Warning! The directory is not yet complete and will be amended until the beginning of the term.
142098 UE The practice of portraiture in South Asia (2022W)
Continuous assessment of course work
Labels
ON-SITE
Registration/Deregistration
Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).
- Registration is open from Mo 29.08.2022 08:00 to We 28.09.2022 10:00
- Registration is open from Mo 17.10.2022 11:00 to Fr 28.10.2022 10:00
- Deregistration possible until Mo 31.10.2022 23:59
Details
max. 24 participants
Language: English
Lecturers
Classes
REGISTRATION STILL POSSIBLE! To regsiter, please write to istb@univie.ac.at .
Will be scheduled in agreement with the registered students.Information
Aims, contents and method of the course
Assessment and permitted materials
Minimum requirements and assessment criteria
Examination topics
All contents of the course
Reading list
Selected bibliography:
Arunima, G. "Face value: Ravi Varma's portraiture and the project of colonial modernity." The Indian Economic & Social History Review 40.1 (2003): 57-79.
Babb, L., “Glancing: Visual Interaction in Hinduism.” Journal of Anthropological Research 37, 4, (1981): 387–401.
Beckerlegge, G., “Iconographic Representations of Renunciation and Activism in the Ramakrishna Math and Mission and the Rashtriya Swayamsevak Sangh.” Journal of Contemporary Religion 19, 1, (2004): 47–66.
BECKERLEGGE G., “SVĀMĪ VIVEKĀNANDA'S ICONIC PRESENCE and CONVENTIONS of NINETEENTH-CENTURY PHOTOGRAPHIC PORTRAITURE”, INTERNATIONAL JOURNAL of HINDU STUDIES, 2008.
Belting H., Likeness and Presence, A HISTORY of the IMAGE BEFORE the ERA of ART, University of Chicago Press 1993.
Branfoot C., “The Royal Presence and Portraiture in the Tamil Temple” in Gods on the Move: Architecture and Ritual in the South Indian Temple, London: The Society for South Asian Studies, 2007.
Branfoot, C., "Dynastic Genealogies, Portraiture, and the Place of the Past in Early Modern South India." Artibus Asiae 72.2 (2012): 323-376.
Branfoot, C., Portraiture in South Asia Since the Mughals: Art, Representation and History. Bloomsbury Publishing, 2018.
BRUNEAU P., “LE PORTRAIT”, REVUE D'ARCHEOLOGIE MODERNE et D'ARCHEOLOGIE GENERALE, 1982.
Davis, R. H., Lives of Indian Images. Princeton: Princeton University Press, 1997.
DEHEJIA V., “THE VERY IDEA of a PORTRAIT”, ARS ORIENTALIS, 1998.
Dinkar, N., "Impossible subjects: The subaltern in the shadows." Empires of light. Manchester University Press, (2019): 218-249.
EATON R., “THE RISE AND FALL of MILITARY SLAVERY in the DECCAN 1450-1650”, in SLAVERY AND SOUTH ASIAN HISTORY, INDIANA University PRESS, 2006.
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. Royal College of Art (United Kingdom), 2016.
KAIMAL P., “PASSIONATE BODIES: CONSTRUCTIONS of the SELF in SOUTH INDIAN PORTRAITS”, ARCHIVES of ASIAN ART, 1995.
KAIMAL P., “The Problem of Portraiture in South India, 870-970 CE,” Artibus Asiae, 1999.
KAIMAL P., “THE PROBLEM of PORTRAITURE in SOUTH INDIA, 970-1000 CE”, ARTIBUS ASIAE, 2000.
Karlekar, M., Revisioning the Past: Early Photography in Bengal, 1875–1915. New Delhi: Oxford University Press, 2005.
KOCH E., “The Influence of Jesuit Mission on Symbolic Representation of the Mughal emperor” in Mughal art and Imperial Ideology, Oxford university Press, 2001.
KOCH E., “JAHANGIR as FRANCIS BACON'S IDEAL of the KING as an OBSERVER and INVESTIGATOR of NATURE”, JOURNAL of the ROYAL ASIATIC SOCIETY, 2009.
KOCH E., “THE MUGHAL EMPEROR as SOLOMON, MAJNUN, and ORPHEUS, or the ALBUM as a THINK TANK for ALLEGORY”, MUQARNAS, 2010.
