ila gupta | Indian Institute Of Technology, Roorkee (original) (raw)
Papers by ila gupta
Journal of East West Thought (UGC-CARE Listed), 2020
Western explorers of 15 th-16 th century, all throughout the world, ventured with two primary mot... more Western explorers of 15 th-16 th century, all throughout the world, ventured with two primary motives. Firstly, their adventurous mind wanted to expand their knowledge about the 'other'/ non-European world and secondly, to propagate Christianity. The early missionaries in Mughal India, had mistaken Akbar's interest in Christianity to be his weakness and thought of getting a hold of the empire through the conversion of the Emperor himself. Akbar wanted to educate himself and his followers in the spiritual and intellectual aspects of Christianity but never wished to convert. Akbar was fascinated with the new imagery from the Christian world and he instructed his court painters to copy them. This attempt somehow created a new pictorial vocabulary which was a unique expression of cultural interaction. This process of image borrowing juxtaposed many sacred entities with the profane, thus in the process, the idea of divinity is often curbed at the hand of the artist. The pictorial process of subjugation starts with the process of acceptance. If a culture or a state outwardly rejects the 'other', then probably the supremacy of both cultures becomes evident. Once a culture accepts another without refuting, it tends to play the role of a greater patron. The acceptance of the 'Christian' imageries could be seen as a method of tolerance as well as a subtle assault on the western world and the Christian religion. The images of Madonna were of prime importance as it continued to impress Akbar and his successor Jahangir. There was a steady demand for such images within the Mughal court. Gradually images of Madonna were absorbed as a cultural motif and showed many signs of 'otherness'. This paper tries to reexamine the images from a framework of Occidentalism. It attempts to critically analyze the process of iconographic assimilation in context of image production. It also attempts to throw some light on the position of the European 'other' class and the inherent process of acculturation between two major cultural/religious forces.
This paper is a comprehensive study of the mural decoration and its design elements used in the f... more This paper is a comprehensive study of the mural decoration and its design elements used in the famous tombs of the Mughal era, the tomb of shaikh Salim Chisti (Fathepur-Sikri) and the tomb of Itimid- ud-Dulla (Agra). The monuments are world famous due to its grand architecture. Different types of decorative arts and beautiful symbolic and decorative motifs were used in the buildings as a part of the interior as well as exterior wall decorations. The motifs are in geometrical, arabesques, vegetation, abstract, animated and religious forms. This paper attempts to find aesthetic, cultural and regional logic for placement of different motifs for wall decoration in different squares and rectangular portition in the interior of the tomb. This paper also explores the theme, which has been applied in geometrical portions with different beautiful flowers, fruits and other motifs. This is en explorative study based on literature, survey and interviews. The study concludes that the mural deco...
Rupkatha Journal on Interdisciplinary Studies in Humanities
During the sixteenth century, along with the rise of the Mughal Empire, the social landscape of I... more During the sixteenth century, along with the rise of the Mughal Empire, the social landscape of India changed drastically with the advent of the European colonial powers. In 1580 CE, following the First Jesuit Mission to the Court of Emperor Akbar, a new cross-cultural dialogue was initiated that not only impacted the socio-economic and political fabric but also the artistic productions of the time. The growing presence of the European traders, ambassadors, soldiers, and missionaries in the Mughal world also lead to several curious narratives that were widely circulated. These tales also gave birth to cultural misconceptions as the Europeans on several occasions were seen as social evils. They were often collectively addressed as Firang/Farang or ‘Franks’ and were perceived as ‘strange and wonderful people’ or ‘ajaib-o-ghara’ib’. It was during the Mughal reign when for the first time in Indian visual culture, a conscious attempt was made to document the life and customs of the Europ...
Journal of Heritage Management
This study examines practice status and design possibilities for new markets at the wood carving ... more This study examines practice status and design possibilities for new markets at the wood carving cluster of Saharanpur (SRE) district (Uttar Pradesh, India). Wood carving undoubtedly possessed a prominent place amongst the greatest art forms ever since antiquity. In context of the same, SRE is one the commercial districts of Uttar Pradesh. Wood is a preliminary material here which is available in abundance and is extensively used for making various products of daily needs. Broadly, this abstract throws light on practice status and new design possibilities in the field of woodcraft of SRE. The purpose of the study is to create new prototype samples which depict the identity of woodcraft. In the market of SRE, majority of products are available for single usage, while several of them are bulky in weight and not very user-friendly. To test the feasibility of products, the survey method has been used and data has been collected from the selected samples of 44 respondents. Interview sche...
