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- Offers fresh insights into the rich aesthetic and cultural legacy of the Imperial Mughal age in the Indian subcontinent - Essays by 13 eminent international scholars draw comparisons between the Mughals, the Safavids and the Ottomans - Over 159 images of Mughal artifacts, paintings, gardens and monuments illustrate the lasting heritage of the Imperial Mughals Enter the splendid world of Mughal India and explore its rich aesthetic and cultural legacy through fresh insights offered by 13 eminent scholars. Recent scholarship in this field has offered deeper analysis into established norms, explored pan-Indian connections and drawn comparisons with contemporaneous regions of the early modern world. Further studies along these lines were encouraged in a seminar held by the K.R. Cama Oriental Institute, Mumbai, and the formidable scholarship presented by contributors forms the content of this volume. The articles in this book explore varied subjects under the Mughal umbrella, challenge long-held ideas and draw comparisons between the artistic expressions and material culture of the powerful Islamicate triumvirate of the early modern period - the Safavids in Iran, the European-based Ottomans and the Mughals in the Indian subcontinent. Themes as diverse as portraits of royal women, sub-imperial patronage of temples, word-image relationship, the lapidary arts and the Imperial Library of the Mughals, a reconsideration of Mughal garden typologies, murals painted on architectural surfaces, the textile culture of the city of Burhanpur, changes in visual language and content of painting, and Imperial objets d'art have been discussed, challenged and analyzed. The final three articles are groundbreaking comparisons across Ottoman, Safavid and Mughal spheres. This beautifully illustrated book is sure to appeal to c
Articles, chiefly on architectural art.
Dehejia has tried to create a place within the main frame of culture and philosophy of Indian art for a legitimate analytic theory called despair. Dehejia's effort creates a space for the modern within Indian classicism by negotiating the philosophy of despair in classical terms. As a result the basic schism that has grown in recent years between the philosophy and history of modern art on the one hand and the philosophy and history of traditional arts is today cloder to being breached.
The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art provides an extensive research resource to the burgeoning field of Asian aesthetics. Featuring leading international scholars and teachers whose work defines the field, this unique volume reflects the very best scholarship in creative, analytic, and comparative philosophy. Beginning with a philosophical reconstruction of the classical rasa aesthetics, chapters range from the nature of art-emotions, tones of thinking, and aesthetic education to issues in film-theory and problems of the past versus present. As well as discussing indigenous versus foreign in aesthetic practices, this volume covers North and South Indian performance practices and theories, alongside recent and new themes including the Gandhian aesthetics of surrender and self-control and the aesthetics of touch in the light of the politics of untouchability. With such unparalleled and authoritative coverage, The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art represents a dynamic map of comparative cross-cultural aesthetics. Bringing together original philosophical research from renowned thinkers, it makes a major contribution to both Eastern and Western contemporary aesthetics.
The 50th anniversary edition of this classic work on the art of Northwest Coast Indians now offers color illustrations for a new generation of readers along with reflections from contemporary Northwest Coast artists about the impact of this book. The masterworks of Northwest Coast Native artists are admired today as among the great achievements of the world’s artists. The painted and carved wooden screens, chests and boxes, rattles, crest hats, and other artworks display the complex and sophisticated northern Northwest Coast style of art that is the visual language used to illustrate inherited crests and tell family stories. In the 1950s Bill Holm, a graduate student of Dr. Erna Gunther, former Director of the Burke Museum, began a systematic study of northern Northwest Coast art. In 1965, after studying hundreds of bentwood boxes and chests, he published Northwest Coast Indian Art: An Analysis of Form. This book is a foundational reference on northern Northwest Coast Native art. Through his careful studies, Bill Holm described this visual language using new terminology that has become part of the established vocabulary that allows us to talk about works like these and understand changes in style both through time and between individual artists’ styles. Holm examines how these pieces, although varied in origin, material, size, and purpose, are related to a surprising degree in the organization and form of their two-dimensional surface decoration. The author presents an incisive analysis of the use of color, line, and texture; the organization of space; and such typical forms as ovoids, eyelids, U forms, and hands and feet. The evidence upon which he bases his conclusions constitutes a repository of valuable information for all succeeding researchers in the field. Replaces ISBN 9780295951027
Provides A Perspective On Contemporary Indian Art, Offering A Dynamic Rather Than A Static Way Of Approaching The Subject. The Essays Deal With Questions, Though Often Asked Remain Open-Ended. The Works Of Individual Artists Are Discussed With In The Based Conceptual Framework Of Each Essays.
