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Dissertations / Theses on the topic 'Indian painting'
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1
Bundgaard, Helle. "An Indian cloth painting and its art worlds : perceptions of Orissan patta paintings." Thesis, SOAS, University of London, 1994. http://eprints.soas.ac.uk/29346/.
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This study examines how a particular kind of Indian painting comes to have value. The focus of analysis is on the social life of paintings rather than the purely aesthetic. This is explored through a detailed examination of perceptions of the paintings amongst producers, consumers and art critics. The study is an attempt to apply the sociological institutional theory of art on Orissan patta paintings by developing the sociological approach into what I consider to be an anthropological approach. The Orissan patta paintings, with which the study is concerned, are circulated not only within India but also abroad and thus move through different cultural milieus. Following Arjun Appadurai (1986) pattas can be said to have a social life, whose value and meaning change through time and place (1986). The paintings are located in several value systems. These systems will often meet in the very transaction which moves a painting from one sphere to another. One of the central questions raised in the thesis is how particular kind of paintings come to have value and whether they are endowed with different layers of value. The model I have developed is of an art world consisting of interpenetrating layers with different semantic registers. The differences in evaluation and interpretation of the paintings at different points in their "social life" lead me to argue that the layers have the character of separate yet interacting worlds.
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Haidar, Navina Najat. "The Kishangarh school of painting, c.1680-1850." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319068.
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Nardi, Isabella. "The theory of Indian painting : the citrasutras, their uses and interpretations." Thesis, SOAS, University of London, 2003. http://eprints.soas.ac.uk/28886/.
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This study critically analyses the main concepts described in the Sanskrit texts on painting, the citrasutras. The citrasutras are a section of Sanskrit scientific literature analysing painting within the framework of Indian philosophical thought. This thesis explores the content of the citrasutras, critically examines the different ways in which they have been interpreted and used in the study of Indian painting, and suggests a new approach to reading and understanding them. One of the aims of this thesis is to draw together, examine and compare the concepts of the citrasutras such as measurement and proportion, and will also add, for the first time, the concepts of talamana and iconography to the theory of painting. This is to overcome the limits of current research, which considers concepts of the citrasutras separate from those of the texts on the theory of sculpture. It is argued here that this widespread approach is unhelpful if not misleading for our understanding of the theory of Indian painting. Another point raised by this work is that the texts have always been regarded as prescriptive compilations. This established view directly contradicts the central observation made in this study that the citrasutras present different views on Indian painting. This is evidenced by the many contradictions that appear in the study of the citrasutras, and in particular the discrepancies between textual images and extant painting. A key empirical basis from which the critical analysis and commentary of this study draw is the application of views and experiences of traditional painters living and practising their art today. Their accounts are drawn upon to furnish the argument of this study that the citrasutras are not to be considered as prescriptive guides for painters. Rather, the texts constitute a theoretical basis that should work in the mind of a painter and can therefore be translated into practice in various ways. It is hoped that the comparison and analysis of textual concepts will provide new insights into our understanding of the practice of painting and our interpretation of the citrasutras, and that an appropriate reading of the texts will bring us closer to appreciating Indian painting from an Indian perspective.
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Maurice, Roland. "The otherings of Miss Chief : Kent Monkman's Portrait of the artist as hunter /." Address to access a reproduction of the painting on the Kent Monkman website (viewed Feb. 14, 2010), 2007. http://kentmonkman.com/works.php?page=painting&start=38.
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Sen, Swapan Kumar. "Development of aesthetic sensitivity among Indian students at secondary level through painting." Thesis, University of North Bengal, 1996. http://hdl.handle.net/123456789/1152.
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Jhaveri, Shanay. "The journey in my head : cosmopolitanism and Indian male self-portraiture in 20th century India : Umrao Singh Sher-Gil, Bhupen Khakhar, Ragubhir Singh." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1808/.
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Between 1890 and 1948, Umrao Singh Sher-Gil (1870–1954) a philosopher, Sanskritist, Persianist and father of India’s greatest modernist painter Amrita Sher-Gil, produced a remarkable body of photographic self-portraits. The photographs, usually very small were always of himself in aristocratic-bourgeois settings, which ranged from Paris, Budapest, Simla and Lahore. These images prove to be the starting point for my own research into self-portraiture and a re-appraisal of the term ‘cosmopolitanism’. Central to my re-figuring of ‘cosmopolitanism’ is a refutation of the Kantian ideal of the self-identical, self-sufficient, immune and transcendental subject. I intend to map out how the term has been re-claimed and recalibrated by myriad postcolonial academics and scholars in contemporary critical and cultural theory. My own participation in the on-going re-evaluation of ‘cosmopolitanism’ is done through the detailed study of the lives and works of my three case studies: Sher-Gil, the painter Bhupen Khakhar (1934- 2003), and photographer Raghubir Singh (1942–1999). In my discussion of their respective oeuvres, place and location are foregrounded, taking into account physical movement, but more crucially modes of affiliation and belonging. In my research, a rethinking of ‘cosmopolitanism’ rests on the assertion that a ‘cosmopolitan self’ evolves from correspondences between disparate parties and places. Community, friendship, networks of affiliation and interpersonal exchange are critical to study and acknowledge. The other fundamental concern of this thesis is an emphasis on emotion, and emotional connections to spaces. Geography can and should be read as being populated by emotions, and the narratives of lives can be told through the emotional connections to certain places and spaces. With this research I do not wish to establish a definition or a model of a South Asian cosmopolitan or cosmopolitanism, which is a dangerous and limiting gesture. With the aid of Sher-Gil, Khakhar and Singh I hope to make apparent that for a cosmopolitan sensibility to be formed, physical travel, affluence, and privilege are not necessities. Neither is relinquishing an attachment to place or, inversely, claiming multiple attachments to places, but rather advocating for a recognition of the connection between space and emotion, and how the affects produced from these lived conditions and experiences are manifested, materialised and should be appreciated. Another aspect of this research project is an engagement with a mode of heuristic inquiry, where there is an emphasis on the researcher’s internal frame of reference, the researchers present. Thus, the temporal frame of the thesis produced by my selection of case studies, spans from India’s transition as a colony to an independent nation, but continuing on consciously to my own locatedness, at a moment when it is emerging as a global capitalist power led by a Hindu nationalist government. All of which prompts a continued consideration of the tension between nationalism and cosmopolitanism. It begs the question, how has and can one continue to arbitrate between local attachments and the world at large?
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Doughty, Elizabeth Lynn 1984. "Modern Individualism: Paintings by Oscar Howe before the Annual National Indian Painting Competition at the Philbrook Museum of Art, 1958." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10822.
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ix, 68 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>In 1958 Yanktonai Sioux painter Oscar Howe's (1915-1983) submission to the
Annual National Indian Painting Competition at the Philbrook Museum of Art was
rejected for deviating too far from the established conventions of "traditional Indian
painting." Howe's innovative use of style and his subsequent declarations against the
premises of his rejection established the artist as a major figure in the development of
Native American painting in the twentieth century. The existing literature on Howe is
predominantly biographical and lacks contextual or stylistic analysis. In particular, an
under-analyzed relationship is prevalent between his mature style and his early works.