Chitrolekha International Magazine on Art and Design
Cezanne is a painter who existed in the era of discoveries, there was law of relativity as well a... more Cezanne is a painter who existed in the era of discoveries, there was law of relativity as well as discontinuous travel of light. Despite all the scientificised discoveries and inventions, Cezanne was seeking inspiration from nature. Nature was the sole inspirer of him. Nature, he wanted to tap, the structure of, underneath in his paintings. During the times earlier to mid nineteenth century, symmetry was essential aspect of art as understructure, as in Piero della Francesca's artworks. During mid nineteenth century art was paving way to new paradigms. Painters display emotion, sentiment, capturing of form, structure, composition with line, color or form to fathom their artistic instincts. Here in this paper I display the luminous use of color by Cezanne and use of hidden geometry in the painting of Mont Sainte Victoire to elucidate his traits to capture nature to its truest form, asymmetry. In understructure also, this asymmetry is vocal in the pentagon formed at the focal point of painting. Our earth is the worthy example of asymmetry. As nature (earth) is asymmetrical so we find traits of asymmetry in Cezanne's understructure of painting. The inspiration of the artist lay in nature, so was his treatment of painting.
Springer Transactions in Civil and Environmental Engineering, 2016
Springer Transactions in Civil and Environmental Engineering, 2016
Springer Transactions in Civil and Environmental Engineering, 2016
Art and architecture demonstrate fascinating phenomenon, created in various geometrical forms and... more Art and architecture demonstrate fascinating phenomenon, created in various geometrical forms and obtained in both architecture and craft. These geometrical forms have been traced from the prehistoric cave paintings and refined during the Islamic and the Mughal reigns. Old havelis of Saharanpur, over a period of time, display the glimpse of Islamic architecture with architecture treatment and structural ornamentation. The term havelis is generally used for private and huge mansion where people live together. In this context, the tremendous variety of geometrical motifs has been introduced in old havelis of Saharanpur which can be seen on the structural part of old havelis like doors, brackets, windows, and lattice screens in two-dimensional space with Islamic beliefs and skillful manner of artisans. In fact, variation is the most distinctive characteristic of the geometrical design which provides a high-level experience of aesthetics which balances simplicity and complexity that creates harmonious ambience in human life. These wide varieties of decorations demonstrate the glimpse of Indian art as well as the mysteries of Islamic art. Such geometrical designs generate spiritual and lyrical ambience and mesmerize the viewers through marvelous variety of patterns. This paper attempts to examine the geometrical ornamentation in old havelis of Saharanpur with special reference to the symbolic value of geometry in human life. Additionally, it briefly investigates and identifies the rationale behind the application of design principles in the intricate geometrical patterns. It also elaborates how these patterns enhance the beauty and attraction of old havelis of Saharanpur. Keywords Geometrical motifs Havelis Aesthetic Saharanpur Ambience
Journal of Heritage Management
The Krishnalila narratives have an indelible impact on the architectural imaginations and designs... more The Krishnalila narratives have an indelible impact on the architectural imaginations and designs of artisans of Bengal from seventeenth to nineteenth century. The article attempts to identify such portrayals on the front facades of the Baranagar temples of eighteenth century in Murshidabad, West Bengal. It explores the specific reasons for their inclusion and the changing nature of narratives and iconography under the varying impact of Krishna cult. It relies on literary sources, on site interviews with the priest, temple caretaker and local people and visual data collected during field visits. While romance was the primary theme of the seventeenth century temples, the eighteenth century Baranagar temples saw a diversification of themes to include heroic exploits of Krishna; portrayal of other deities attracted the devotees of Vaishnava, Shaiva and Shakta sects. Such depictions while revealing the secular nature of the chief patron also acted as a tool for legitimization of her aut...
