Jyotindra Jain - Profile on Academia.edu (original) (raw)
Papers by Jyotindra Jain
Invocation songs of South Rajasthan
Bulletin of the International Committee on Urgent Anthropological and Ethnological Research, 1971
Sobre Handwoven Fabrics of India
DOAJ (DOAJ: Directory of Open Access Journals), Sep 1, 1996
Parallel Structures: Ritual Dimensions of Some Tribal Dwellings
Vistāra - The Architecture of India, Catalogue of the Exhibition, 1986
Painted myths of creation : art and ritual of an Indian tribe
... Painted myths of creation: Art and ritual of an Indian tribe. Post a Comment. CONTRIBUTORS: A... more ... Painted myths of creation: Art and ritual of an Indian tribe. Post a Comment. CONTRIBUTORS: Author: Jain, Jyotindra (b. 1943, d. ----. PUBLISHER: Lalit Kala Akademi (New Delhi, India). SERIES TITLE: YEAR: 1984. PUB TYPE: Book. VOLUME/EDITION: 1st edition. ...
Dimensions of Indian art : Pupul Jayakar seventy
Agam Kala Prakashan eBooks, 1986
... Dimensions of Indian art: Pupul Jayakar seventy. Post a Comment. CONTRIBUTORS: Author:Lokesh ... more ... Dimensions of Indian art: Pupul Jayakar seventy. Post a Comment. CONTRIBUTORS: Author:Lokesh Chandra. Author: Jain, Jyotindra (b. 1943, d. ----. Author: Agam Prasad. Author: Jayakar, Pupul. PUBLISHER: Agam Kala Prakashan (Delhi). SERIES TITLE: YEAR: 1986. ...
Indian subcontinent: Woodwork
Oxford Art Online, 2003
Ganga Devi: Tradition and expression in Madhubani painting
Third text, Mar 1, 1989
As in the case of most Kayastha women painters of Mithila of her generation, Ganga Devi's ea... more As in the case of most Kayastha women painters of Mithila of her generation, Ganga Devi's early artistic expressions confined to painting the walls of Kohbar ghar or the bride's wedding chamber, aripan or ritual floor paintings and the five sheets of paper for wrapping sindur, ...
Ganga Devi: Tradition And Expression In Mithila Painting
In the Mithila region of north Bihar there is an old tradition of painting the walls of the nupti... more In the Mithila region of north Bihar there is an old tradition of painting the walls of the nuptial chamber. The paintings are an assemblage of symbolic images of the lotus plant, the bamboo grove, fishes, birds and snakes in union, and represent fertility and the proliferation of life. According to conventional ritual practice, the bride and the groom spend three nights in this chamber without cohabiting, and on the fourth, amidst the paintings, consummate the marriage. Ganga Devi, both as a person and as an artist, was rooted in the tradition of Mithila painting. While the tradition was deeply ingrained in her and was a source of inspiration in her work, and of courage in her tormented personal life, she was one of the few Mithila artists to respond spontaneously and sensitively to the new possibilities offered by the availability of paper in the region. The creative expression of rural and tribal artists has always been seen by most art historians as a product of ethnic collectivity whose authenticity lies in the remoteness of time and space. This study is the first of its kind, tracing the growth of a rural artist's work from her early paintings to her venturing out into narrative and autobiographical work, and the invention of a new pictorial vocabulary.
Objects of meditation and the pantheon
BRILL eBooks, 1978
Tempeltücher für die Muttergöttinnen in Indien : Zeremonien, Herstellung und Ikonographie gemalter und gedruckter Stoffbilder aus Gujarat
Museum Rietberg eBooks, 1982
The Master weavers : festival of India in Britain, Royal College of Art, Autumn 1982
Folk art and culture of Gujarat : guide to the collection of the Shreyas Folk Museum of Gujarat
Temple Tents for Goddesses in Gujarat, India
Describes in details the folk art and incomparable craftmanship of certain local communities in G... more Describes in details the folk art and incomparable craftmanship of certain local communities in Gujarat Extensively researched material, translated and revised, on an art form nearing obscurity Contains illustations and photographs by the author that lend great depth to the topics dealt within Will be appreciated by scholars and researchers for its themes, precision, ethnographic and personal accounts
Jain Iconography. Part I, the Tīrthaṅkara in Jaina Scriptures, Art and Rituels
Journal of the American Oriental Society, Jul 1, 1978
Charles Correa and Jyotindra Jain: in Conversation at Indian Institute of Science, Bangalore, November 30th, 2014
Vistāra - The Architecture of India, Catalogue of the Exhibition
Deccani Scroll Paintings in the Jagdish and Kamla Mittal Museum of Indian Art
Kalighat painting: Images from a changing world
Picture showmen : insights into the narrative tradition in Indian art
The Tīrthaṅkara in Jaina scriptures, art and rituals
Invocation songs of South Rajasthan
Bulletin of the International Committee on Urgent Anthropological and Ethnological Research, 1971
Sobre Handwoven Fabrics of India
DOAJ (DOAJ: Directory of Open Access Journals), Sep 1, 1996
Parallel Structures: Ritual Dimensions of Some Tribal Dwellings
Vistāra - The Architecture of India, Catalogue of the Exhibition, 1986
Painted myths of creation : art and ritual of an Indian tribe
... Painted myths of creation: Art and ritual of an Indian tribe. Post a Comment. CONTRIBUTORS: A... more ... Painted myths of creation: Art and ritual of an Indian tribe. Post a Comment. CONTRIBUTORS: Author: Jain, Jyotindra (b. 1943, d. ----. PUBLISHER: Lalit Kala Akademi (New Delhi, India). SERIES TITLE: YEAR: 1984. PUB TYPE: Book. VOLUME/EDITION: 1st edition. ...