This thesis aims to address the social, cultural, educational, political, and stylistic
influences that prepared the artist to evolve the formal aspects of his painting. This
discussion will expand the discourse on Howe by revealing trends of continuity in the
artist's transition from his earlier style to an experimental style and showing that neither
is without the influence of the other.<br>Committee in Charge:
Leland M. Roth, Chair;
Joyce Cheng;
Brian Klopotek
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Carotenuto, Gianna Michele. "Domesticating the harem reconsidering the zenana and representations of elite Indian women in Colonial painting and photography of India /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=2024771361&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Shovelton, Emily Phillida. "Sultanate painting from the North Indian subcontinent : Three fifteenth century Persian illustrated manuscripts." Thesis, SOAS, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.512014.
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Khosla, Preeti. "The visual language of the north Indian styles of painting during the Sultanate period (1414-1525)." Thesis, SOAS, University of London, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.764192.
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Kalkat, Saloni Kaur. "Daughter, Wife, Mother: Women as Emblems of Indian Authenticity Throughout the Diaspora." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/925.
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It has been over a century since the maternal side of my family has resided in the natal land of our cultural heritage and religious proclivities – Punjab, India, where Sikhism was established. As an American I continue this extension of our roots from their source. Through the process of shifting location, cultural confluence, and passing time the experiences of the women in each successive generation of my family have altered significantly through our diasporic existence. However, even in the aftermath of colonization and immigration, the enduring responsibility of women is reliant upon their relation to family.
This ideology is imbued through the words of the Sikh holy text, the Guru Granth Sahib, as well as broader Indian cultural norms regarding gender roles. Implicit in the religious tradition of locating family in female members lies the practice of making women emblematic of cultural survival. Thus, within their role of sustaining physical life women also sustain culture. This becomes increasingly important when culture is extracted from its source. Despite dispersion across the world, the women in my family have continued to fulfill the responsibility of the safekeeping of culture and traditions.
My series of three portraits, Daughter, Wife, Mother, illustrates the primary familial ties that determine an Indian woman’s identity throughout her life, and evokes the duty of cultural preservation that is associated with each of them. These oil paintings are based off of photos of me, my mother, and my grandmother from our family archive. Daughter, Wife, Mother lacks any indications of time period or specific location, thus asserting that this gendered life journey has persisted throughout my family’s diaspora.
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Keener, Candis Michelle. "The Baby Jaguar Series a comparative analysis /." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1259607927.
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Thesis (M.A.)--Kent State University, 2009.<br>Title from PDF t.p. (viewed April 22, 2010). Advisor: Fred Smith. Keywords: Baby Jaguar; Chaak; Maya ceramic painting; Yum Cimil; Codex Vessels. Includes bibliographical references (p. 86-90).
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Vaidya, Aradhana. "Translating Indian miniature paintings into a time-based medium." Texas A&M University, 2008. http://hdl.handle.net/1969.1/85978.
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The purpose of this research and the corresponding project is to explore and interpret the
qualities of the traditional art form of Indian miniature paintings into a digital, time
based medium. These are beautiful, finely-drawn paintings with rich detailed patterns
and striking bold colors. Intricately and meticulously drawn, they employ an alternative
means of representation distinctly different from a conventional lens-based perspective.
Most 3-dimensional digital media makes use of either a real or a virtual camera to
inform the representation of space. In this project I deviate from this convention to create
a new visual style for animation. The project demonstrates how a consistent yet different
visual look can be achieved that retains the richness and visual expression of the
traditional painting style through the use of new technology.
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Narayanan, Bethany M. "The painted barns of southeastern Indiana : decorative painting and commercial advertisement." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214383.
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Many barns in the United States were painted at one time, most of them a solid color, usually red or white. A small proportion of barns were further embellished with decorative painting or commercial advertisements.This creative project studies such decoratively painted barns. It examines the reasons barns were painted, the materials and methods used in painting, and color preferences. It describes the four major types of decorative barn painting, and it traces the history of advertisements painted on barns, with special focus on the advertising campaign for Mail Pouch Tobacco.The project also includes a survey of the decoratively painted barns within a seven county region in southeastern Indiana and a preservation strategy for those barns. The region, which encompasses Dearborn, Franklin, Jefferson, Jennings, Ohio, Ripley, and Switzerland counties, was chosen because it has a relatively high concentration of Mail Pouch Tobacco advertisements and because it remains very agricultural in nature. The barns in the survey area remain in their rural historic context.A list of Mail Pouch Tobacco signs in the survey area was available as a result of prior research by others. The survey was conducted by driving the roads on which Mail Pouch signs had been recorded previously, looking also for other barn advertisements and decorative painting along the route. For each example noted, information was recorded on a survey form about the location, condition, and function of the barn as well as the type of painting, and photographs were taken in both black and white and color.As part of the preservation strategy, three driving tours were devised, and a full-color brochure describing the driving tours was designed. Application was made for a grant to fund production of the brochure for distribution to county visitor's bureaus and historic preservation agencies in the seven surveyed counties. If the grant is received, One thousand five hundred copies of the brochure will be printed.<br>Department of Architecture
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Gude, Tushara Bindu. "Between music and history Rāgamālā paintings and European collectors in late eighteenth-century northern India /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=2023838261&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Qureshi, Adeela. "The hunt as metaphor in Mughal painting (1556-1707)." Thesis, University of Oxford, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669811.
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Cantelo, Brenda. "The paintings of Kumud Sarma, a contemporary expression of Indian spirituality." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0027/NQ32877.pdf.
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Ker, Yin. "Figurer, voir et lire l’insaisissable : la peinture manaw maheikdi dat de Bagyi Aung Soe (1923/24–1990)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040144.
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Héritier de l’universalisme humaniste de Rabindranath Tagore par sa formation à Śāntiniketan en Inde, le ditpère de l’art moderne birman Bagyi Aung Soe (1923/24–1990) se consacra à figurer les réalités ultimes enfonction des enseignements bouddhiques. Pour ce faire, il mit au point un langage pictural qu’il baptisa lapeinture « manaw maheikdi dat » qui signifie la création artistique par la culture mentale. Ses référencesvisuelles, variant de la physique à l’ésotérisme bouddhique, de la culture populaire à la poésie, comprennent toutce qui fut à sa portée intellectuelle et spirituelle dans la Birmanie socialiste militaire de 1962 à 1988. Soninsistance sur la somme des héritages propres à cet espace-temps, de même que son dépassement descloisonnements conceptuels selon les disciplines, les frontières nationales ou les divisions chronologiques, exigeun récit conçu au regard des significations contextuelles, un récit adapté et affranchi du modèle prétendumentinternational de l’art euraméricain. Afin de proposer un récit sur comment il compta rendre manifestel’insaisissable selon les circonstances propres au contexte de sa vie, nous mettons l’accent sur les conditionsaccueillant la genèse et la diffusion de cette production artistique dite « la plus moderne de l’art moderne » enraison de sa dimension transnationale et transhistorique. À partir d’une sélection parmi plus de quatre milleoeuvres et de centaines de témoignages écrits et oraux recueillis, nous examinons non seulement la fabrication decette peinture qui reste aussi non étudiée en Birmanie qu’inconnue de la scène internationale, mais aussi lesmanières dont nous pouvons la lire et la voir<br>A student at Rabindranath Tagore’s ashram in Śāntiniketan, India, Myanmar’s “father of modern art” BagyiAung Soe (1923/24–1990) embraced his Indian gurus’ concept of art and the artist. In the spirit of the laureate’shumanist universalism, he strove to picture Buddhist teachings. His signature idiom christened “manawmaheikdi dat”, which has yet to be studied in Myanmar and is virtually unknown at the international level, reliedon meditation to achieve advanced mental power in order to picture the most elemental components of allphenomena, and its visual references included all that was possibly accessible under socialist rule in Burma(1962–1988). With little regard for artistic conventions and categorisations according to discipline, nation andchronology, Aung Soe drew from the sum of artistic, intellectual and spiritual traditions defining his space andtime, varying from quantum physics to esoteric Buddhism, from popular culture to poetry. The nature of hisapproach, method and subject matter, coupled with his country’s exceptional circumstances, demands a newnarrative of art that is unfettered by the assumptions inherent to the purportedly international framework ofEuramerican modern art. Focusing on the contextual significances of the genesis and reception of manawmaheikdi dat painting, this dissertation examines the making, the reading and the seeing of this pictoriallanguage whose transnational and transhistorical dimension renders it “the most modern of modern art”. Basedon a selection of the artist’s works and writings, as well as witnesses of his life and practice, we attempt a storyof how he pictured and made manifest the formless on his own terms
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Chak, Chung-Ho. "A visual study of Indiana's landscape." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/461933.