The genesis of the present study can be traced to an aspiration to work on the narratives of reli... more The genesis of the present study can be traced to an aspiration to work on the narratives of religious architecture. The Terracotta Temples of Baranagar in Murshidabad, West Bengal offer a very insightful vantage point in this regard. The elaborate works of terracotta on the facades of these temples patronized by Rani Bhabani during the mid-eighteenth century possess immense narrative potential to reconstruct the history of the area in the given time period. The portrayals on various facets of society, environment, culture, religion, mythology, and space and communication systems make these temples exemplary representatives for studying narrative art. While a significant portion of the temple facades depicts gods, goddesses, and mythological stories, the on-spot study also found a substantial number of plaques observed mainly on the base friezes representing the engagement of women in various mundane activities. This study explores the narrative intentions of such portrayals. The depictions incorporated are validated with various types of archival evidence facilitating cross-corroboration of the sources. The study sheds light on the crucial role played by women in domestic spheres and their engagement in social activities. The portrayals act as indispensable visual evidence for a holistic understanding of the life of women in Late Medieval Bengal. However, with the passage of time, the temples have been susceptible to the processes of decay necessitating the need for conservation and urgent restoration of this invaluable heritage site.
International Journal of Humanities and Social Sciences, 2019
Bengal has a long history (8th century A.D. onwards) of decorating the wall of brick-built templ... more Bengal has a long history (8th century A.D. onwards) of decorating the wall of brick-built temples with curved terracotta plaques on a diverse range of subjects. These could be considered as one of the most significant visual archives to understand the various facets of the then-contemporary societies. The temples under focus include Char-bangla temple complex (circa 1755 A.D.), Bhavanishvara temple (circa 1755 A.D.) and the Gangeshvara Shiva Jor-bangla temple (circa 1753 A.D.), located within a part of the river Bhagirathi basin in Baranagar, Murshidabad, West Bengal, India. Though, a diverse range of subjects have been intricately carved mainly on the front façades of the Baranagar temple cluster, the study specifically concentrates on depictions related to religious and non-religious acts performed by practitioners of various religious sects of late medieval Bengal with the intention to acquire knowledge about the various facets of their life. Apart from this, the paper also mapped the spatial location of these religious performers on the temples' façades to examine if any systematic plan or arrangement had been employed for connoting a particular idea. Further, an attempt is made to provide a commentary on the attire worn by followers of various religious sects of late medieval Bengal. The primary materials for the study comprise the depictions which denote religious activities carved on the terracotta plaques. The secondary material has been collected from published and unpublished theses, journals and books. These data have been further supplemented with photographic documentation, some useful line-drawings and descriptions in table format to get a clear understanding of the concerned issues.
Journal of East West Thought (UGC-CARE Listed), 2020
Western explorers of 15 th-16 th century, all throughout the world, ventured with two primary mot... more Western explorers of 15 th-16 th century, all throughout the world, ventured with two primary motives. Firstly, their adventurous mind wanted to expand their knowledge about the 'other'/ non-European world and secondly, to propagate Christianity. The early missionaries in Mughal India, had mistaken Akbar's interest in Christianity to be his weakness and thought of getting a hold of the empire through the conversion of the Emperor himself. Akbar wanted to educate himself and his followers in the spiritual and intellectual aspects of Christianity but never wished to convert. Akbar was fascinated with the new imagery from the Christian world and he instructed his court painters to copy them. This attempt somehow created a new pictorial vocabulary which was a unique expression of cultural interaction. This process of image borrowing juxtaposed many sacred entities with the profane, thus in the process, the idea of divinity is often curbed at the hand of the artist. The pictorial process of subjugation starts with the process of acceptance. If a culture or a state outwardly rejects the 'other', then probably the supremacy of both cultures becomes evident. Once a culture accepts another without refuting, it tends to play the role of a greater patron. The acceptance of the 'Christian' imageries could be seen as a method of tolerance as well as a subtle assault on the western world and the Christian religion. The images of Madonna were of prime importance as it continued to impress Akbar and his successor Jahangir. There was a steady demand for such images within the Mughal court. Gradually images of Madonna were absorbed as a cultural motif and showed many signs of 'otherness'. This paper tries to reexamine the images from a framework of Occidentalism. It attempts to critically analyze the process of iconographic assimilation in context of image production. It also attempts to throw some light on the position of the European 'other' class and the inherent process of acculturation between two major cultural/religious forces.
