that can destroy the other.A story told in a way where you, the reader, are privy to the secrets, and made part of the conflict as you watch the story unfurl into consequences that arise when one becomes a prisoner of their secret.
Don’t mess with the hothead—or he might just mess with you. Slater Ibáñez is only interested in two kinds of guys: the ones he wants to punch, and the ones he sleeps with. Things get interesting when they start to overlap. A freelance investigator, Slater trolls the dark side of…
I've been studying yoga in various forms since my first trip to India in the 1990s. I began as a curious tourist, attending the world's biggest human gathering (the Kumbh Mela). After working as a foreign correspondent—initially for Reuters then The New York Times—I returned to university, earning a master's degree in Traditions of Yoga and Meditation. I've since taught courses at the Oxford Centre for Hindu Studies, on yoga teacher trainings, and via my website. The Truth of Yoga is the book I wish I'd found when I started exploring.
Sometimes fiction speaks truer than facts. This adventure set in India in the 1970s brings to life what it means to balance yogic ideas with a Western mindset. It's a mixture of hippie idealism, academic disillusionment, and searches for meaning as things fall apart. Beautifully written and wise, it evokes the common ground between yoga and Buddhism—particularly on causes of suffering and how to transcend it.
A stunning debut novel on sex, loss, and redemption.
It is 1975 and India is in turmoil. American Stanley Harrington arrives to study Sanskrit philosophy and escape his failing marriage. When he finds himself witness to a violent accident, he begins to question his grip on reality.
Maya introduces us to an entertaining cast of hippies, expats, and Indians of all walks of life. From a hermit hiding in the Himalayan jungle since the days of the British Raj, to an accountant at the Bank of India with a passion for Sanskrit poetry, to the last in a line of…
I want to make the world a better place. After many failed attempts to achieve this goal, I realized that I didn’t understand the world well enough to make a positive impact. Serendipitously, I started working with Farnam Street, a company that is dedicated to mastering the best of what other people have figured out. One of our most significant projects is The Great Mental Models book series, which consists of four volumes of fundamentals about the world. Learning and using the models to co-write this book series is how I found all the books on this list. I plan to give a set to each of my children to give them a jump start on living effectively.
Most people, I think, when they start to understand the world better, they start to see the endless ways that it could be improved. Some of us though, we get stuck in the ideas of improvement, and never figure out how to just get on with it.
Amartya Sen won a Nobel Prize and has other thought-provoking books. But I like this one. The Country of First Boys is a series of essays that are technically about various issues in India, but which are easily extrapolated to depressingly common situations in most other countries. Central to the essays is the theme of not letting the idea of a perfectly just society get in the way of the business of reducing injustice. We can debate utopia until we take our last breath, but in the meantime, Sen inspires us that there is much we can do now to improve the world…
Time and again Amartya Sen, Nobel laureate and polymath, has stimulated our thoughts and world-view through his ideas. In his new collection of cultural essays Sen examines social justice and welfare, by addressing some of the fundamental issues of our time like deprivation, disparity, hunger, illiteracy, alienation, globalization, media, freedom of speech, injustice, inequality, exclusion, and exploitation.
Sens deeply informed and humane writing connects history, culture, literature, economics, and politics. Several of the essays are concerned particularly with India - its historical traditions and the issues it faces today; many - such as his address to the General Assembly of…
I’ve always been in love with books and writing, but in high school I realized I wanted to touch people’s lives on an emotional level. A friend told me my writing had changed their perspective about an incident where their brother almost died. It made me think that if I could positively impact one person with a play, what else could I do (even for complete strangers). We all struggle with emotions, and it’s okay! We should be allowed to feel our emotions—regardless of our age or gender identity. Everyone should know that they’re not alone; emotions are universal. They are part of what connects us to each other.
As you can probably see, I like books that are emotionally provocative. This book does just that! It’s just such a different kind of story where the protagonist was built to be exactly like someone else, including memories and life, just in case something happens to the original. It’s a raw look at who someone really is and how they become that person.
Eva's life is not her own. She is a creation, an abomination - an echo. Made by the Weavers as a copy of someone else, she is expected to replace a girl named Amarra, her 'other', if she ever died. Eva studies what Amarra does, what she eats, what it's like to kiss her boyfriend, Ray. So when Amarra is killed in a car crash, Eva should be ready.
But fifteen years of studying never prepared her for this.
Now she must abandon everything she's ever known - the guardians who raised her, the boy she's forbidden to love -…
I am a historian of modern India at the Department of History, University of Delhi, with a longstanding interest in the intersections of gender, caste, sexuality, and religious identities in early twentieth-century North India. My work draws deeply from Hindi vernacular sources—popular tracts, magazines, cartoons, and pamphlets—which offer a rich yet underexplored archive for understanding the everyday life of Hindu nationalist ideologies and also ways in which it was punctured or questioned. Since my doctoral research in 1996, I have been particularly drawn to the everyday gender and caste dimensions of Hindu politics.
I loved this book because it nuanced my understanding of how modern Hindu identity was manufactured through Hindi literature in the literary salons and polemics of nineteenth-century Banaras. Dalmia’s intricate study of the life and writings of Bharatendu Harischandra, a colorful and creative personality and often called the Father of Modern Hindi, impacted me strongly.
Here was a writer, playwright, publisher, and polemicist who played a critical role in the formation of Hindu modernity in North India. I also find the book interesting for its description of social history, rooted in the ancient city of Banaras.
This volume studies how a dominant strand of Hinduism in north India--the tradition which uses and misuses the slogan "Hindi-Hindu-Hindustan"--came into being in the late nineteenth century. It examines the life and writings of one major Hindi writer of the nineteenth century--the playwright, journalist, and polemicist Bharatendu Harishchandra (often called the "Father of Modern Hindi")--as its focal point for an analysis of some of the vital cultural processes through which modern north India came to be formed.