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The purpose of this Creative Project was to create and analyze the student's art work,which was finished within the academic year 1985-86, at Ball State University. Due to the difference in geographical features between Indiana and Hong Kong (where the student originally came from), the attitude and approach of the student towards painting was affected. This paper traced and identified how and where his works of art changed.The whole analysis was based on three major pieces. They were Frankton I, A Cold Summer, Frankton II and LandscaDe VI (which was a landscape of Muncie). These three works were oil paintings. The student also used some of the preparatory watercolor sketches that he made to help describe the different developing stages of his art. During the analysis, technical aspects of handling oil paint were discussed too.
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Ray, Melissa Marie. "The shield bearing warriors of Bear Gulch a look at prehistoric warrior identity in rock art and places of power /." CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-05112007-121422/.
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Da, Fonseca Anais. "Continuity and change in contemporary Cheriyal paintings from Telangana, India." Thesis, SOAS, University of London, 2016. http://eprints.soas.ac.uk/26669/.
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Heston, Mary Coffman. "The Mattāncheri Palace mural paintings of Kērala, India : a stylistic study." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259760981.
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Sikes, Graydon R. "Henry Farny’s Paintings of American Indians, 1894-1916: Images of Conflict Between Indians and Whites Evolve into Symbolic Representations of the Demise of the Western Frontier." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1236196493.
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Robertson, Donald. "Mexican manuscript painting of the early colonial period : the metropolitan schools /." Norman (Okla.) : University of Oklahoma press, 1994. http://catalogue.bnf.fr/ark:/12148/cb37512475w.
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Pratt, Stephanie Rose. "The European perception of the Native American, 1750-1850." Thesis, University of Plymouth, 1989. http://hdl.handle.net/10026.1/2748.
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The thesis on which I have based my research proposes that while the European perception of the Native American from 1750 to 1850 came to be mediated via all the visual arts, it was specifically via the graphic media that the proliferation of imagery concerning the Native American developed certain iconic and representational conventions and that these consistently overwhelmed other sources of information, from experience to written interpretation. The ubiquity of certain modes of presentation, of figure-types, and of synecdoches which stood for the Native American (e.g. feather decoration or the tomahawk) resulted almost entirely from graphic methods of visual elucidation. The tyranny of such visual types lies not only in their effective re-constitution of known, familiar imagery but also in the qualitative characterization of the Native American figure. In their reduction of the figure to symbolic and emblematic patterns of content, these few visual tokens belied the greater, complex reality of Native American existence, and left the European perception of it in a static position. It is only through the collation and analysis of all the various modes of visual expression, both graphic and ‘high’ art instances, that these tokens of the visual representation of the Native American can be discerned and their proliferation be analysed as a determinant in the ‘construction’ of the Native American.
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Costa, Richard Santiago 1985. "O corpo indígena ressignificado : Marabá e O último Tamoio de Rodolfo Amoedo, e a retórica nacionalista do final do Segundo Império." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281782.
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Orientador: Claudia Valladão de Mattos<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-22T10:23:25Z (GMT). No. of bitstreams: 1
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Previous issue date: 2013<br>Resumo: O presente projeto de pesquisa pretende estudar duas obras específicas do pintor brasileiro Rodolfo Amoedo intituladas O último Tamoio (1883) e Marabá (1882). Tais obras serão analisadas dentro do contexto de sua produção na segunda metade do século XIX buscando identificar aspectos formais e programáticos que as aproximam e ao mesmo tempo afastam da política de criação de uma identidade nacional implementada pela Academia Imperial de Belas Artes no decorrer do século XIX. Buscaremos associar essas pinturas, tão importantes no conjunto da obra de Amoedo, ao ambiente sócio-político e cultural do Brasil oitocentista, investigando suas intenções políticas e culturais no contexto artístico do período. Além disso, interrogaremos tais pinturas na tentativa de reconhecer traços do estilo de Amoedo que as ligassem à sua formação artística tanto no Brasil quanto na Europa, trazendo referências diversas nas áreas da literatura e pintura que contribuíram para sua feitura. Será fundamental investigar como Amoedo desmonta o aparato de exaltação do mito do "índio herói nacional", identificando os traços de um indianismo tardio sem fôlego, esgotado às vésperas da proclamação da República. Para tanto, será importante confrontar literatura e artes plásticas dentro das premissas do ut pictura poesis, visto que naquela floresceu primeiro o que se convencionou chamar de "indianismo". Propomos uma reflexão sobre a figura do índio melancólico e trágico das pinturas supracitadas de Amoedo em detrimento do índio heróico e guerreiro da produção literária do período anterior e seu papel na constituição de um imaginário nacional que tinha o índio como símbolo pátrio: através das diversas ressiginificações por que passou o corpo indígena, seja no campo da pintura e da escultura, seja no campo da ilustração e da literatura, analisaremos como Amoedo se insere como renovador do indianismo acadêmico, rearranjando os elementos próprios da retórica nacionalista no final do Segundo Império<br>Abstract: This research project aims to study two specific works of the Brazilian painter Rodolfo Amoedo titled The Last Tamoio (1883) and Maraba (1882). Such works will be examined within the context of his production in the second half of the nineteenth century trying to identify formal and programmatic aspects which approach and at the same time move back them from the creation policy of a national identity implemented by the Imperial Academy of Fine Arts during the nineteenth century. Trying to associate these paintings, very important in Amoedo's whole works, to the social, political and cultural environment of nineteenth century on Brazil, looking for his political and cultural intentions in the artistic context of that period. Furthermore we will study such paintings trying to recognize aspects of Amoedo's style that link them to his artistic development both in Brazil and in Europe, bringing different references in literature and painting areas which was a contribution to its conception. It will be essential to investigate how Amoedo disjoints the apparatus of exaltation of the "national Indian hero" myth, identifying aspects of a late breathless "indianism", exhausted on the eve of the Republic's proclamation. Therefore, it will be important to confront literature and fine arts within the premise of ut pictura poesis, since that first grew what is conventionally called "indianism". We propose a reflection about the image of the melancholic and tragic indian of the Amoedo's paintings above in detriment of the heroic and warrior indian of the literary production of the previous period and their role in the constitution of a national imaginary that used to have indian as a native symbol: through the different reinventions of its meaning which passed the indigenous body, whether in painting and sculpture, or in the field of illustration and literature, we are going to analyze how Amoedo introduces himself as a re-newer of the academic indianism, rearranging the specific elements of the nationalist rhetoric at the end of the Second Empire<br>Mestrado<br>Historia da Arte<br>Mestre em História da Arte
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Sikes, Graydon R. "Henry Farnys paintings of American Indians, 1894-1916 images of conflict between indians and whites evolve into symbolic representations of the demise of the western frontier /." Cincinnati, Ohio : University of Cincinnati, 2009. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1236196493.
