{"title":"Between Emulation and Innovation: Upendrakishore Ray and the Ambiguities of Colonial Modernity","authors":"C. Sengoopta","doi":"10.1177/2230807517701572","DOIUrl":null,"url":null,"abstract":"Abstract Using the example of Upendrakishore Ray (1863–1915), a well-known Bengali artist, writer, technologist and publisher, this essay critiques prevalent theories that portray colonial Indian modernity as a largely derivative discourse. Addressing Ray’s globally recognised contributions to the refinement of technologies for the printing of photographs and paintings, the article shows how Ray’s relative lack of resources could not obstruct his innovative approach and investigates why, in spite of his originality, his Western recognition was no more than transient. Turning then to Ray’s views on pictorial art, the essay shows how in this area, he merely followed the precepts of western ‘academic’ art and failed to attain any originality. Indian engagements with modernity, the essay concludes, were neither exclusively original nor invariably imitative, and we need new theoretical approaches that can accommodate this diversity and unpredictability.","PeriodicalId":41287,"journal":{"name":"History and Sociology of South Asia","volume":"11 1","pages":"100 - 83"},"PeriodicalIF":0.1000,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/2230807517701572","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"History and Sociology of South Asia","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1177/2230807517701572","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"AREA STUDIES","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract Using the example of Upendrakishore Ray (1863–1915), a well-known Bengali artist, writer, technologist and publisher, this essay critiques prevalent theories that portray colonial Indian modernity as a largely derivative discourse. Addressing Ray’s globally recognised contributions to the refinement of technologies for the printing of photographs and paintings, the article shows how Ray’s relative lack of resources could not obstruct his innovative approach and investigates why, in spite of his originality, his Western recognition was no more than transient. Turning then to Ray’s views on pictorial art, the essay shows how in this area, he merely followed the precepts of western ‘academic’ art and failed to attain any originality. Indian engagements with modernity, the essay concludes, were neither exclusively original nor invariably imitative, and we need new theoretical approaches that can accommodate this diversity and unpredictability.
期刊介绍：
History and Sociology of South Asia provides a forum for scholarly interrogations of significant moments in the transformation of the social, economic and political fabric of South Asian societies. Thus the journal advisedly presents an interdisciplinary space in which contemporary ideas compete, and critiques of existing perspectives are encouraged. The interdisciplinary focus of the journal enables it to incorporate diverse areas of research, including political economy, social ecology, and issues of minority rights, gender, and the role of law in development. History and Sociology of South Asia also promotes dialogue on socio-political problems, from which academicians as well as activists and advocacy groups can benefit.
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