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Douglas Barrett was one of the leading western authorities on the arts of India. The articles brought together here are grouped into three separate sections. The first comprises six studies dealing with sculpture in North India. The following section covers painting and sculpture in the Deccan, with five papers on the Amaravati school. The final section is devoted to the sculpture of South India. Contents: Preface Gandhara Bronzes Sculptures from Kashmir Bronzes from North-West India and Western Pakistan An Ivory Diptych The Fa ade of a Miniature Shrine from Kashmir A Terracotta Plaque of Mahisasuramardini The Early Phase at Amaravati Two Unpublished Sculptures from Amaravati Two Unpublished Sculptures from the Andhradesa Style and Iconography at Amaravati An Early Indian Bronze Figure An Early Indian Toy The Later School of Amaravati and its Influence A Group of Bronzes from the Deccan Ter Painting of the Deccan Some Unpublished Deccan Miniatures Painting at Bijapur An Early Bronze Lingodbhoramurti Two Lost Early Cola Temples A Bronze Srinivasa Group A Group of Bronzes of the Later Cola Period The Chidambaram Nataraja Two Pandhya Temples The Dancing Siva in Early South Indian Art Additional Notes Index
The Essays Here, Challenging The Boundaries And Assumptions Of Mainstream Art History, Question Many Preconceived Notions About Meaning In Representations Artistic And Art Historical. Emphasizing On Specific Visual Cultures Within The Dynamics Of Historical Processes, They Raise Critical Issues Of Art Production, Circulation And Consumption And Attempt To Rescue Traditional Arts From A Past That Is Hermetically Sealed Off From The Present.
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.
This book is a pioneering work presenting Christian themes in Indian art from the beginnings of Christianity in India till today. The authors have, in the main, dealt with paintings and sculptures, but have supplemented this with one chapter on architecture, particularly that of church buildings, and one on popular art, including stamps. Over 1,100 rare coloured illustrations make this publication a unique reference book. It is the first complex treatment of the theme done in the last 25 years. Special emphasis is given to artists who as Hindus, Muslims and Parsees have chosen to paint Biblical themes. Already in the 16th century the encouraging and surprising encounter between European Christian prints and Indian miniature paintings took place. The Muslim Emperor Akbar invited three Jesuit missions from Goa to the Mogul court. Fascinated by European Madonnas and engravings, especially with Christian themes, he ordered his paintings to copy them in various ways. This was the start of a revolutionary fusion in Indian miniatures.
Papers presented at the Seminar "Historiography of Indian Art : Emergent Methodological Concerns", held at New Delhi during 19-21 September 2006.
In the late 1920s, a group of young Kiowa artists, pursuing their education at the University of Oklahoma, encountered Swedish-born art professor Oscar Brousse Jacobson (1882–1966). With Jacobson’s instruction and friendship, the Kiowa Six, as they are now known, ignited a spectacular movement in American Indian art. Jacobson, who was himself an accomplished painter, shared a lifelong bond with group member Stephen Mopope (1898–1974), a prolific Kiowa painter, dancer, and musician. Painting Culture, Painting Nature explores the joint creativity of these two visionary figures and reveals how indigenous and immigrant communities of the early twentieth century traversed cultural, social, and racial divides. Painting Culture, Painting Nature is a story of concurrences. For a specific period, immigrants such as Jacobson and disenfranchised indigenous people such as Mopope transformed Oklahoma into the center of exciting new developments in Indian art, which quickly spread to other parts of the United States and to Europe. Jacobson and Mopope came from radically different worlds, and were on unequal footing in terms of power and equality, but they both experienced, according to author Gunlög Fur, forms of diaspora or displacement. Seeking to root themselves anew in Oklahoma, the dispossessed artists fashioned new mediums of compelling and original art. Although their goals were compatible, Jacobson’s and Mopope’s subjects and styles diverged. Jacobson painted landscapes of the West, following a tradition of painting nature uninfluenced by human activity. Mopope, in contrast, strove to capture the cultural traditions of his people. The two artists shared a common nostalgia, however, for a past life that they could only re-create through their art. Whereas other books have emphasized the promotion of Indian art by Euro-Americans, this book is the first to focus on the agency of the Kiowa artists within the context of their collaboration with Jacobson. The volume is further enhanced by full-color reproductions of the artists’ works and rare historical photographs.
The Present Book, Thai Art With Indian Influences, Studies The Subject In Its Different Spheres. As A Major Pioneering Scholar In The Field, Dr. Promsak Jermsawatdi Possesses An Extraordinary Background In Art History, Aesthetics And Asian History And Philosophy. This Fascinating Study Is One Of His Finest Works Which Will Continue To Be Regarded As One Of The Most Significant Contributions To Our Understanding Of Thai And Indian Art For A Long Time To Come. Divided Into Five Chapters, The Book Takes Into Account Material From The Earliest Archaeological Finds Through The Bangkok Period Including The Early Art And Craft Works. Most Of The Study Deals With Thai Art But India And The Peripheries Of South East Asia Are Covered Where They Reflect Indian Influences. The Focus Of This Study Is Upon Architecture, Sculpture And Iconography. However, It Also Encompasses Other Aspects Of Art And Crafts. Background Information On The History And Geography Of The Area Is Also Provided Along With Philosophical Religious And Social Insights That Are Significantly Valuable To Readers In General And Those Of South-East Asia And India In Particular.As A Student Of Ancient History And Art In India, Dr. Promsak Jermsawatdi Was Deeply Sensitive To The Beauty Of Thai And Indian Art Works. As A Result, The Illustrations He Had Selected Are Unusually Pertinent And Fitting, Comprising Some Of The Most Impressive Examples Of Thai Art. Students Of The History Of Oriental Art Could Ask For No Finer Exposition Of The History And Aesthetics Of Thai And Indian Art. The Author S Penetrating Cultural Insights Make It An Indispensable Text For All Who Plan Further Study In The Field. This Is Also A Book Which General Readers Will Read With Great Interest And Pleasure.
Following India’s independence in 1947, Indian artists creating modern works of art sought to maintain a local idiom, an “Indianness” representative of their newly independent nation, while connecting to modernism, an aesthetic then understood as both universal and presumptively Western. These artists depicted India’s precolonial past while embracing aspects of modernism’s pursuit of the new, and they challenged the West’s dismissal of non-Western places and cultures as sources of primitivist imagery but not of modernist artworks. In Art for a Modern India, Rebecca M. Brown explores the emergence of a self-conscious Indian modernism—in painting, drawing, sculpture, architecture, film, and photography—in the years between independence and 1980, by which time the Indian art scene had changed significantly and postcolonial discourse had begun to complicate mid-century ideas of nationalism. Through close analyses of specific objects of art and design, Brown describes how Indian artists engaged with questions of authenticity, iconicity, narrative, urbanization, and science and technology. She explains how the filmmaker Satyajit Ray presented the rural Indian village as a socially complex space rather than as the idealized site of “authentic India” in his acclaimed Apu Trilogy, how the painter Bhupen Khakhar reworked Indian folk idioms and borrowed iconic images from calendar prints in his paintings of urban dwellers, and how Indian architects developed a revivalist style of bold architectural gestures anchored in India’s past as they planned the Ashok Hotel and the Vigyan Bhavan Conference Center, both in New Delhi. Discussing these and other works of art and design, Brown chronicles the mid-twentieth-century trajectory of India’s modern visual culture.