Jyotindra Jain - Academia.edu (original) (raw)
Papers by Jyotindra Jain
This book celebrates the diversity of the vast subcontinent by examining little known folk tradit... more This book celebrates the diversity of the vast subcontinent by examining little known folk traditions of village and nomad people. Drawing upon the traditions of India's half million villages, it helps comprehend the inner logic behind the almost numberless acts of Hindu devotion that occur each day, many of which involve the adornment of homes and altars and the creation of clay vessels and images. They show how, in traditions of embroidery and dress, we can 'read' the complicated ethnic and caste relationships that characterise the societal matrix of the rural peoples. Consequently, the India presented here is village rather than city, local and regional rather than national, peaceful rather than chaotic, spiritual rather than sensational, and despite the vast changes taking place, essentially timeless. The essays in this book are based on field research by leading experts Nora Fisher, Judy Frater, Stephen Huyler, Jyotindra Jain and Vijaya Nagarajan.
Vistāra - The Architecture of India, Catalogue of the Exhibition, 1986
BioScope: South Asian Screen Studies, 2010
Building upon the notion that “space is a practiced place” and that spatial practices activate pl... more Building upon the notion that “space is a practiced place” and that spatial practices activate places, the article explores Indian pilgrimage maps and painted narrative panels of itinerant picture showmen as examples of portable geographies. It argues that these materials act as condensed and iconized places of pilgrimage activated in the case of maps by their worship and by audio-visual performance in the case of the painted narrative panels of Dev Narayan. These visual forms are not merely imaginary or imaged representations of particular sacred places but are representations of a very specific type: akin to mobile shrines, they facilitate the translocation of ritual, symbolic and performative functions. When delineated as pilgrimage maps, picture showmen’s panels, or theater backdrops, sacred place and sacred space become iconized and transportable. In turn, they become vehicles for the imaginary transportation of audiences into their spatial form.
Within the main current of architectural activity in Western India, which produced such magnifice... more Within the main current of architectural activity in Western India, which produced such magnificent edifices as the Sun-temple at Modhera in Northern Gujarat or the Jaina temples in Mt. Abu in Rajasthan, the functional but artistic stepwells found all over the region constitute an important part. Stepwells are a unique form of underground well architecture that have survived from the seventh century in monu ments found in Rajasthan, Gujarat and some parts of northern India and Madhya Pradesh. But it is in Gujarat alone that they attained unsurpassed beauty, appearing like subterranean temples. In fact, they reflect the architectural and cultural styles that reigned from one period of history to another. A stepwell serves the community, not only as a source of water but also as a meeting place. It is here that men gather in their spare time and, of course, women meet and talk while collecting water for the household. Stepwells may also be located within a village or on its periphery or beside major roads. A great many of them have been found along the old trade routes from the coastal towns of Gujarat to the imperial centres of northern India, situated roughly at distances that a caravan could cover in a day's march—ideal resting places for the long journey. These underground wells used to be the primary source of water for the home and for the farm. In Gujarat's arid climate there is very little water in the rivers and pools in the long lean season which comes a few months after the rainy season. A stepwell is thus often the only source of water for the rest of the year. Because its surface is exposed
Journal of the American Oriental Society, 1985
... The entire work has been carried out under the guidance of Prof Dr Klaus Fischer, Department ... more ... The entire work has been carried out under the guidance of Prof Dr Klaus Fischer, Department of Oriental Art History, University of Bonn, West Germany, and that of Pandit Dalsukh Malvania and Dr Nagin Shah, both at the LD Institute of Indology, Ahmedabad, India. ...
Points of View: Defining Moments of the Photography in India, 2022
Pictorialist Photography in Bombay at the Turn of the Nineteenth Century While early photography... more Pictorialist Photography in Bombay at the Turn of the Nineteenth Century
While early photography in India served the colonial agenda of documenting its people, flora and fauna, archaeological heritage and scenic beauty, by the turn of the century a global, self-consciously modernist approach rose to prominence, which foregrounded aesthetic values such as the imagination, subjectivity, tonality and composition, allowing photography to stake a claim in the category of art within a multifaceted movement called Pictorialism.