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Thesis (M.A.)--University of Cincinnati, 2009.<br>Advisors: Theresa Leininger-Miller PhD (Committee Chair), Susan Meyn PhD (Committee Member), Diane Mankin PhD (Committee Member). Title from electronic thesis title page (viewed May 1, 2009). Includes abstract. Keywords: Henry Farny; painting; western; american; artist. Includes bibliographical references.
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Hoffman-Stonebraker, Jennifer C. "The history and use of stained glass windows in ecclesiastical buildings in Indianapolis, Indiana, 1865-1915." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214382.
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This thesis examines stained glass windows in Indianapolis churches built between 1865 and 1915. It studies the trends in Indianapolis stained glass windows and compares them with the national trends in stained glass design. The evidence contained within this thesis indicates that a wide variety of styles popular at the time are represented in Indianapolis churches. The evidence also suggests that some national trends in stained glass did influence the design of the windows in Indianapolis. However, most of the windows in the surviving Indianapolis churches from the period are not typical of the high style trends in church stained glass found elsewhere in the United States.<br>Department of Architecture
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Dluzak, Catherine M. "An investigation into the influence of the Tiffany Studios in the ecclesiastical stained glass windows commissioned in Indianapolis, Indiana between 1880-1930." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1118169.
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This thesis investigates the influence of the Tiffany Studios in ecclesiastical stained glass windows of Indianapolis, Indiana. The Tiffany Studios was a leading stained glass manufacturer at the turn of the century and popularized the use of opalescent glass in stained glass commissions. The following study will briefly look at the history of stained glass, discuss the life of Louis Comfort Tiffany, characterize the work of the Tiffany Studios, and evaluate the ecclesiastical stained glass windows located in Center Township commissioned between 1880-1930. The evidence contained within the stained glass summaries suggests that Tiffany Studios did influence the commission of stained glass windows in Indianapolis during the period under review.<br>Department of Architecture
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Glikson, Michal. "Towards a Peripatetic Practice: negotiating journey through painting." Phd thesis, https://datacommons.anu.edu.au/DataCommons/item/anudc:5523, 2017. http://hdl.handle.net/1885/128513.
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Towards a peripatetic practice: negotiating journey through painting investigates painting as a way of comprehending lived experience of travel. The project develops from curiosity about journeys and their potential for bringing the artist into encounters with the world, and proximate to its issues and concerns. Aims of the project focused on peripatetic practice as a means of redirecting a personal experience of rootlessness towards connecting with others, and considering and communicating the complexity of cross-cultural experience through painting. Objectives as such were to investigate through practice the function and form of peripatetic painting, and to document this through film and writing. The study acknowledges travel as an ancient way of knowing the world and takes inspiration from the paradigm of the nomadic storyteller as exemplified in the Bengali tradition of Patuya Sangit (scroll performance). With a sense of the capacity for painting to provide spaces of connection and empathy, the study draws on the writing of John Berger and Suzi Gablik, exploring a confluence of ideas about the evolving social role of the artist. Key influences are historic and contemporary peripatetic creative practices, which include the writer Freya Stark, the colonial painter William Simpson, and the artists Phil Smith and John Wolseley. The project also incorporates methodological approaches which borrow from anthropology, situating the artist as observer, participant, and ultimately, agent. Practice in this context is immersive, and takes on social, interactive dimensions for which making paintings becomes a means of knowing and questioning the nature of cross-cultural experience. Explorations took the form of increasingly immersive journeys in Australia, India and Pakistan and a series of paintings utilising extended scroll formats with additional outcomes of documentary films. As the key research spaces for practice-led research, the scroll paintings employ pencil, collage, watercolour and oil, and a metaphoric fusion of styles and techniques of painting and drawing, notably Persian miniature and life portraiture as a means of accounting for and sharing the abiding experiences and encounters yielded through travel.
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Marsh, Kimberly. "Paintings & palanquins : the language of visual aesthetics and the picturesque in accounts of British women's travels in India from 1822 to 1846." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:c87b9841-a322-4dad-95a8-44831e8ab2cd.
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This thesis explores the Picturesque as a visual aesthetic that is often self-consciously employed in the travel accounts of British women in India in the first half of the nineteenth century. It addresses how three women - Fanny Parks, Marianne Postans, and Emily Eden - made use of the language of aesthetics, in particular that of the Picturesque (a style deemed especially appropriate for women travellers) in a variety of ways: first, to help them understand and relate to their experiences in this foreign land; second, to convey these experiences to their audiences back home; and, third to carve out what frequently becomes a feminised space within the established (and predominantly masculine) field of travel writing. The approach is largely historicist in order to situate the authors (and artists) within their contemporary cultural, social, and political context. My work builds upon that of literary scholars Elizabeth Bohls, Nigel Leask, and Sara Suleri in its interweaving of historical research and visual aesthetics with a literary analysis of travel writing and colonialism, bringing to bear their insights on authors previously little or not at all addressed in critical literature. Expanding on the notion of the 'Indian picturesque', which Leask begins to shape in his work, I bring Parks, Postans, and Eden into dialogue with the suggestions of Bohls and Suleri that women travel writers adapt the traditionally masculine ideal of the Picturesque aesthetic. After an introduction and two chapters which explore the broader themes concerning the development of the Picturesque and its influence on British artistic representations of India, I briefly summarise how this visual aesthetic came to be applied to written texts about travels in the region, beginning with the texts produced by male travellers, and with a specific focus on the travel narrative of Captain Godfrey Charles Mundy, whose accounts are referenced in Fanny Parks' work. My thesis then offers three case studies considering each writer in order of their arrival in India - starting with Fanny Parks' autobiography of her travels (published in 1850), followed by the published works of Marianne Postans in the 1830s, and through to those of Emily Eden, relating to her travels in the same decade and published in 1866. Aside from drawing on the aesthetics of visual art, the discussion of each author also addresses the importance of other sources to which they allude that enable aesthetic responses to India's landscape and peoples.
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Hale, John Patrick. "Rock art in the public trust managing prehistoric rock art on federal land /." Diss., [Riverside, Calif.] : University of California, Riverside, 2010. http://proquest.umi.com/pqdweb?index=0&did=2019830541&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1274289259&clientId=48051.
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Thesis (Ph. D.)--University of California, Riverside, 2010.<br>Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed May 19, 2010). Includes bibliographical references. Also issued in print.
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Lemaitre, Serge. "Kekeewin ou kekeenowin: les peintures rupestres de l'est du Bouclier canadien." Doctoral thesis, Universite Libre de Bruxelles, 2004. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211124.