Dimensions of Indian art : Pupul Jayakar seventy
Agam Kala Prakashan eBooks, 1986
... Dimensions of Indian art: Pupul Jayakar seventy. Post a Comment. CONTRIBUTORS: Author:Lokesh ... more ... Dimensions of Indian art: Pupul Jayakar seventy. Post a Comment. CONTRIBUTORS: Author:Lokesh Chandra. Author: Jain, Jyotindra (b. 1943, d. ----. Author: Agam Prasad. Author: Jayakar, Pupul. PUBLISHER: Agam Kala Prakashan (Delhi). SERIES TITLE: YEAR: 1986. ...
Indian subcontinent: Woodwork
Oxford Art Online, 2003
Ganga Devi: Tradition and expression in Madhubani painting
Third text, Mar 1, 1989
As in the case of most Kayastha women painters of Mithila of her generation, Ganga Devi's ea... more As in the case of most Kayastha women painters of Mithila of her generation, Ganga Devi's early artistic expressions confined to painting the walls of Kohbar ghar or the bride's wedding chamber, aripan or ritual floor paintings and the five sheets of paper for wrapping sindur, ...
Ganga Devi: Tradition And Expression In Mithila Painting
In the Mithila region of north Bihar there is an old tradition of painting the walls of the nupti... more In the Mithila region of north Bihar there is an old tradition of painting the walls of the nuptial chamber. The paintings are an assemblage of symbolic images of the lotus plant, the bamboo grove, fishes, birds and snakes in union, and represent fertility and the proliferation of life. According to conventional ritual practice, the bride and the groom spend three nights in this chamber without cohabiting, and on the fourth, amidst the paintings, consummate the marriage. Ganga Devi, both as a person and as an artist, was rooted in the tradition of Mithila painting. While the tradition was deeply ingrained in her and was a source of inspiration in her work, and of courage in her tormented personal life, she was one of the few Mithila artists to respond spontaneously and sensitively to the new possibilities offered by the availability of paper in the region. The creative expression of rural and tribal artists has always been seen by most art historians as a product of ethnic collectivity whose authenticity lies in the remoteness of time and space. This study is the first of its kind, tracing the growth of a rural artist's work from her early paintings to her venturing out into narrative and autobiographical work, and the invention of a new pictorial vocabulary.
Objects of meditation and the pantheon
BRILL eBooks, 1978
Tempeltücher für die Muttergöttinnen in Indien : Zeremonien, Herstellung und Ikonographie gemalter und gedruckter Stoffbilder aus Gujarat
Museum Rietberg eBooks, 1982
The Master weavers : festival of India in Britain, Royal College of Art, Autumn 1982
Folk art and culture of Gujarat : guide to the collection of the Shreyas Folk Museum of Gujarat
Temple Tents for Goddesses in Gujarat, India
Describes in details the folk art and incomparable craftmanship of certain local communities in G... more Describes in details the folk art and incomparable craftmanship of certain local communities in Gujarat Extensively researched material, translated and revised, on an art form nearing obscurity Contains illustations and photographs by the author that lend great depth to the topics dealt within Will be appreciated by scholars and researchers for its themes, precision, ethnographic and personal accounts
Jain Iconography. Part I, the Tīrthaṅkara in Jaina Scriptures, Art and Rituels
Journal of the American Oriental Society, Jul 1, 1978
Charles Correa and Jyotindra Jain: in Conversation at Indian Institute of Science, Bangalore, November 30th, 2014
Vistāra - The Architecture of India, Catalogue of the Exhibition
Deccani Scroll Paintings in the Jagdish and Kamla Mittal Museum of Indian Art
Kalighat painting: Images from a changing world
Picture showmen : insights into the narrative tradition in Indian art
The Tīrthaṅkara in Jaina scriptures, art and rituals
Bombay/Mumbai: Visual Histories of a City, 2013
Bombay/Mumbai: Visual Histories of a City critically surveys the visual culture of Mumbai over th... more Bombay/Mumbai: Visual Histories of a City critically
surveys the visual culture of Mumbai over the course of
the twentieth century. Tracing the creation of the eclectic
calendar art aesthetics of Ravi Varma through his early
Mumbai-based printing presses and the powerful impact of Mumbai’s theatrical practices on his work (and vice versa), the essay examines the historical factors leading to the introduction of ‘commercial art’ courses at the J.J. School of Art, the rise of advertising agencies, ‘fine artists’ such as M.V. Dhurandhar practising in the bazaar, the new influx of photo studios, and the self-consciously creative experiments of photographers such as Shapoor N. Bhedwar and Jehangir Tarapor. One of the overarching arguments is how, after the 1940s, Ravi Varma’s shadow began to fade from the calendar art of the city, making way for the emerging film industry and a concomitant cinematic aesthetics.
The essay further explores the rise and fall of the city’s Indo-British cotton, opium and textile trades, and the explosion of mill labels and publicity cards, telling the story of Bombay’s trade histories and the resultant urban expansion, as well as that of the swadeshi and nationalist responses; the arrival of a new modernity in everyday life through the manufacture of consumption goods and their publicity images, which reflected the visual construction of the city’s transforming social life.