Influence of Religion on Indian Art – a Study
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Contemporary Art in Indian Context
Artistic Narration, Vol. IX, 2018, No. 2: ISSN (P) : 0976-7444 (e) : 2395-7247Impact Factor 6.133 (SJIF) Contemporary Art in Indian Context Dr. Hemant Kumar Rai Richa Singh Asso. Prof., Research Scholar Deptt. of Drawing & Painting M.F.A. M.M.H. College B.Ed. Ghaziabad, U.P. Reference to this paper should be made as follows: Abstract: This article has a focus on Contemporary Art in Indian context. Dr. Hemant Kumar Rai Through this article emphasizesupon understanding the changes in Richa Singh, Contemporary Art over a period of time in India right from its evolution to the economic liberalization period than in 1990’s and finally in the Contemporary Art in current 21st century. The article also gives an insight into the various Indian Context, techniques and methods adopted by Indian Contemporary Artists over a period of time and how the different generations of artists adopted different techniques in different genres. Finally the article also gives an insight Artistic Narration 2018, into the current scenario of Indian Contemporary Art and the Vol. IX, No.2, pp.35-39 Contemporary Artists reach to the world economy over a period of time. key words: Contemporary Art, Contemporary Artists, Indian Art, 21st http://anubooks.com/ Century Art, Modern Day Art ?page_id=485 35 Contemporary Art in Indian Context Dr. Hemant Kumar Rai, Richa Singh Contemporary Art Contemporary Art refers to art – namely, painting, sculpture, photography, installation, performance and video art- produced today. Though seemingly simple, the details surrounding this definition are often a bit fuzzy, as different individuals’ interpretations of “today” may widely vary. -
What Is Islamic Art?
What is Islamic art? What do we actually mean by Islamic art? A central feature of Islamic art is its emphasis on crasmanship. Creating a high quality object – something that is a delight to behold – is much more important than producing something new and innovative. Another characteristic of Islamic art is that it does not necessarily tell us anything about the artist’s personal ideas or feelings. Islamic artists and crasmen oen focus on a long, tried-and-true tradition. What is most important is creating something beautiful and well made, oen something with a practical use. In other words, Islamic art largely aims at beautifying everyday life and making utilitarian objects into works of art. en what does “Islamic” have to do with it? At the David Collection, we generally define Islamic art as works of art produced in the part of the world where the religion of Islam has played a dominant role for a long period of time. ey do not necessarily have to be works of art made by or for Muslims. e artists might also be followers of another religion, for example Christians or Jews. And the message conveyed by their art does not have to directly reflect the religion of Islam. It can also have a purely secular character. DURING THE GUIDED TOUR OF THE MUSEUM: When pupils are shown around the museum, the guide will focus on a number of common features of Islamic art: vegetal ornamentation, geometric patterns, calligraphy, and the stylized depiction of reality. Historical aspects will also be dealt with and, depending on the work of art, an object’s function and relevant cultural and historical aspects will be discussed. -
The Modes of Representation of Faces in South Asian Painting
<Research Notes>Profiled Figures: The Modes of Title Representation of Faces in South Asian Painting Author(s) IKEDA, Atsushi イスラーム世界研究 : Kyoto Bulletin of Islamic Area Studies Citation (2017), 10: 67-82 Issue Date 2017-03-20 URL https://doi.org/10.14989/225230 ©京都大学大学院アジア・アフリカ地域研究研究科附属 Right イスラーム地域研究センター 2017 Type Departmental Bulletin Paper Textversion publisher Kyoto University イスラーム世界研究 第 10 巻(2017 年 3 月)67‒82 頁 Profiled Figures Kyoto Bulletin of Islamic Area Studies, 10 (March 2017), pp. 67–82 Profiled Figures: The Modes of Representation of Faces in South Asian Painting IKEDA Atsushi* Introduction This paper argues that South Asian people’s physical features such as eye and nose prompted Hindu painters to render figures in profile in the late medieval and early modern periods. In addition, I would like to explore the conceptual and theological meanings of each mode i.e. the three quarter face, the profile view, and the frontal view from both Islamic and Hindu perspectives in order to find out the reasons why Mughal painters adopted the profile as their artistic standard during the reign of Jahangīr (1605–27). Various facial modes characterized South Asian paintings at each period. Perhaps the most important example of paintings in South Asia dates from B.C. 1 to A.C. 5 century and is located in the Ajantā cave in India. It depicts Buddhist ascetics in frontal view, while other figures are depicted in three quarter face with their eyes contained within the line that forms the outer edge (Figure 1). Moving to the Ellora cave paintings executed between the 5th and 7th century, some figures show the eye in the far side pushed out of the facial line. -