Western Pictorialism had a strong impact on photography in Bombay between the 1890s and 1930s. Besides adding to what is well-known about the pioneer Bombay Pictorialist Shapoor N. Bhedwar, this paper brings into focus the work of two other post-Bhedwar Pictorialists, namely Jehangir S. Tarapore and Pestonji S. Batliwala, who legitimized the medium as an "art form" predicated on the aesthetics of fantasy and performativity.
While Western Pictorialism was eventually absorbed in the mainstream avant-garde, the Bombay movement was shaped by the city’s hybrid Hindi-Urdu-Gujarati theatre scene, an emergent self-orientalizing sense of fashion and lifestyle as well as the ethos of Pre-Raphaelite painting and its Indian avatar.
... 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. ...
Проблемы здоровья и экологии 7 11. Юрковский, А. М. Диагностическое значение морфометрических пар... more Проблемы здоровья и экологии 7 11. Юрковский, А. М. Диагностическое значение морфометрических параметров подвздошно-поясничных связок и изменений костной ткани в зонах энтезов, по данным КТ у пациентов с синдромом боли в нижней части спины / А. М. Юрковский, А. В. Коропо // Журнал ГрГМУ.-2012.-№ 4.-С. 54-57. 12. Юрковский, А. М. Экспертиза подвздошно-поясничной связки при синдроме боли в нижней части спины / А. М. Юрковский // Проблемы здоровья и экологии.-2011.-№ 3.-С. 106-110. 13. Юрковский, А. М. Топография задних длинных крестцово-подвздошных связок: особенности расположения относительно линии остистых отростков / А. М. Юрковский, Н. В. Бобович, С. Л. Ачинович // Проблемы здоровья и экологии.-2014.-№ 3.-С. 92-95. 14. A comprehensive review of the sub-axial ligaments of the vertebral column: part II histology and embryology / A. M. Butt [et al.] // Childs Nerv.
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 collectiv...
This book celebrates the diversity of the vast subcontinent by examining little known folk tradit... more This book celebrates the diversity of the vast subcontinent by examining little known folk traditions of village and nomad people. Drawing upon the traditions of India's half million villages, it helps comprehend the inner logic behind the almost numberless acts of Hindu devotion that occur each day, many of which involve the adornment of homes and altars and the creation of clay vessels and images. They show how, in traditions of embroidery and dress, we can 'read' the complicated ethnic and caste relationships that characterise the societal matrix of the rural peoples. Consequently, the India presented here is village rather than city, local and regional rather than national, peaceful rather than chaotic, spiritual rather than sensational, and despite the vast changes taking place, essentially timeless. The essays in this book are based on field research by leading experts Nora Fisher, Judy Frater, Stephen Huyler, Jyotindra Jain and Vijaya Nagarajan.
Vistāra - The Architecture of India, Catalogue of the Exhibition, 1986
BioScope: South Asian Screen Studies, 2010
Building upon the notion that “space is a practiced place” and that spatial practices activate pl... more Building upon the notion that “space is a practiced place” and that spatial practices activate places, the article explores Indian pilgrimage maps and painted narrative panels of itinerant picture showmen as examples of portable geographies. It argues that these materials act as condensed and iconized places of pilgrimage activated in the case of maps by their worship and by audio-visual performance in the case of the painted narrative panels of Dev Narayan. These visual forms are not merely imaginary or imaged representations of particular sacred places but are representations of a very specific type: akin to mobile shrines, they facilitate the translocation of ritual, symbolic and performative functions. When delineated as pilgrimage maps, picture showmen’s panels, or theater backdrops, sacred place and sacred space become iconized and transportable. In turn, they become vehicles for the imaginary transportation of audiences into their spatial form.