This paper is a comprehensive study of the mural decoration and its design elements used in the f... more This paper is a comprehensive study of the mural decoration and its design elements used in the famous tombs of the Mughal era, the tomb of shaikh Salim Chisti (Fathepur-Sikri) and the tomb of Itimid- ud-Dulla (Agra). The monuments are world famous due to its grand architecture. Different types of decorative arts and beautiful symbolic and decorative motifs were used in the buildings as a part of the interior as well as exterior wall decorations. The motifs are in geometrical, arabesques, vegetation, abstract, animated and religious forms. This paper attempts to find aesthetic, cultural and regional logic for placement of different motifs for wall decoration in different squares and rectangular portition in the interior of the tomb. This paper also explores the theme, which has been applied in geometrical portions with different beautiful flowers, fruits and other motifs. This is en explorative study based on literature, survey and interviews. The study concludes that the mural deco...
Rupkatha Journal on Interdisciplinary Studies in Humanities
During the sixteenth century, along with the rise of the Mughal Empire, the social landscape of I... more During the sixteenth century, along with the rise of the Mughal Empire, the social landscape of India changed drastically with the advent of the European colonial powers. In 1580 CE, following the First Jesuit Mission to the Court of Emperor Akbar, a new cross-cultural dialogue was initiated that not only impacted the socio-economic and political fabric but also the artistic productions of the time. The growing presence of the European traders, ambassadors, soldiers, and missionaries in the Mughal world also lead to several curious narratives that were widely circulated. These tales also gave birth to cultural misconceptions as the Europeans on several occasions were seen as social evils. They were often collectively addressed as Firang/Farang or ‘Franks’ and were perceived as ‘strange and wonderful people’ or ‘ajaib-o-ghara’ib’. It was during the Mughal reign when for the first time in Indian visual culture, a conscious attempt was made to document the life and customs of the Europ...
Journal of Heritage Management
This study examines practice status and design possibilities for new markets at the wood carving ... more This study examines practice status and design possibilities for new markets at the wood carving cluster of Saharanpur (SRE) district (Uttar Pradesh, India). Wood carving undoubtedly possessed a prominent place amongst the greatest art forms ever since antiquity. In context of the same, SRE is one the commercial districts of Uttar Pradesh. Wood is a preliminary material here which is available in abundance and is extensively used for making various products of daily needs. Broadly, this abstract throws light on practice status and new design possibilities in the field of woodcraft of SRE. The purpose of the study is to create new prototype samples which depict the identity of woodcraft. In the market of SRE, majority of products are available for single usage, while several of them are bulky in weight and not very user-friendly. To test the feasibility of products, the survey method has been used and data has been collected from the selected samples of 44 respondents. Interview sche...
Chitrolekha International Magazine on Art and Design
Cezanne is a painter who existed in the era of discoveries, there was law of relativity as well a... more Cezanne is a painter who existed in the era of discoveries, there was law of relativity as well as discontinuous travel of light. Despite all the scientificised discoveries and inventions, Cezanne was seeking inspiration from nature. Nature was the sole inspirer of him. Nature, he wanted to tap, the structure of, underneath in his paintings. During the times earlier to mid nineteenth century, symmetry was essential aspect of art as understructure, as in Piero della Francesca's artworks. During mid nineteenth century art was paving way to new paradigms. Painters display emotion, sentiment, capturing of form, structure, composition with line, color or form to fathom their artistic instincts. Here in this paper I display the luminous use of color by Cezanne and use of hidden geometry in the painting of Mont Sainte Victoire to elucidate his traits to capture nature to its truest form, asymmetry. In understructure also, this asymmetry is vocal in the pentagon formed at the focal point of painting. Our earth is the worthy example of asymmetry. As nature (earth) is asymmetrical so we find traits of asymmetry in Cezanne's understructure of painting. The inspiration of the artist lay in nature, so was his treatment of painting.