Indian Art History from Colonial Times to the R.N
The shaping of the disciplinary practice of art Parul Pandya Dhar is Associate Professor in history in the Indian context has been a the Department of History, University of Delhi, fascinating process and brings to the fore a and specializes in the history of ancient and range of viewpoints, issues, debates, and early medieval Indian architecture and methods. Changing perspectives and sculpture. For several years prior to this, she was teaching in the Department of History of approaches in academic writings on the visual Art at the National Museum Institute, New arts of ancient and medieval India form the Delhi. focus of this collection of insightful essays. Contributors A critical introduction to the historiography of Joachim K. Bautze Indian art sets the stage for and contextualizes Seema Bawa the different scholarly contributions on the Parul Pandya Dhar circumstances, individuals, initiatives, and M.K. Dhavalikar methods that have determined the course of Christian Luczanits Indian art history from colonial times to the R.N. Misra present. The spectrum of key art historical Ratan Parimoo concerns addressed in this volume include Himanshu Prabha Ray studies in form, style, textual interpretations, Gautam Sengupta iconography, symbolism, representation, S. Settar connoisseurship, artists, patrons, gendered Mandira Sharma readings, and the inter-relationships of art Upinder Singh history with archaeology, visual archives, and Kapila Vatsyayan history. Ursula Weekes Based on the papers presented at a Seminar, Front Cover: The Ashokan pillar and lion capital “Historiography of Indian Art: Emergent during excavations at Rampurva (Courtesy: Methodological Concerns,” organized by the Archaeological Survey of India). National Museum Institute, New Delhi, this book is enriched by the contributions of some scholars Back Cover: The “stream of paradise” (Nahr-i- who have played a seminal role in establishing Behisht), Fort of Delhi. -
Interpreting an Architectural Past Ram Raz and the Treatise in South Asia Author(S): Madhuri Desai Source: Journal of the Society of Architectural Historians, Vol
Interpreting an Architectural Past Ram Raz and the Treatise in South Asia Author(s): Madhuri Desai Source: Journal of the Society of Architectural Historians, Vol. 71, No. 4, Special Issue on Architectural Representations 2 (December 2012), pp. 462-487 Published by: University of California Press on behalf of the Society of Architectural Historians Stable URL: http://www.jstor.org/stable/10.1525/jsah.2012.71.4.462 Accessed: 02-07-2016 12:13 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Society of Architectural Historians, University of California Press are collaborating with JSTOR to digitize, preserve and extend access to Journal of the Society of Architectural Historians This content downloaded from 160.39.4.185 on Sat, 02 Jul 2016 12:13:51 UTC All use subject to http://about.jstor.org/terms Figure 1 The relative proportions of parts of columns (from Ram Raz, Essay on the Architecture of the Hindus [London: Royal Asiatic Society of Great Britain and Ireland, 1834], plate IV) This content downloaded from 160.39.4.185 on Sat, 02 Jul 2016 12:13:51 UTC All use subject to http://about.jstor.org/terms Interpreting an Architectural Past Ram Raz and the Treatise in South Asia madhuri desai The Pennsylvania State University he process of modern knowledge-making in late the design and ornamentation of buildings (particularly eighteenth- and early nineteenth-century South Hindu temples), was an intellectual exercise rooted in the Asia was closely connected to the experience of subcontinent’s unadulterated “classical,” and more signifi- T 1 British colonialism. -
1 Teaching Islamic Religious Art As An
Teaching of Islamic Religious Art as an Aid to the Understanding of Islamic Culture Item Type text; Electronic Thesis Authors Raina, Seemin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 07:56:52 Link to Item http://hdl.handle.net/10150/193252 1 TEACHING ISLAMIC RELIGIOUS ART AS AN AID TO THE UNDERSTANDING OF ISLAMIC CULTURE by Seemin Raina _________________________ Copyright © Seemin Raina 2005 A Thesis Submitted to the Faculty of SCHOOL OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2005 2 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirement for an advanced degree at The University of Arizona and is deposited in the University library to be made available to borrowers under rules of the library. Brief quotations from this thesis are allowed without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotations from or reproductions of this manuscript in whole or in part may be granted by the copyright holder Seemin Raina. APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: Dr. Elizabeth Garber Date: May 11, 2005 Professor of Art 3 ACKNOWLEDGMENTS First of all I would like to acknowledge all my children, specifically my sons, Hadi and Hammad, whose continuous help, encouragement, and support is making it possible for me to undertake and complete my education and this research. -
