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The seventh exhibition in the series, focuses on the development of portraiture after the coming of the camera to India. It fuelled the enthusiasm of the Indian artists and photographic studios mushroomed across the country. Artists started using photographs to enhance portrait paintings, they developed a new aesthetic that integrated aspects of painting and photography in one image.
The ninth exhibition in the Indian Portrait series focuses on the introduction of Parsi portraiture in India and an insight on their art, culture and education etc. Paintings, photographs, CDVs, cabinet card albums, engravings, lithographs, prints & collectibles etc. are the different mediums that helped to preserve history. It contains over 170 portraits and was exhibited in December 2018.
The eleventh exhibition featuring photographs by Jyoti Bhatt, capturing his life and of his contemporaries through Portraits.
The tenth exhibition in the series will showcase classical paintings from all across India. The exhibition will cover 300 years and a vast geographic region from Jammu to Thanjavur, allowing viewers to compare how different patrons wished to be remembered and observe how historical events shaped India’s painting traditions.
This exhibition catalogue covers the art of portraiture which flourished in the royal courts of Rajasthan. Rajput rulers, warriors, heads of religious institutions and rich and influential merchants were the major patrons or art and had their portraits painted for visual documentation, political gifts and also as valuable art objects.
The role of the portrait in India between 1560 and 1860 served as an official chronicle or eye-witness account, as a means of revealing the intimate moments of everyday life, and as a tool for propaganda. Yet the proliferation and mastery of Indian portraiture in the Mughal and Rajput courts brought a new level of artistry and style to the genre.
The study of technical treatises in Indian art has increasingly attracted much interest. This work puts forward a critical re-examination of the key Indian concepts of painting described in the Sanskrit treatises, called citrasutras. In an in-depth and systematic analysis of the texts on the theory of Indian painting, it critically examines the different ways in which the texts have been interpreted and used in the study of Indian painting, and suggests a new approach to reading and understanding their concepts. Contrary to previous publications on the subject, it is argued that the intended use of such texts as a standard of critique largely failed due to a fundamental misconceptualization of the significance of ‘text’ for Indian painters. Isabella Nardi offers an original approach to research in this field by drawing on the experiences of painters, who are considered as a valid source of knowledge for our understanding of the citrasutras, and provides a new conceptual framework for understanding the interlinkages between textual sources and the practice of Indian painting. Filling a significant gap in Indian scholarship, Nardi's study will appeal to those studying Indian painting and Indian art in general.
This book is the first systematic study of the genealogy, discursive structures, and political implications of the concept of ‘Greater India’, implying a Hindu colonization of Southeast Asia, and used by extension to argue for a past Indian greatness as a colonial power, reproducible in the present and future. From the 1880s to the 1960s, protagonists of the Greater India theme attempted to make a case for the importance of an expansionist Indian civilisation in civilizing Southeast Asia. The argument was extended to include Central Asia, Africa, North and South America, and other regions where Indian migrants were to be found. The advocates of this Indocentric and Hindu revivalist approach, with Hindu and Indian often taken to be synonymous, were involved in a quintessentially parochial project, despite its apparently international dimensions: to justify an Indian expansionist imagination that viewed India’s past as a colonizer and civilizer of other lands as a model for the restoration of that past greatness in the future. Zabarskaite shows that the crucial ideologues and elements used for the formation of the construct of Greater India can be traced to the svadeśī movement of the turn of the century, and that Greater India moved easily between the domains of the scholarly and the popular as it sought to establish itself as a form of nationalist self-assertion.
The sixth exhibition and catalogue in the Indian Portrait series, from the collection of Anil Relia, focuses on the introduction of photography in India and its evolution up to Independence. The daguerreotype, ambrotype, carte de viste, cabinet cards, stereoviews, etc. are the different mediums that helped to preserve history. Photographs by famous names like Bourne & Shepherd, Lala Deen Dayal, Darogah Abbas Ali, Shamsuddin Lukmanji, S. Hormusjee, Shapur N. Bhedwar, Hurrychand Chintamon, etc. are shown in the exhibition.