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Les peintures rupestres de l’Ontario font partie du grand ensemble de l'art rupestre du Bouclier Canadien. Ce terme recouvre une réalité géologique autant qu'ethnographique, puisque cette région est essentiellement habitée par les Algonquiens. La retraite des glaces laissa un paysage criblé de lacs et de cours d'eau dont les artistes amérindiens peignirent les roches riveraines. Les peintres élirent de préférence des rochers de granit ou de gneiss, lissés par les glaces et plongeant, le long des rivages, presque à la verticale dans l'eau. <p>Depuis une dizaine d'années, les recherches en art rupestre se développent de plus en plus :de nouvelles techniques, ainsi que des interprétations récentes, prenant plus en compte les autres domaines scientifiques font leur apparition. Toutes ces approches sont largement diffusées par des colloques, des congrès et des périodiques spécialisés. Néanmoins, elles sont encore peu appliquées dans de nombreuses régions, les représentations ne faisant généralement l'objet que d'un relevé succinct, d'une identification des principaux motifs et d'une chronologie relative incertaine. Dans les années '60, Leroi-Gourhan rejetait, à juste titre pour l'art pariétal européen, le comparatisme ethnologique et il préconisait de "recevoir directement du Paléolithique ce qu'il apportait spontanément". Les spécialistes européens se focalisèrent alors sur les peintures et gravures et les étudièrent de la même manière que n'importe quel artefact archéologique (typologie, chronologie, carte de répartitions, analyse quantitative…). Au contraire, en Amérique et en Australie, où l'approche ethnographique et ethnologique est possible, les chercheurs se concentrèrent principalement sur ce dernier axe de recherche. Les dernières recherches en Europe de l'art pariétal paléolithique ont démontré l'importance d'une approche à la fois plus objective, plus exhaustive et plus contextuelle, approche qui fait encore malheureusement très largement défaut dans les travaux consacrés aux art rupestres, notamment les peintures rupestres du Bouclier canadien. Or, ces manifestations "esthétiques" sont susceptibles de nous livrer des informations non seulement sur le fonctionnement mental et spirituel des hommes qui les ont réalisées, par l'analyse des contenus graphiques mais aussi sur leur fonctionnement social grâce à la reconstitution des diverses chaînes opératoires mises en œuvre pour leur obtention. Il est donc désormais indispensable de lier les deux approches et de traiter ces documents archéologiques, tant d’un point de vue anthropologique qu’archéologique. C’est-à-dire, en analysant les peintures dans leur contexte (importance du rocher et des fissures, position du rocher sur le lac et importance de la voie de communication) et en les reliant à ce que nous connaissons de la mythologie et des pratiques culturelles des sociétés amérindiennes. <p><p><br>Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie<br>info:eu-repo/semantics/nonPublished
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Mamet, Roxanne. ""De lo europeo a lo hispanoamericano" : origines, fondements théoriques et pratiques de la peinture dans les Andes coloniales (XVIe-XVIIIe siècle)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA160.
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L'objectif de cette thèse est d'analyser la façon dont les pratiques picturales des Andes coloniales se nouent et se dénouent autour d'une « matière » européenne. La nature d'un tableau répond à des exigences politiques occidentales (l'évangélisation des Indigènes) mais sa fonction va progressivement être démembrée au profit d'une peinture qui s'américanise.C'est d'abord en étudiant le contexte artistique de l'Europe des XVIe et XVIIe siècles, ses pratiques ainsi que ses transferts humains et matériels dans la vice-royauté péruvienne que l'on peut par la suite juger des différences, des nouveautés, mais aussi des transgressions des oeuvres produites sur place, la dimension régionale étant l'un des premiers facteurs de ces changements. Les médiateurs de cette circulation, acteurs sociaux et vecteurs de nouveaux codes, redéfinissent les qualités du peintre indien qui met un terme définitif à sa condition de « main d'oeuvre » pour devenir un artiste indépendant.Alors que tout porterait à croire que l'Espagne refuse l'américanisation de cette peinture, les fondements théoriques de l'art occidental sont pourtant à l'origine de formes et de thèmes nouveaux qui caractérisent essentiellement le XVIIIe siècle andin. L'adoption d'un système iconographique européen par des peintres principalement métis et indiens permet paradoxalement la réappropriation d'un support longtemps utilisé comme un objet de domination, de soumission et de contrôle de la part des autorités espagnoles<br>This thesis aims to analyse the way pictorial practices of the colonial Andes are formed and dissolved around a “European matter”. The nature of a painting complies with occidental political requirements (the evangelisation of the Indigenous) but its function will be progressively “dismembered” in favour of a painting which is becoming Americanised.The regional dimension being one of the factors of these changes, we will first study the artistic context of Europe in the 16th and 17th centuries. Through the study of its practices and also its human and material transfers in the Peruvian viceroyalty, we can thereafter judge of the differences, the innovations, but also the transgressions of the artworks made on site. The mediators of this circulation, the social actors and the carriers of new codes, redefine the qualities of the Indian painter who put a definitive end to his condition of “labour” to become an independent artist.While we could be led to believe that Spain refuses the Americanisation of this form of painting, yet the theoretical foundations of Western art are at the starting point of forms and new themes which essentially characterise Andean’s 18th century. The adoption of a European iconographic system, mostly by mixed-race and Indian painters, paradoxically allows the reapropriation of a medium used for a long time by the Spanish authorities, as an object of domination, submission, and control
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Thorez, Eric-Selvam. "Peintres Moghols au XVIIIe siècle." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040267.
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Cet ouvrage a pour objet l’étude de différents peintres moghols ayant exercé leur activité au XVIII° siècle, c'est-à-dire entre la fin du règne d’Aurengzeb et le début de celui d’Akbar II. Il s’attache à établir, pour chaque peintre, des catalogues de l’œuvre peint, et, partant, à définir les caractéristiques de chacun, en analysant le style et l’approche iconographique des peintures. Jusqu’à présent, la méconnaissance globale des collections de peintures mogholes du XVIII° siècle a désigné cette période comme une phase de recul qualitatif des peintres et des peintures, ces dernières étant généralement considérées comme peu nombreuses, stylistiquement faibles et limitées à des sujets galants, courtois ou érotiques. C’est en analysant ces collections peu étudiées que nous avons tenté d’améliorer la connaissance de cette période, à travers la vie et l’œuvre des peintres moghols face aux bouleversements qui surviennent dans l’Inde du nord tout au long du XVIII° siècle. Ainsi, nous nous sommes attaché à montrer, qu’après une première phase où prévaut, chez les peintres, une forme de classicisme, les membres de l’académie impériale ont tenté de rénover l’esthétique moghole face à l’émergence d’ateliers régionaux concurrentiels. Nous avons ensuite suivi le parcours des peintres qui s’installèrent en Oudh, amenant, sans rupture, le mouvement appelé Company Paintings, tandis qu’à Delhi, les membres de l’académie impériale s’orientaient vers une forme de néoclassicisme pictural. Ce travail permettra de jeter un regard nouveau sur les peintres moghols au XVIII° siècle, en montrant l’évolution donnée à l’esthétique classique dans un contexte de régionalisation de la peinture<br>This work is a study on Mughal painters who were active in the 18th century, between the end of Aurengzeb and the beginning of Akbar’s rein. The intention is to establish a catalogue of painted works for each painter, thereby defining the characteristics of each one through an analysis of the style and different iconographic approaches within the paintings. Until recently, the global lack of knowledge of Mughal eighteenth century painting collections defined this period as one of decline in the quality of painters and their works, the latter being generally considered to be small in number, stylistically weak and limited to gallant, courtly, and erotic subject matter.Through an analysis of these rarely studied collections that we have broached a renewal of our understanding of this period through the lives and works of these Mughal painters who were facing the political and economical disruptions that took place in the North of India throughout the whole of the eighteenth century. Therefore, our work has been focused on revealing that after an initial phase, when a form of classicism prevailed in the painters’ works, the members of the imperial academy aimed at renewing a Mughal aesthetic as the concurrent regional workshops emerged. We have then followed the direction of the painters who settling in Oudh, took with them, the movement known as Company Paintings, whereas in Delhi, the members of the imperial academy orientated themselves towards a neoclassical pictoralism. This work, by showing in particular the evolution of a classical aesthetic, will therefore allow us look anew at Mughal painters of the eighteenth century, within the context of the regionalisation of painting in India
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Wilt, Julia J. "A Location Analysis of Vandalism to the Rock Art of the Columbia River Gorge National Scenic Area." PDXScholar, 1993. https://pdxscholar.library.pdx.edu/open_access_etds/4661.