Greece, the Mother of All Religious Art
GREECE, THE MOTHER OF ALL RELIGIOUS ART BY THE EDITOR. the of eternal principles we may IF revelation means discovery justly declare that the Greek nation has been the medium for the revelation of art to mankind as well as the founder of science. The Greek style of literature, Greek methods of artistic represen- tation. Greek modes of thought have become standards and are therefore in this sense called "classical." We stand on the shoul- ders of the ancient Greeks, and whatever we accomplish is but a continuing- of their work, a building higher upon the foundations they have laid. This is true of sculpture, of poetry and of the basic principle of the science of thought, of logic, and also of mathematics. Euclid, more than Leviticus or Deuteronomy, is a book inspired by God.^ Whatever the non-Euclideans- may have to criticize in the outlines of Euclid's plane geometry, we must say that the author of this brief work is, in a definite and well-defined sense, the prophet of the laws that prevail in the most useful of all space- conceptions. By Euclid we understand not so much the author of the book that goes under his name, but the gist of the book itself, the thought of it, the conception of geometry and the principles which are embodied in it. In our recognition of Euclid's geometry we include his predecessors, whosoever they may have been. The man who for the first time in the history of mankind conceived the idea of points, lines, planes as immaterial quantities, as thought-constructions or whatever you may call the presentation of pure figures and their interdependence, was really a divinely inspired mind. -
Iconography of Jesus Christ in Nubian Painting 242 MAŁGORZATA MARTENS-CZARNECKA
INSTITUT DES CULTURES MÉDITERRANÉENNES ET ORIENTALES DE L’ACADÉMIE POLONAISE DES SCIENCES ÉTUDES et TRAVAUX XXV 2012 MAŁGORZATA MARTENS-CZARNECKA Iconography of Jesus Christ in Nubian Painting 242 MAŁGORZATA MARTENS-CZARNECKA In religious art the image of Christ was one of the key elements which inspired the faithful to prayer and contemplation. Pictured as the Incarnation of Logos, the Son of God, the Child born unto Mary, the fi gure of Christ embodied the most important dogma of Christianity.1 Depicted in art, Christ represents the hypostasis of the Word made man – the Logos in human form.2 Christ the Logos was made man (κατά τόν ανθρώπινον χαρακτήρα). God incarnate, man born of Mary, as dictated by canon 82 of the Synod In Trullo in Constan- tinople (AD 692), was to be depicted only in human form, replacing symbols (the lamb).3 From the moment of incarnation, the image of Christ became easily perceptible to the human eye, and hence readily defi ned in shape and colour.4 Artists painting representations of Christ drew inspiration from the many descriptions recorded in the apocrypha: ... and with him another, whose countenance resembled that of man. His countenance was full of grace, like that of one of the holy angels (1 Enoch 46:1). For humankind Christ was the most essential link between the seen and the unseen, between heaven and Earth;5 the link between God and the men sent by God (John 1:6; 3:17; 5:22-24), through whom God endows the world with all that is good. He is the mediator to whom the faithful, often through the intercession of the Virgin, make supplication and prayer – if you ask the Father anything in my name, he will give it to you (John 16:23; 14:11-14; 15:16). -
Origin and Development in Medieval India, Mughal School of Miniature Painting Was Recognised As the Art of Aristocracy
Origin and Development In medieval India, Mughal school of miniature painting was recognised as the art of aristocracy. The Mughal Art was quite different from the Sultanate Art or the Islamic Art which was prevalent in Deccan Muslims' empires, because theme, style of art, human figures and artists of the Islamic art came from the Islamic world of Persia or Iran and Turkey. The paintings painted by them were Indian only in the context that they were painted on Indian ground, but the feeling of Indianness was not in them at all. The view of the Mughal Art was quite different from the Sultanate Art or the Islamic Art. It was not only Indian but also looked Indian. The artists of that period had initiated to represent the Islam even in Indian style with the Indian subject-matter. In that way, the Mughal Art was not the Islamic art at all, only the Islamic elements were included in that to make it more prosperous. On the basis of development, there are three phases of the Mughal Art: 1. Art during Akbar's Period. Akbar is acknowledged as the father of Mughal Art. Because his two predecessor rulers—Babar and Humayun—remained busy in stabilizing the empire. When 13-year old Akbar became king, he not only stabilized the Mughal empire with his intellectual skilß and expert leadership but also encouraged his architectural skills, art skills (painting) and book writing skills. For the picturisation of the books he established a Tasvirkhana house in his court. He got a paper-mill established in Syalkot (now in Pakistan) to make compulsory and continuous supply of paper. -