Within the main current of architectural activity in Western India, which produced such magnifice... more Within the main current of architectural activity in Western India, which produced such magnificent edifices as the Sun-temple at Modhera in Northern Gujarat or the Jaina temples in Mt. Abu in Rajasthan, the functional but artistic stepwells found all over the region constitute an important part. Stepwells are a unique form of underground well architecture that have survived from the seventh century in monu ments found in Rajasthan, Gujarat and some parts of northern India and Madhya Pradesh. But it is in Gujarat alone that they attained unsurpassed beauty, appearing like subterranean temples. In fact, they reflect the architectural and cultural styles that reigned from one period of history to another. A stepwell serves the community, not only as a source of water but also as a meeting place. It is here that men gather in their spare time and, of course, women meet and talk while collecting water for the household. Stepwells may also be located within a village or on its periphery or beside major roads. A great many of them have been found along the old trade routes from the coastal towns of Gujarat to the imperial centres of northern India, situated roughly at distances that a caravan could cover in a day's march—ideal resting places for the long journey. These underground wells used to be the primary source of water for the home and for the farm. In Gujarat's arid climate there is very little water in the rivers and pools in the long lean season which comes a few months after the rainy season. A stepwell is thus often the only source of water for the rest of the year. Because its surface is exposed
Journal of the American Oriental Society, 1985
... The entire work has been carried out under the guidance of Prof Dr Klaus Fischer, Department ... more ... The entire work has been carried out under the guidance of Prof Dr Klaus Fischer, Department of Oriental Art History, University of Bonn, West Germany, and that of Pandit Dalsukh Malvania and Dr Nagin Shah, both at the LD Institute of Indology, Ahmedabad, India. ...
Points of View: Defining Moments of the Photography in India, 2022
Pictorialist Photography in Bombay at the Turn of the Nineteenth Century While early photography... more Pictorialist Photography in Bombay at the Turn of the Nineteenth Century
While early photography in India served the colonial agenda of documenting its people, flora and fauna, archaeological heritage and scenic beauty, by the turn of the century a global, self-consciously modernist approach rose to prominence, which foregrounded aesthetic values such as the imagination, subjectivity, tonality and composition, allowing photography to stake a claim in the category of art within a multifaceted movement called Pictorialism.
Western Pictorialism had a strong impact on photography in Bombay between the 1890s and 1930s. Besides adding to what is well-known about the pioneer Bombay Pictorialist Shapoor N. Bhedwar, this paper brings into focus the work of two other post-Bhedwar Pictorialists, namely Jehangir S. Tarapore and Pestonji S. Batliwala, who legitimized the medium as an "art form" predicated on the aesthetics of fantasy and performativity.
While Western Pictorialism was eventually absorbed in the mainstream avant-garde, the Bombay movement was shaped by the city’s hybrid Hindi-Urdu-Gujarati theatre scene, an emergent self-orientalizing sense of fashion and lifestyle as well as the ethos of Pre-Raphaelite painting and its Indian avatar.
... 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. ...
Проблемы здоровья и экологии 7 11. Юрковский, А. М. Диагностическое значение морфометрических пар... more Проблемы здоровья и экологии 7 11. Юрковский, А. М. Диагностическое значение морфометрических параметров подвздошно-поясничных связок и изменений костной ткани в зонах энтезов, по данным КТ у пациентов с синдромом боли в нижней части спины / А. М. Юрковский, А. В. Коропо // Журнал ГрГМУ.-2012.-№ 4.-С. 54-57. 12. Юрковский, А. М. Экспертиза подвздошно-поясничной связки при синдроме боли в нижней части спины / А. М. Юрковский // Проблемы здоровья и экологии.-2011.-№ 3.-С. 106-110. 13. Юрковский, А. М. Топография задних длинных крестцово-подвздошных связок: особенности расположения относительно линии остистых отростков / А. М. Юрковский, Н. В. Бобович, С. Л. Ачинович // Проблемы здоровья и экологии.-2014.-№ 3.-С. 92-95. 14. A comprehensive review of the sub-axial ligaments of the vertebral column: part II histology and embryology / A. M. Butt [et al.] // Childs Nerv.
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 collectiv...
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.