Springer Transactions in Civil and Environmental Engineering, 2016
Springer Transactions in Civil and Environmental Engineering, 2016
Springer Transactions in Civil and Environmental Engineering, 2016
Art and architecture demonstrate fascinating phenomenon, created in various geometrical forms and... more Art and architecture demonstrate fascinating phenomenon, created in various geometrical forms and obtained in both architecture and craft. These geometrical forms have been traced from the prehistoric cave paintings and refined during the Islamic and the Mughal reigns. Old havelis of Saharanpur, over a period of time, display the glimpse of Islamic architecture with architecture treatment and structural ornamentation. The term havelis is generally used for private and huge mansion where people live together. In this context, the tremendous variety of geometrical motifs has been introduced in old havelis of Saharanpur which can be seen on the structural part of old havelis like doors, brackets, windows, and lattice screens in two-dimensional space with Islamic beliefs and skillful manner of artisans. In fact, variation is the most distinctive characteristic of the geometrical design which provides a high-level experience of aesthetics which balances simplicity and complexity that creates harmonious ambience in human life. These wide varieties of decorations demonstrate the glimpse of Indian art as well as the mysteries of Islamic art. Such geometrical designs generate spiritual and lyrical ambience and mesmerize the viewers through marvelous variety of patterns. This paper attempts to examine the geometrical ornamentation in old havelis of Saharanpur with special reference to the symbolic value of geometry in human life. Additionally, it briefly investigates and identifies the rationale behind the application of design principles in the intricate geometrical patterns. It also elaborates how these patterns enhance the beauty and attraction of old havelis of Saharanpur. Keywords Geometrical motifs Havelis Aesthetic Saharanpur Ambience
Journal of Heritage Management
The Krishnalila narratives have an indelible impact on the architectural imaginations and designs... more The Krishnalila narratives have an indelible impact on the architectural imaginations and designs of artisans of Bengal from seventeenth to nineteenth century. The article attempts to identify such portrayals on the front facades of the Baranagar temples of eighteenth century in Murshidabad, West Bengal. It explores the specific reasons for their inclusion and the changing nature of narratives and iconography under the varying impact of Krishna cult. It relies on literary sources, on site interviews with the priest, temple caretaker and local people and visual data collected during field visits. While romance was the primary theme of the seventeenth century temples, the eighteenth century Baranagar temples saw a diversification of themes to include heroic exploits of Krishna; portrayal of other deities attracted the devotees of Vaishnava, Shaiva and Shakta sects. Such depictions while revealing the secular nature of the chief patron also acted as a tool for legitimization of her aut...
The genesis of the present study can be traced to an aspiration to work on the narratives of reli... more The genesis of the present study can be traced to an aspiration to work on the narratives of religious architecture. The Terracotta Temples of Baranagar in Murshidabad, West Bengal offer a very insightful vantage point in this regard. The elaborate works of terracotta on the facades of these temples patronized by Rani Bhabani during the mid-eighteenth century possess immense narrative potential to reconstruct the history of the area in the given time period. The portrayals on various facets of society, environment, culture, religion, mythology, and space and communication systems make these temples exemplary representatives for studying narrative art. While a significant portion of the temple facades depicts gods, goddesses, and mythological stories, the on-spot study also found a substantial number of plaques observed mainly on the base friezes representing the engagement of women in various mundane activities. This study explores the narrative intentions of such portrayals. The depictions incorporated are validated with various types of archival evidence facilitating cross-corroboration of the sources. The study sheds light on the crucial role played by women in domestic spheres and their engagement in social activities. The portrayals act as indispensable visual evidence for a holistic understanding of the life of women in Late Medieval Bengal. However, with the passage of time, the temples have been susceptible to the processes of decay necessitating the need for conservation and urgent restoration of this invaluable heritage site.
International Journal of Humanities and Social Sciences, 2019
Bengal has a long history (8th century A.D. onwards) of decorating the wall of brick-built templ... more Bengal has a long history (8th century A.D. onwards) of decorating the wall of brick-built temples with curved terracotta plaques on a diverse range of subjects. These could be considered as one of the most significant visual archives to understand the various facets of the then-contemporary societies. The temples under focus include Char-bangla temple complex (circa 1755 A.D.), Bhavanishvara temple (circa 1755 A.D.) and the Gangeshvara Shiva Jor-bangla temple (circa 1753 A.D.), located within a part of the river Bhagirathi basin in Baranagar, Murshidabad, West Bengal, India. Though, a diverse range of subjects have been intricately carved mainly on the front façades of the Baranagar temple cluster, the study specifically concentrates on depictions related to religious and non-religious acts performed by practitioners of various religious sects of late medieval Bengal with the intention to acquire knowledge about the various facets of their life. Apart from this, the paper also mapped the spatial location of these religious performers on the temples' façades to examine if any systematic plan or arrangement had been employed for connoting a particular idea. Further, an attempt is made to provide a commentary on the attire worn by followers of various religious sects of late medieval Bengal. The primary materials for the study comprise the depictions which denote religious activities carved on the terracotta plaques. The secondary material has been collected from published and unpublished theses, journals and books. These data have been further supplemented with photographic documentation, some useful line-drawings and descriptions in table format to get a clear understanding of the concerned issues.