Established seller since Seller Inventory CA Language: English. Brand new Book. Following India's independence in , 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.
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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. Brown explores the emergence of a self-conscious Indian modernism-in painting, drawing, sculpture, architecture, film, and photography-in the years between independence and , by which time the Indian art scene had changed significantly and postcolonial discourse had begun to complicate mid-century ideas of nationalism.
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. Seller Inventory AAS Book Description Duke University Press.
International Journal of Postcolonial Studies
New copy - Usually dispatched within 2 working days. Seller Inventory B Seller Inventory M Brand New. Book Description Duke Univ Pr, Condition: Brand New.
In Stock. Rebecca Brown. Publisher: Duke University Press , This specific ISBN edition is currently not available. View all copies of this ISBN edition:. Synopsis About this title In the process of creating modern art following India's independence in , Indian artists faced a paradox as they sought to maintain a local idiom, an 'Indianness' representative of their newly independent nation, while connecting to modernism, an aesthetic then understood as universal and Western.
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Art for a Modern India, Rebecca M. Physical description xv, pages : illustrations ; 22 cm. Online Available online.
Full view. E28 Unknown. More options. Find it at other libraries via WorldCat Limited preview.
ISBN 13: 9780822343752
Bibliography Includes bibliographical references pages  and index. Summary In Mimesis across Empires, Natasha Eaton examines the interactions, attachments, and crossings between the visual cultures of the Mughal and British Empires during the formative period of British imperial rule in India. Eaton explores how the aesthetics of Mughal "vernacular" art and British "realist" art mutually informed one another to create a hybrid visual economy.
By tracing the exchange of objects and ideas - between Mughal artists and British collectors, British artists and Indian subjects, Indian elites and British artists - she shows how Mughal artists influenced British conceptions of their art, their empire, and themselves even as European art gave Indian painters a new visual vocabulary with which to critique colonial politics and aesthetics.
By placing her analysis of visual culture in relation to other cultural encounters - ethnographic, legislative, diplomatic - Eaton uncovers deeper intimacies and hostilities between the colonizer and the colonized, linking artistic mimesis to the larger colonial project in India. Bibliographic information. Browse related items Start at call number: N E28