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Archaeological sites in the New World are the fragile and non-renewable remains of cultures which flourished for thousands of years prior to European contact and displacement. Sites which escape the effects of erosion and development often fall victim to vandalism. Cultural resources, including rock art and other archaeological sites, are protected by state and federal laws which prohibit the removal or disturbance of the sites, whether from development or from vandalism. Vandalism is frequently seen as a problem for law enforcement rather than a problem for cultural resource management. Management plans which include cultural resource protection provisions and guidelines often focus on threats to cultural resources from development, and omit planning which targets vandalism. The rock art sites of the Columbia River Gorge National Scenic Area ("Scenic Area") have been affected by developments such as The Dalles Dam and by the vandalism. In this study, the nature and degree of vandalism to the rock art sites in the Scenic Area is considered in the context of public awareness of, and access to, these sites. Rock art sites which are easily located and which have been the focus of public awareness are hypothesized to be the most severely vandalized. To test this hypothesis, fifteen of the 44 rock art sites in the Scenic Area were selected for study, and were assessed for kind and degree of vandalism, and means and ease of access. The results of analysis yielded two statistically significant associations of variables which support the hypothesis: an association between vandalism and public awareness of sites, and an association between vandalism and the primary means of access. The analysis suggests that public awareness is one of the most important issues which land managers must address when designing cultural resource protection plans.
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Asavaplungkul, Saisingha Monruedee. "Le Râmâyana dans les peintures du temple du Buddha d'Émeraude (Wat Phra Kèo) à Bangkok : sources, contexte, prolongements." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040049.
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Le Râmakîen est une des œuvres littéraires les plus importantes du royaume thaïlandais. Reprenant l’épopée indienne de Vâlmîki, le Râmâyana, il revêt une grande importance à la cour royale et sa popularité est considérable dans toute l’Asie du Sud-Est. Au Wat Phra Kèo, ses épisodes ont été intégralement illustrés sur le mur de la galerie. La thèse ne prend en compte que les parties figurant les dix incarnations de Viṣṇu et la naissance des dieux hindous et des personnages de l’épopée. Ces épisodes nous amènent au prélude du Râmakîen et l’étude s’arrête au moment du retour du roi Jânaka à Mithilâ. Il nous a fallu opérer des rapprochements entre ces peintures et le Tamrâ Thewarûp, les albums d’iconographie brahmanique, ainsi que le Tamrâ Thewapâng, recueil de légendes sur la naissance des dieux et les incarnations de Viṣṇu. Ces rapprochements étaient nécessaires car tous les épisodes représentés à Wat Phra Kèo ne sont pas racontés dans le Râmakîen tel que le relate la version du roi Râma I. L’omniprésence des scènes empruntées à l’épopée, en particulier celles des dix incarnations de Viṣṇu et des dieux hindous dans les temples importants de Bangkok fondés par les rois ou par leurs proches au début de la période de Ratanakosin, s’explique par la grande importance accordée par ces souverains à l’incarnation de Viṣṇu en Râma. Le royaume thaïlandais adopta par ailleurs les rites brahmaniques pratiqués à la cour khmère. Une récapitulation des témoignages iconographiques sur l’épopée au Cambodge, au Laos et au Myanmar complète notre étude<br>The Râmakîen is one of the most important literary works in Thailand. Derived from the Indian epic of Vâlmîki, it became very important at the royal Thai court, and is one of the most popular texts in South-East Asia. At Wat Phra Kèo its episodes are represented on the four sides of the gallery. This thesis aims to study the parts illustrating the ten incarnations of Viṣṇu, the birth of the Hindu Gods and the main characters of the Indian epic. These episodes lead us through the Râmakîen’s prelude and our study stops at the moment of King Jânaka’s return to Mithilâ, his kingdom. The comparison between the paintings, the Tamrâ Thewarûp, the iconographic albums of Hindu Gods and the Tamrâ Thewapâng (the book of legends containing the god’s creation and the ten incarnations of Viṣṇu) proved necessary to understand some of the painted scenes which do not relate to the Râmakîen, as told in the version composed by King Râma I. The omnipresence of a number of scenes borrowed from the epic (particularly the ten incarnation scenes of Viṣṇu and the Hindu God images) in the temples founded by the kings or their families around Bangkok’s Grand Palace can be explained by the great importance attributed by the sovereigns to the Râma avatâra of Viṣṇu. Besides, the Thai Kingdom borrowed from the Khmer court their Hindu rituals. A review of the Râmâyana images in Cambodia, Laos and Myanmar completes our study
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Schott, Amy. "A comparison of iconography from northwestern Costa Rica and central Mexico /." 2009. http://minds.wisconsin.edu/handle/1793/38820.
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Wood, Carolyn H. "The Indian summer of Bolognese painting Gregory XV (1621-23) and Ludovisi art patronage in Rome /." 1988. http://catalog.hathitrust.org/api/volumes/oclc/19652611.html.
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Henderson, Lisa Gaye. "Emblems of identity : an introduction to the painting of Indian portraits in Canada." Thesis, 1991. http://spectrum.library.concordia.ca/3143/1/MM68736.pdf.
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Brooks, Katherine. "Tattoo and Body Painting Designs Reflected in Women's Beaded Collars Among Lower Colorado River Yuman Societies." 2011. http://hdl.handle.net/10150/196231.
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Ernst, Nadine. "Wechselwirkungen der Moderne – über den gegenseitigen Einfluss von außereuropäischen und westlichen Kulturen in der modernen Kunst am Beispiel der indianischen Malerei." Doctoral thesis, 2018. http://hdl.handle.net/21.11130/00-1735-0000-0005-141F-3.
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Hahn, Milanne Shelburne. "The studio of painting at the Santa Fe Indian School : a case study in modern American identity." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-12-4538.
