000			02145nam a22002657a 4500
005			20260423123600.0
008			260423b |||||||| |||| 00| 0 eng d
020			_a9789390717774
037			_cGifted _nRRRLF, Kolkata
041			_aEnglish
082			_a709.54 _bSYA/IN
100			_aSyamalendu Sengupta
245			_aINDIA ART : Raj Archives Narrative (1850-1947)
250			_a1
260			_aKolkata _bSopan _c2021
300			_g247
500			_aThe public Archives of the British Indian government commonly known as the Raj Archives quite copiously documented Indian Art. Academic or Art historians generally use insignificant archival space in their narrative. This book is therefore an attempt to use the Raj archival narrative in presenting nearly one hundred years of history of Indian art. While colonial rubbishy eye for Indian art tradition has been documented from the raj archives and government publications, chiaroscuro of Indian art archived by the Raj has been experienced visually. The present book has as well chased photographers, Castmakers and looters in documenting the British Indian attempt to identify aesthetic grains of Indian art and their marketability in Europe and America. A "Hindu' art obsessed E.B. Havell is documented here to prick the bubble of myth of his affection for Indian art workers. Jadunath Pal, an eminent clay modeller from Krishnagar in West Bengal, who was deputed to attend Landon exhibition in 1889, was removed from his employment in the Calcutta School of Art by Havell. The British Indian civil servant who was a conscientious promoter of Indian arts and artisans was F.S. Growse of Mathura and Bulandshhahr. He was officially reprimanded for his pro-Indian stance, Besider all these art centric archived materials, art-exhibitions in British-India and abroad, and the post Independence draft landscape of Indian art-scene have been as well discussed in the book.
650			_aArts & recreation
650			_aArts
650			_aHistory, geographic treatment, biography
650			_aAsia
650			_aIndian Subcontinent
942			_cLEN
942			_2ddc
999			_c198295 _d198295