13. Indian Architecture(5.6
Indian Architecture MODULE - V Painting, Performing Arts and Architecture Notes 13 INDIAN ARCHITECTURE t times it becomes very important to be reminded that we are that civilization which has spanned atleast 4,500 years and which has left its impact on Anearly everything in our lives and society. Imagine UNESCO has listed 830 World Heritage Sites, out of which 26 are in India. This is less than six other countries. Is this not a tangible proof of the creative genius and industry of this ancient land, people, and also of the gifts bestowed on it by nature. Be it the Bhimbetka’s pre historic rock art at one end or the innumerable palaces, mosques, temples, gurudwaras, churches or tombs and sprawling cities and solemn stupas. Going through the cities of Delhi, Agra, Jaipur, Mumbai and Calcutta etc. you find many beautiful buildings. Some are monuments, palaces, temples, churches, mosques and memorials. Many of them had their foundation before Christ and many after the coming of Christ. Many generations have been a part of this architecture which stands mighty and lofty reminding us of that glorious past which has been ours. This is because art and architecture forms an important part of Indian culture. Many distinctive features that we find in the architecture today developed throughout the long period of Indian history. The earliest and most remarkable evidence of Indian architecture is found in the cities of the Harappan Civilization which boast of a unique town planning. In the post Harappan period architectural styles have been classified as Hindu, Buddhist and Jain, The medieval period saw the synthesis of Persian and indigenous styles of architecture. -
A Philosophy of Christian Art
A Philosophy of Christian Art Daniel Gustafsson PhD The University of York Department of Philosophy March 2014 Abstract This thesis offers an original and comprehensive philosophical approach to the understanding of Christian art. It draws on a range of sources, from analytic and theological aesthetics, philosophy and theology, to interpret and articulate a vision of the aims and prerogatives of Christian art. Works by William Blake, David Jones, and R. S. Thomas are among those receiving close attention; works which yield a picture of art and creative labour as deeply implicated in the central mysteries and practices of the Christian faith. In five chapters, the thesis addresses the nature and the implications of the Form, the Beauty, the Good, the Ontology, and the Love of Christian art. It is the aim of Christian art to manifest God under the particular forms and beauty of the artwork. These forms are realised and discerned in the context of a Christian life. The artwork’s beauty invites a response of delight, gratitude, and the reorientation of our desires and dispositions towards the infinite beauty of God. As a sacramental object, the Christian artwork is positioned in a Christian ontological narrative, in which we humans are entrusted with transformative stewardship of the world. Outside this conceptual and ontological context, the work will not be experienced as what it is. Ultimately, the Christian artwork begs to be perceived and engaged with – as indeed it is created – as an object of love. Thus the artwork finds its place within an understanding of Christian faith as the striving for a personal union with God. -
Bollywood and Postmodernism Popular Indian Cinema in the 21St Century
Bollywood and Postmodernism Popular Indian Cinema in the 21st Century Neelam Sidhar Wright For my parents, Kiran and Sharda In memory of Rameshwar Dutt Sidhar © Neelam Sidhar Wright, 2015 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ www.euppublishing.com Typeset in 11/13 Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 9634 5 (hardback) ISBN 978 0 7486 9635 2 (webready PDF) ISBN 978 1 4744 0356 6 (epub) The right of Neelam Sidhar Wright to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents Acknowledgements vi List of Figures vii List of Abbreviations of Film Titles viii 1 Introduction: The Bollywood Eclipse 1 2 Anti-Bollywood: Traditional Modes of Studying Indian Cinema 21 3 Pedagogic Practices and Newer Approaches to Contemporary Bollywood Cinema 46 4 Postmodernism and India 63 5 Postmodern Bollywood 79 6 Indian Cinema: A History of Repetition 128 7 Contemporary Bollywood Remakes 148 8 Conclusion: A Bollywood Renaissance? 190 Bibliography 201 List of Additional Reading 213 Appendix: Popular Indian Film Remakes 215 Filmography 220 Index 225 Acknowledgements I am grateful to the following people for all their support, guidance, feedback and encouragement throughout the course of researching and writing this book: Richard Murphy, Thomas Austin, Andy Medhurst, Sue Thornham, Shohini Chaudhuri, Margaret Reynolds, Steve Jones, Sharif Mowlabocus, the D.Phil.