KOCH E., “The Symbolic Possession of the World: European Cartography in Mughal Allegory”, Journal of the Economic and Social History of the Orient, 2012.
LEFEVRE V., “PORTRAITURE, a PROBLEMATIC ISSUE”, in PORTRAITURE in EARLY INDIA between TRANSIENCE and ETERNITY, BRILL, 2011.
LEFEVRE V., “IDENTIFYING PORTRIATS” in PORTRAITURE in EARLY INDIA between TRANSIENCE and ETERNITY, BRILL, 2011.
Linkman, A., “Portraying Identities, Portraying Conventions.” In Cristina Chimisso, ed., Exploring European Identities, no page numbers. Milton Keynes: The Open University, 2003.
PERKINSON S., “RETHINKING THE ORIGINS of PORTRAITURE”, in GESTA, CONTEMPORARY APPROACHES to the MEDIEVAL FACE, 2007.
Pinney, C., "Photographic Portraiture in Central India." The Material Culture Reader (2002).
Pinney, C., Camera Indica: The Social Life of Indian Photographs. London: Reaktion, 1997.
Ramaswamy S., “Conceit of the Globe in Mughal Visual Practice”, Comparative Studies in Society and History, 2007.
Rycroft, D. J., “Capturing Birsa Munda: The Virtuality of a Colonial-era Photograph.” Indian Folklore Research Journal 1, 4 (2004): 53–68.
SEYLLER J., “A MUGHAL CODE of CONNOISSEURSHIP”, MUQARNAS, 2000.
Smylitopoulos, C.,
Arunima, G. "Face value: Ravi Varma's portraiture and the project of colonial modernity." The Indian Economic & Social History Review 40.1 (2003): 57-79.
Babb, L., “Glancing: Visual Interaction in Hinduism.” Journal of Anthropological Research 37, 4, (1981): 387–401.
Beckerlegge, G., “Iconographic Representations of Renunciation and Activism in the Ramakrishna Math and Mission and the Rashtriya Swayamsevak Sangh.” Journal of Contemporary Religion 19, 1, (2004): 47–66.
BECKERLEGGE G., “SVĀMĪ VIVEKĀNANDA'S ICONIC PRESENCE and CONVENTIONS of NINETEENTH-CENTURY PHOTOGRAPHIC PORTRAITURE”, INTERNATIONAL JOURNAL of HINDU STUDIES, 2008.
Belting H., Likeness and Presence, A HISTORY of the IMAGE BEFORE the ERA of ART, University of Chicago Press 1993.
Branfoot C., “The Royal Presence and Portraiture in the Tamil Temple” in Gods on the Move: Architecture and Ritual in the South Indian Temple, London: The Society for South Asian Studies, 2007.
Branfoot, C., "Dynastic Genealogies, Portraiture, and the Place of the Past in Early Modern South India." Artibus Asiae 72.2 (2012): 323-376.
Branfoot, C., Portraiture in South Asia Since the Mughals: Art, Representation and History. Bloomsbury Publishing, 2018.
BRUNEAU P., “LE PORTRAIT”, REVUE D'ARCHEOLOGIE MODERNE et D'ARCHEOLOGIE GENERALE, 1982.
Davis, R. H., Lives of Indian Images. Princeton: Princeton University Press, 1997.
DEHEJIA V., “THE VERY IDEA of a PORTRAIT”, ARS ORIENTALIS, 1998.
Dinkar, N., "Impossible subjects: The subaltern in the shadows." Empires of light. Manchester University Press, (2019): 218-249.
EATON R., “THE RISE AND FALL of MILITARY SLAVERY in the DECCAN 1450-1650”, in SLAVERY AND SOUTH ASIAN HISTORY, INDIANA University PRESS, 2006.
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. Royal College of Art (United Kingdom), 2016.
KAIMAL P., “PASSIONATE BODIES: CONSTRUCTIONS of the SELF in SOUTH INDIAN PORTRAITS”, ARCHIVES of ASIAN ART, 1995.
KAIMAL P., “The Problem of Portraiture in South India, 870-970 CE,” Artibus Asiae, 1999.
KAIMAL P., “THE PROBLEM of PORTRAITURE in SOUTH INDIA, 970-1000 CE”, ARTIBUS ASIAE, 2000.