This volume critically examines the notion of a 'new' India by acknowledging that India is changing remarkably and by indicating that in the overzealous enthusiasm about the new India, there is collective amnesia about the other, older India. The book argues that the increasing consolidation of capitalist markets of commodity production and consumption has unleashed not only economic growth and social change, but has also introduced new contradictions associated with market dynamics in the material and social as well as intellectual spheres.
"For the past two millennia the American Southwest has been home to one of the most vibrant and compelling peoples ever to have graced the earth. The vitality, distinctiveness, and resilience of Pueblo culture is apparent in its traditional pottery, a famous aspect of which is intricate painted designs. These designs, based on simple geometric forms, make Ancestral Pueblo pottery distinctive and easy to recognize. In this book, Scott G. Ortman and Joseph Traugott contemplate a hidden source of its appeal: a phenomenon they call isomeric design. The concept of isomeric design is based on an analogy with isomers in chemistry, which are chemically identical compounds that have mirror-image structures. In Ancestral Pueblo painting, isomeric design is the use of paired forms that can be perceived as reversible. These designs create optical illusions and figure-ground ambiguities that challenge conventional descriptions of Pueblo pottery. Presenting one hundred examples of Pueblo pottery from various museum collections in the Southwest, Painted Reflections takes a closer look at the psychology, history, and cultural significance of this unique aspect of Ancestral Pueblo painting, providing fascinating insights into the very foundations of Pueblo culture"--Provided by publisher.
Art for a New Understanding, an exhibition from Crystal Bridges Museum of American Art that opened in October 2018, seeks to radically expand and reposition the narrative of American art since 1950 by charting a history of the development of contemporary Indigenous art from the United States and Canada, beginning when artists moved from more regionally-based conversations and practices to national and international contemporary art contexts. This fully illustrated volume includes essays by art historians and historians and reflections by the artists included in the collection. Also included are key contemporary writings—from the 1950s onward—by artists, scholars, and critics, investigating the themes of transculturalism and pan-Indian identity, traditional practices conducted in radically new ways, displacement, forced migration, shadow histories, the role of personal mythologies as a means to reimagine the future, and much more. As both a survey of the development of Indigenous art from the 1950s to the present and a consideration of Native artists within contemporary art more broadly, Art for a New Understanding expands the definition of American art and sets the tone for future considerations of the subject. It is an essential publication for any institution or individual with an interest in contemporary Native American art, and an invaluable resource in ongoing scholarly considerations of the American contemporary art landscape at large.
The twelve essays that make up Reflections on Native-Newcomer Relations illustrate the development in thought by one of Canada's leading scholars in the field of Native history - J.R. Miller. The collection, comprising pieces that were written over a period spanning nearly two decades, deals with the evolution of historical writing on First Nations and M?tis, methodological issues in the writing of Native-newcomer history, policy matters including residential schools, and linkages between the study of Native-newcomer relations and academic governance and curricular matters. Half of the essays appear here in print for the first time, and all use archival, published, and oral history evidence to throw light on Native-Newcomer relations. Miller argues that the nature of the relationship between Native peoples and newcomers in Canada has varied over time, based on the reasons the two parties have had for interacting. The relationship deteriorates into attempts to control and coerce Natives during periods in which newcomers do not perceive them as directly useful, and it improves when the two parties have positive reasons for cooperation. Reflections on Native-Newcomer Relations opens up for discussion a series of issues in Native-newcomer history. It addresses all the trends in the discipline of the past two decades and never shies from showing their contradictions, as well as those in the author's own thinking as he matured as a scholar.