Photos of the Gods is a book that must not be ignored. Art: Art--General Studies. Folklore and Mythology. History: Asian History. You may purchase this title at these fine bookstores.
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Enlarge Image. Drawing on years of archival research, interviews with artists and publishers, and the ethnographic study of their rural consumers, Christopher Pinney traces the intimate connections between the production and consumption of these images and the struggle against colonial rule. The detailed output of individual presses and artists is set against the intensification of the nationalist struggle, the constraints imposed by colonial state censorship, and fifty years of Indian independence.
The reader is introduced to artists who trained within colonial art schools, others whose skills reflect their membership of traditional painting castes, and yet others who are self-taught former sign painters.
Combining anthropology, political and cultural history, and the study of aesthetic systems, and using many intriguing and unfamiliar images, the book shows that the current predicament of India cannot be understood without taking into account this complex, fascinating, and until now virtually unseen, visual history.
His publications include Camera Indica , Photos of the Gods and Photography and Anthropology , all published by Reaktion. Introduction: The Possibility of a Visual History 1. Indian Images Under the Shadow of Colonialism 2.
Lithographs and the Camera in Bombay and Delhi, 5. Gandhi, 7. Write your own review.. Your Basket. Results list. Please contact us by email, or by using the contact form here. Coronavirus delivery update here. Best wishes, Reaktion Books.
"Photos of the Gods"
Christopher Pinney. It traces the connections between the production and consumption of these images and the struggle against colonial rule. The detailed output of individual presses and artists over the decades is set against the intensification of the nationalist struggle and the constraints imposed by colonial state censorship, and a half-century of Indian independence since By combining anthropology, political and cultural history and the study of aesthetic systems, and by including many intriguing and unfamiliar images, "Photos of the gods" shows that India's current predicament and popular culture cannot be understood without taking into account this complex and fascinating visual history. The emergence of Indian-run chromolithograph presses in the late s initiated a vast outpouring of images of an astonishing variety, and outpouring that today has come to dominate many of India's spaces, both public and domestic. Many interviews with both artists ans publishers were undertaken for this book. Among the great variety of artists responsible for the almost bewildering, yet totally compelling, panoply of "photos of the gods" in India are those that trained in the colonial art schools, others whose skills reflect their membership of traditional painting castes, and yet others who began their careers as humble self-taught sign painters.
Specifically, he focuses on the intersection of printed images and political struggles from the colonial period to present-day India. Chromolithographs, complex color images printed from multiple stone blocks, developed from the basic lithographic technique invented by Alois Senefelder in Munich in and first used in India in Far from a Gutenberg galaxy, South Asia is a region where the visual image has played a powerful role and where the written word has had limited impact in an environment marked by oral tradition and multiple languages. It is for this reason that this book has significance beyond a history of visual practice. In this way, Pinney presents a profoundly convincing and extremely nuanced case for visual culture as a key element in considering politics and religion in modern India.