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Founded in 1932, the Department of Painting and Design, or “Studio,” at the Santa Fe Indian School was the first official, government-run boarding school program to promote pictorial paintings based exclusively North American Indian arts and culture. It was yet another program designed to bring about the assimilation of Indians into the economy and society of American, but progressive influences had introduced a change in orientation to Indian Policy by the beginning of the 1930s; instead of demeaning Indian cultures by demanding cultural assimilation, a beneficent stance was adopted that promoted them and their assimilation as American Indians into the ethnic diversity of society. As the Studio experience unfolded, it became a unique art world in which Indian artist-students from various cultures and non-Indian educators and patrons engaged in a cross-cultural effort to carry forward ancient Indian decorative arts to shape what became know as traditional modern American Indian painting. But the Studio also became a forum in which its young artists engaged in a cross-cultural search for an American art and identity with their non-Indian educators and patrons. As such, the Studio is a unique social microcosm for studying the nature and formation of the modern
American identity of both its young Indian artists and of it non-Indian progenitors. This v
study will examine the personal and collective identities that arose through this cross- cultural interaction during the formative years of the Studio – the tenure of its first “guide,” Dorothy Dunn, from 1932-1937. In order to gain a fuller understanding of the concept of identity formation, individual members of that art world are prominently portrayed against the background of BIA education policies concerning indigenous arts and the Studio’s unique historical position in that regard. A selection of 150 Studio paintings is examined to detect ways in which the artist-students chose to depict themselves and their cultures, i.e., their identities. And on that score, the Studio artist- students expressed themselves and their cultures, however marginal they were then and now to American society, and they shared with the non-Indians a new understanding of how they both were Americans.<br>text
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Seastrand, Anna Lise. "Praise, Politics, and Language: South Indian Murals, 1500-1800." Thesis, 2013. https://doi.org/10.7916/D8ZS2WJB.
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This study of mural painting in southern India aims to change the received narrative of painting in South Asia not only by bringing to light a body of work previously understudied and in many cases undocumented, but by showing how that corpus contributes vitally to the study of South Indian art and history. At the broadest level, this dissertation reworks our understanding of a critical moment in South Asian history that has until recently been seen as a period of decadence, setting the stage for the rise of colonial power in South Asia. Militating against the notion of decline, I demonstrate the artistic, social, and political dynamism of this period by documenting and analyzing the visual and inscriptional content of temple and palace murals donated by merchants, monastics, and political elites. The dissertation consists of two parts: documentation and formal analysis, and semantic and historical analysis. Documentation and formal analysis of these murals, which decorate the walls and ceilings of temples and palaces, are foundational for further art historical study. I establish a rubric for style and date based on figural typology, narrative structure, and the way in which text is incorporated into the murals. I clarify the kinds of narrative structures employed by the artists, and trace how these change over time. Finally, I identify the three most prevalent genres of painting: narrative, figural (as portraits and icons), and topographic. One of the outstanding features of these murals, which no previous scholarship has seriously considered, is that script is a major compositional and semantic element of the murals. By the eighteenth century, narrative inscriptions in the Tamil and Telugu languages, whose scripts are visually distinct, consistently framed narrative paintings. For all of the major sites considered in this dissertation, I have transcribed and translated these inscriptions. Establishing a rubric for analysis of the pictorial imagery alongside translations of the text integrated into the murals facilitates my analysis of the function and iconicity of script, and application of the content of the inscriptions to interpretation of the paintings. My approach to text, which considers inscriptions to be both semantically and visually meaningful, is woven into a framework of analysis that includes ritual context, patronage, and viewing practices. In this way, the dissertation builds an historical account of an understudied period, brings to light a new archive for the study of art in South Asia, and develops a new methodology for understanding Nayaka-period painting. Chapters Three, Four, and Five each elaborate on one of the major genres identified in Chapter Two: narrative, figural, and topographic painting. My study of narrative focuses on the most popular genre of text produced at this time, talapuranam (Skt. sthalapurana), as well as hagiographies of teachers and saints (guruparampara). Turning to figural depiction, I take up the subject of portraiture. My study provides new evidence of the active patronage by merchants, religious and political elites through documentation and analysis of previously unrecorded donor inscriptions and donor portraits. Under the rubric of topographic painting I analyze the representation of sacred sites joined together to create entire sacred landscapes mapped onto the walls and ceilings of the temples. Such images are closely connected to devotional (bhakti) literature that describes and praises these places and spaces. The final chapter of the dissertation proposes new ways of understanding how the images were perceived and activated by their contemporary audiences. I argue that the kinesthetic experience of the paintings is central to their concept, design, and function.
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Khera, Dipti Sudhir. "Picturing India's "Land of Kings" Between the Mughal and British Empires: Topographical Imaginings of Udaipur and its Environs." Thesis, 2013. https://doi.org/10.7916/D8DV1S3M.
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Eighteenth-century paintings depicting the courtly culture of Udaipur have been widely described as iconic images representing the decadent "voluptuous inactivity" of Indian princes within idyllic palaces. More recently, scholars have interpreted such paintings as royal portraits constituting meaningful assertions of political and cultural power. Yet scholars have overlooked a topographical genre of painting in which Udaipur artists not only portrayed the ruler's face but also captured the charisma of Udaipur's urban space. This dissertation examines the means by which artists pictured Udaipur and its environs for multiple patrons and mixed audiences, thereby constructing the city's memory and mapping diverse territorial claims of regional kings, courtly elites, and merchants, as well as religious institutions and the emergent British Empire. Central to this account is a corpus of large-scale paintings, scrolls, drawings, and maps made in a time period of transitions in northwestern India, marked by several new courtly and non-courtly alliances, between the decentralization of the Mughal Empire in the early 1700s and the proclamation of British rule at the Ajmer Durbar in 1832. I argue that itinerant artists practiced their arts literally and metaphorically in between empires, and thus formulated their subjective, and, at times, subversive interpretations of urbanity, territoriality, and history as they circulated among various domains. By tracing the critical role played by artistic practices in the British Political Agent James Tod's political and historical creation of "Rajasthan"--the land of kings--this dissertation challenges the dominant narrative that has mediated this region's architecture, landscape, and history. Separate chapters are devoted to shifts in artistic practice, from the painting of genealogical and poetic manuscripts to large-scale topographical paintings, relating them to tropes of praise, pleasure, and commemoration in the court's literary culture, mediation of urban memory, emergent forms of mapping, and spatial practices of processions. Udaipur's artists like Ghasi, who was also a "native" artist-assistant to Tod, the region's first British colonial agent, rendered Tod's explorations in the form of courtly processions while also adapting drafted architectural drawings for the depiction of Udaipur's princely domains. I compare the works of Ghasi and Tod, among several others, with those of artists working for the Jain religious and mercantile community. These little-studied paintings suggest the paradigmatic ways in which local artists reevaluated established pictorial genres and tropes for the purpose of mapping environs in relation to the emerging presence of the British Empire and reconfiguration of regional polities, religious sects, and mercantile communities. The visualization of South Asia's urban environs has largely been understood through the lens of the nineteenth-century British colonial archive of images and maps. Systematic studies of alternate imaginings found in contemporaneous pre-colonial Indian art have been all but absent. Addressing this lacuna, this dissertation cumulatively highlights a largely unknown visual archive of images of pre-colonial Indian cities to examine how both Indian and British artists imagined their urban environs for varied patrons. It contributes to a growing body of scholarship on the importance of affect in understanding epistemic practices and the nature of political, cultural, and artistic transitions in the long eighteenth century in the Indian subcontinent.
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Scott, Sascha T. "Paintings of Pueblo Indians and the politics of preservation in the American southwest." 2008. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.17388.
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Becherini, Marta. "Staging the Foreign: Niccolò Manucci (1638-ca. 1720) and Early Modern European Collections of Indian Paintings." Thesis, 2016. https://doi.org/10.7916/D8JH3MKC.
