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The Making of a New 'Indian' Art
This book offers a path-breaking analysis of the transformations that occurred in the art and aesthetic values of Bengal during the colonial and nationalist periods. Tapati Guha-Thakurta moves beyond most existing assumptions and narratives to explore the complexities and diversities of the changes generated by Western contacts and nationalist preoccupation's in art. She examines the shifts both in the forms and practices of painting as well as in the ideas and opinions about Indian art during the late nineteenth and early twentieth centuries.
Monuments, Objects, Histories
This book offers both an insider and outsider perspective, moving from a period that saw the consolidation of western expertise and custodianship of India's "antiquities," to the projection over the twentieth century of varying regional, nativist and national claims around the country's archaeological, architectural and artistic inheritance, into a present time that has pitted these objects and fields within a highly contentious politics of nationhood.
New Cultural Histories of India
This book examines the new orientations in the writing of cultural histories of India from the pre-colonial and early modern period to the postcolonial and contemporary era. It analyses the 'materialist' turn through wide-ranging textual, visual, aural, ritual, and spatial resources like eighteenth-century scribal literature in western India, art deco architecture in twentieth century Calcutta, circulating heads in Naga hills, and Mayawati's monuments in Lucknow.
Theorizing the Present
A political scientist, historian, cultural analyst, social anthropologist, and philosopher, Partha Chatterjee has consistently provided academia with novel conceptual tools for analyzing the present. This collection brings together scholars from a wide range of disciplines to honor his life and work. Dealing with different ways of theorizing the present, the essays in Theorizing the Present focus on some critical themes underlining twentieth century India--work of history in Indian context, framing the nation in the pre- and post-independence era, forms of community and the role of violence, and the limits of civil and political society formulation. Theorizing the Present includes contributions from prominent scholars all of whom, at one point of time or other, were associated with the Center for Studies in Social Sciences in India--an institution Chatterjee served and nurtured over several decades. Together they discuss themes that were shaped by, as much as they shaped Chatterjee's own broad interests. The volume reflects the myriad ways in which scholars worked with, through or against his many important formulations.
History and the Present
The essays in this volume bring together historians and anthropologists to reflect on the place of history within present-day conditions. The central focus here is on aspects of the popular, on the ways in which the popular relates to the scientific, the professional, the aesthetic, the religious, the legal and the political. These essays represent a critique of the disciplinary practices of history. They examine the historian's practices and assumptions, being mainly concerned with finding a set of practices of history-writing that are both truthful and ethical. They are united by the desire to find a way out of the self-constructed cage of scientific history that has made historians wary of the popular. In his introduction, Partha Chatterjee spells out some of the requirements for this new analysis of the popular. He stresses the fact that in contemporary industrializing societies the popular should not be taken to be a homogeneous mass. On the contrary, he states, an awareness of the variety and innovativeness of the contemporary popular could rejuvenate academic historiography.
In Her Own Right
Karuna Shaha (1921 1996) was one of the first women students to enrol in the Government College of Art and Crafts, Calcutta, and amongst the first women artists who persisted indeed, insisted on claiming professional space in her own right. She exhibited regularly, continuing with her drawing, sketching and painting right till the end of her life. She was a founder member of The Group, a collective of women artists. Shaha remains best known for her studies of the female nude, and art historian Tapati Guha-Thakurta's insightful analysis explains how 'the nude would become for her the prime symbol of artistic freedom and the shedding of inhibitions . . . [with] Karuna wresting this motif from ...
No Touching, No Spitting, No Praying
This volume brings together a range of essays that offer a new perspective on the dynamic history of the museum as a cultural institution in South Asia. It traces the museum from its origin as a tool of colonialism and adoption as a vehicle of sovereignty in the nationalist period, till its role in the present, as it reflects the fissured identities of the post-colonial period.
Monuments, Objects, Histories
"Monuments, objects, histories surveys the practices of archaeology, art history, and museums in nineteenth- and twentieth-century India. It looks at processes by which 'lost pasts' came to be produced in India. Such lost pasts, the author shows, came to be imagined around a corpus of monuments, archaeological relics, and art objects." "In brief, this book traces the framing of an official national canon of Indian art through different periods, showing how the workings of disciplines and institutions have been linked with the authority of the nation." --book cover.
Traces of India
This book investigates the different cultural roles played by photographs of Indian architecture from the latter half of the nineteenth century, an inquiry stretching from their pre-history to their migration into book illustrations, calendar art, and religious imagery. Beyond the apparent purposes of these images - as picturesque views, scientific records of an architectural past, political memorials, travel mementos, textbook vignettes - deeper considerations influenced the way their makers worked in selecting, framing, composing, and populating their representations. Shaping the viewer's thinking about what they represented, these images remain enduring records of a way of seeing, of mind...