Karlekar, M., Revisioning the Past: Early Photography in Bengal, 1875–1915. New Delhi: Oxford University Press, 2005.
KOCH E., “The Influence of Jesuit Mission on Symbolic Representation of the Mughal emperor” in Mughal art and Imperial Ideology, Oxford university Press, 2001.
KOCH E., “JAHANGIR as FRANCIS BACON'S IDEAL of the KING as an OBSERVER and INVESTIGATOR of NATURE”, JOURNAL of the ROYAL ASIATIC SOCIETY, 2009.
KOCH E., “THE MUGHAL EMPEROR as SOLOMON, MAJNUN, and ORPHEUS, or the ALBUM as a THINK TANK for ALLEGORY”, MUQARNAS, 2010.
KOCH E., “The Symbolic Possession of the World: European Cartography in Mughal Allegory”, Journal of the Economic and Social History of the Orient, 2012.
LEFEVRE V., “PORTRAITURE, a PROBLEMATIC ISSUE”, in PORTRAITURE in EARLY INDIA between TRANSIENCE and ETERNITY, BRILL, 2011.
LEFEVRE V., “IDENTIFYING PORTRIATS” in PORTRAITURE in EARLY INDIA between TRANSIENCE and ETERNITY, BRILL, 2011.
Linkman, A., “Portraying Identities, Portraying Conventions.” In Cristina Chimisso, ed., Exploring European Identities, no page numbers. Milton Keynes: The Open University, 2003.
PERKINSON S., “RETHINKING THE ORIGINS of PORTRAITURE”, in GESTA, CONTEMPORARY APPROACHES to the MEDIEVAL FACE, 2007.
Pinney, C., "Photographic Portraiture in Central India." The Material Culture Reader (2002).
Pinney, C., Camera Indica: The Social Life of Indian Photographs. London: Reaktion, 1997.
Ramaswamy S., “Conceit of the Globe in Mughal Visual Practice”, Comparative Studies in Society and History, 2007.
Rycroft, D. J., “Capturing Birsa Munda: The Virtuality of a Colonial-era Photograph.” Indian Folklore Research Journal 1, 4 (2004): 53–68.
SEYLLER J., “A MUGHAL CODE of CONNOISSEURSHIP”, MUQARNAS, 2000.
Smylitopoulos, C.,
Association in the course directory
IMAK3a UE b
BA: BA10 (absolvierbar anstatt "Proseminar zu den kulturgeschichtlichen Grundlagen")
BA: BA10 (absolvierbar anstatt "Proseminar zu den kulturgeschichtlichen Grundlagen")
Last modified: Mo 17.10.2022 10:29
The course, starting from the multiple definitions of portrait and from the positions of important art historians, such as Ananda K. Coomaraswamy, will delve into the debate concerning the existence or non-existence of a portrait practice in South Asia. Moving from the best known and most studied portraits produced in the Mughal era - sometimes mistakenly considered as the first evidence of the practice in South Asia - and from their purely aesthetic aspects, the course will then focus on the dynamics of patronage, on the intentions intrinsic the commission of a portrait and on the ways in which it contributes on a political, religious and social level, to outline the identity of the subject. These aspects will be further investigated in the contemporary Rajput productions, as well as in modern portraits realised with the photographic medium. A special attention will be dedicate to the weight of symbols, aesthetic and iconographic choices and to the strength of portraiture and its crucial contribution in constructing the image of political and religious figures, but also of ‘common’ people.
After a theoretical introduction and a first part dedicated to early modern, modern and contemporary productions, the course will move through the ancient productions by analysing a series of selected examples of portraits commissioned from north to south India, with the aims of emphasising similarities or differences in intents, formal characteristics, functions and perceptions by the public.The student at the end of the course should be able to approach the debate concerning the portraiture in the South Asia critically, and to analyse the various texts discussed considering the role of portraits in the processes of identity building, the dynamics of patronage, and the social and religious implications in the emerging of the self. Great importance will be given to the comprehension of the visual texts analysed in relation to their historical and political context.Teaching methods
Frontal classes complemented students' presentations and the discussion of issues raised during the classes. The course will adopt a thematic approach and will move from the analysis of the visual productions. Through the study of styles, art objects and dynamics of patronage, discussions and a critical approach will be encouraged.