Full textAbstract:
My dissertation explores the formative stages of European interest in, engagement with and consumption of Indian pictorial art over a period of one hundred and fifty years, from the mid-16th century up to the early 18th century. During this period, European cabinets of curiosities witnessed the arrival of increasing numbers of a previously unknown class of collectible: Indian paintings on paper. Interest in these paintings was spurred by a growing curiosity about the East, combined with a general re-orientation of the European system of knowledge towards a more “scientific” methodology of inquiry, which encouraged a revision of the stereotypes that had informed medieval European conceptions of India through engagement with original sources. The relevance of this phenomenon to the history of early modern exchanges between India and Europe can hardly be overstated. Yet, modern scholarship has tended to ignore it, focusing instead on the Indian fascination with and reception of European artistic forms and techniques. This dissertation seeks to develop a more exhaustive picture of the early modern artistic encounter between India and the West, one in which European consumption of Indian paintings is dutifully represented and India plays an active role in the emerging system of knowledge.
The starting and central point of my investigation consists of the vast and diversified collection of Indian paintings gathered by a Venetian traveler to India, Niccolò Manucci (1638-ca. 1720), as a visual accompaniment to his travel account, the so-called Storia do Mogor. This collection, which has remained largely ignored, makes a crucial case-study for approaching issues relative to the nature of European interest in Indian paintings in early modernity, the contexts and modalities through which this interest was articulated, as well as its relevance to processes of knowledge making and identity construction that were prompted by European encounters with alterities. The first part of my study provides an in-depth analysis of Manucci’s collection performed through a careful examination of the paintings it comprises along with contemporary textual sources, including the original manuscripts of the Storia do Mogor. My analysis exposes the interrelatedness of Manucci’s collecting enterprise with his authorial project, as well as assessing its broader scope and intended aims. The second part of the dissertation situates this collecting enterprise within its broader historical context by examining other European collections of Indian paintings dating from the 16th and 17th centuries and characterized by comparable subject matter: portraits of historical and living personages associated with Indo-Muslim dynasties, depictions of native Indian peoples and socio-religious customs, and representations of deities of the Hindu pantheon. Besides delving into the specifics of these collections, I explore their dialogic relation to one another and to descriptive practices and interpretative discourses that gained shape in European travel writing and print culture. In doing so, I highlight their participation in broader cultural trends and their contribution to evolving European approaches towards the Orient. This corpus of largely neglected works offers precious insights into the complex dynamics of cross-cultural encounter, as well as exposing the pivotal role played by early modernity in shaping later trends in Indo-European artistic interactions. Offering a direct antecedent to “Company painting,” a 19th-century Indian pictorial genre for European consumption, these works call for a revision of traditional understandings of the latter as an artistic development prompted by the rise of British colonial interests and agendas, and invite a broader reassessment of a unique historical era – the early modern one – that is key to understanding the roots of institutionalized Orientalism.
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Sarup, Vidosh. "Do-it Yourself Market In India : Exploring Development And Servicing Of Demand For Products Related To Household Painting And Carpentry." Thesis, 2008. https://etd.iisc.ac.in/handle/2005/748.
Full textAbstract:
Do-it-yourself (DIY) is the practice of household members undertaking home improvement or maintenance on their own, instead of hiring professional help. While DIY is a substantial and steadily growing cultural and economic phenomenon in several developed countries, in India, it is still in a stage of infancy. The objective of this research is to understand whether DIY can be introduced and developed in India as a significant consumer activity based on an understanding of the DIY markets in developed countries (like USA, UK & France) and the business models in place to service them. The concept of DIY started sometime in middle of the 20th century in the USA and it eventually spread to UK and rest of Europe in the later part of the century. Currently, in most developed countries DIY constitutes a significant portion of the Home Improvement and repair Market and there are specialized organized retail chains to cater to the DIY demand.
In India and most developing countries, DIY is not an established practice and does not contribute at all to the Home Improvement and repair Market. Organized retail in most developing countries is very small and most of the Home Improvement Market is serviced through local decorative and hardware distribution outlets. Brazil is an exceptional case due to its large organized retail structure for servicing the home improvement market. Organized retail to service the Home Improvement and repair Market in China has started in a big way and is witnessing exponential growth year on year. Similar phenomenon has started in India as well. However, both in China and India, there is no specific demand for DIY products and the same clearly needs to be created. Existing research literature on DIY, focuses mainly, on the determination of variables that influence the decision to take up a DIY or a home improvement project. Apart from this, a large number of business reports and studies profiling specific DIY markets are available over the internet. Work has also been done to trace and record the history of DIY and its impact on culture and society.
While there has been some research work carried out that deals with the development of strategy for DIY markets in developed countries, no such work has been done in the context of developing countries. The purpose of this research is to do just that but the scope is limited to household painting and carpentry. The pilot study (focussed group discussions) and the questionnaire survey reveal that, in India, there is a clear bias against DIY mainly on account of perceived lack of time and knowledge. But it is possible to define a demographic profile of people that will show the highest inclination towards DIY. The survey reveals that this profile varies depending on the type of the DIY activity (Electrical, Plumbing, Indoor Painting, Outdoor Painting, carpentry and Gardening). The final part of the research involves the formulation of a holistic marketing strategy, based on the research findings and the understanding of prevalent business models to service DIY in developed countries, to create and service demand for DIY products related to household painting and carpentry in India.
49
Sarup, Vidosh. "Do-it Yourself Market In India : Exploring Development And Servicing Of Demand For Products Related To Household Painting And Carpentry." Thesis, 2008. http://hdl.handle.net/2005/748.
Full textAbstract:
Do-it-yourself (DIY) is the practice of household members undertaking home improvement or maintenance on their own, instead of hiring professional help. While DIY is a substantial and steadily growing cultural and economic phenomenon in several developed countries, in India, it is still in a stage of infancy. The objective of this research is to understand whether DIY can be introduced and developed in India as a significant consumer activity based on an understanding of the DIY markets in developed countries (like USA, UK & France) and the business models in place to service them. The concept of DIY started sometime in middle of the 20th century in the USA and it eventually spread to UK and rest of Europe in the later part of the century. Currently, in most developed countries DIY constitutes a significant portion of the Home Improvement and repair Market and there are specialized organized retail chains to cater to the DIY demand.
In India and most developing countries, DIY is not an established practice and does not contribute at all to the Home Improvement and repair Market. Organized retail in most developing countries is very small and most of the Home Improvement Market is serviced through local decorative and hardware distribution outlets. Brazil is an exceptional case due to its large organized retail structure for servicing the home improvement market. Organized retail to service the Home Improvement and repair Market in China has started in a big way and is witnessing exponential growth year on year. Similar phenomenon has started in India as well. However, both in China and India, there is no specific demand for DIY products and the same clearly needs to be created. Existing research literature on DIY, focuses mainly, on the determination of variables that influence the decision to take up a DIY or a home improvement project. Apart from this, a large number of business reports and studies profiling specific DIY markets are available over the internet. Work has also been done to trace and record the history of DIY and its impact on culture and society.
While there has been some research work carried out that deals with the development of strategy for DIY markets in developed countries, no such work has been done in the context of developing countries. The purpose of this research is to do just that but the scope is limited to household painting and carpentry. The pilot study (focussed group discussions) and the questionnaire survey reveal that, in India, there is a clear bias against DIY mainly on account of perceived lack of time and knowledge. But it is possible to define a demographic profile of people that will show the highest inclination towards DIY. The survey reveals that this profile varies depending on the type of the DIY activity (Electrical, Plumbing, Indoor Painting, Outdoor Painting, carpentry and Gardening). The final part of the research involves the formulation of a holistic marketing strategy, based on the research findings and the understanding of prevalent business models to service DIY in developed countries, to create and service demand for DIY products related to household painting and carpentry in India.