South Asian Studies最新文献

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Opening the Eyes of South Asian Museums: Making Sense of the Visitor Gaze 打开南亚博物馆的眼睛:理解游客的目光

IF 2.5 0 ASIAN STUDIES

South Asian Studies

Pub Date : 2021-05-10 DOI: 10.1080/02666030.2021.1909324

Shaila Bhatti

Since the introduction of museums in South Asia during the colonial period, there has been one troubling factor – the visitors. Colonial museum administrators/curators continuously failed to comprehend local visitor interpretations/interactions. This incomprehension led to visitors being variously classified as uneducated/illiterate; a stereotype that has stuck till today where the majority of visitors to museums are denigrated for their inappropriate behaviour and consumption of exhibits. This paper unpacks the misunderstood visitor experience through local visual practices, in particular the role of vision as embodied and enchanted rather than that pertaining to the modern gaze in the museum, in order to understand the South Asian museum experience. This re-assessment is grounded in a critical re-examination of South Asian vision, which so far has been singularly conceptualised as darshan, proposing instead the need for other scopic regimes to be investigated such as nazar. By applying this expanded view of the South Asian gaze to visitor interactions at the Lahore Museum, this paper aims to overcome the persisting bias against local visitors and suggest that their affective responses are not incongruous to the idea of the museum but relevant to contemporary museology.

自从殖民时期在南亚引进博物馆以来，有一个令人不安的因素-游客。殖民地博物馆的管理者/策展人一直无法理解当地游客的解释/互动。这种不理解导致游客被各种分类为未受过教育/文盲;直到今天，大多数参观博物馆的游客都因为不恰当的行为和对展品的消费而受到诋毁，这种刻板印象一直存在。本文通过当地的视觉实践来解读被误解的游客体验，特别是视觉在博物馆中体现和迷人的作用，而不是与现代凝视有关，以了解南亚博物馆的体验。这种重新评估是基于对南亚愿景的批判性重新审视，到目前为止，南亚愿景一直被独特地概念化为darshan，而不是提出需要研究其他范围的制度，如nazar。通过将南亚人的目光扩展到拉合尔博物馆的参观者互动中，本文旨在克服对当地游客持续存在的偏见，并表明他们的情感反应与博物馆的理念并不矛盾，而是与当代博物馆学相关。

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引用次数: 1

Making Kantha, Making Home. Women at work in colonial Bengal 制作坎塔，制作家。在孟加拉殖民地工作的妇女

IF 2.5 0 ASIAN STUDIES

South Asian Studies

Pub Date : 2021-03-05 DOI: 10.1080/02666030.2021.1893021

Rosemary Crill

引用次数: 1

Krishna’s lineage. The Harivamsha of Vyāsa’s Mahābhārata

IF 2.5 0 ASIAN STUDIES

South Asian Studies

Pub Date : 2021-01-02 DOI: 10.1080/02666030.2021.1935476

D. Feller

examples of Indian miniature painting, sculpture and textiles are anonymous this argument does not convince. Their absence from museum collections is more likely to be because they were made as domestic objects by non-professional women, and were thus much less likely to come to the attention of the (mostly male) museum curators of the time. The core of the book takes two historic kanthas, one in the Gurusaday Museum in Kolkata and one in the Philadelphia Museum of Art, as case studies around which to build many-stranded narratives of aspects of life in colonial Bengal in the 19 and early 20 century. The two kanthas are well-chosen: both (unusually) have embroidered inscriptions giving the name of the maker and an indication of why they were made – one as a gift to the maker’s father, and the other in praise of Radha and Krishna. The two kanthas are visually very different, although the styles in which their motifs are depicted are not part of the discussion. One of the kanthas bears mostly secular motifs, while the other illustrates stories of Radha and Krishna. The scenes depicted on the two kanthas are starting points from which the author skilfully explores subjects such as female literacy in Bengal, the place of women in the nationalist movement, the status of widows, the evolution of the Bengali babu and his depictions, domestic violence, public transport, the role of attendants and servants, dance and dancers, Hindu travelling gosains, Kalighat paintings and Battala prints, Bengali coinage, satirical depictions of dandies, brahmins and weakwilled men, and iconographies of the lotus, pleasureboat rides and composite animals. The book approaches kantha mainly through ethnographic, literary and archival sources rather than from the viewpoint of art history; as a result, it is sparsely illustrated compared with other books on kantha embroidery. The copious endnotes give details of comparative pieces, but more illustrations of such pieces would have been welcome. Illustrations of Kalighat paintings, popular prints and terracotta temple carvings make their points succinctly. At times the language tends to academic jargon and the sentences to longwindedness. Given the breadth of the discussion of life in colonial Bengal, I was surprised to see no mention of the Baluchar sari, a contemporary of the kantha that also uses human figures (and steam trains) in its iconography, albeit made by professional male weavers in urban settings. While I found the sections on the modern-day kantha over-long, the exploration of the hinterland of the two featured pieces is full of interest. The detailed analysis of the images on the kanthas and the interpretations that the author suggests for them not only make us look more closely at the pieces themselves but also invite us to reflect more broadly on what life was like for a woman in 19 and early 20-century Bengal. Rosemary Crill Former Senior Curator, Victoria and Albert Museum rosemarycrill@gmail.com © 2021, Ros

印度微型绘画、雕塑和纺织品的例子是匿名的，这个论点不能令人信服。它们之所以没有被博物馆收藏，更有可能是因为它们是由非职业女性作为家庭物品制作的，因此不太可能引起当时(主要是男性)博物馆馆长的注意。这本书的核心是以加尔各答古鲁萨迪博物馆(Gurusaday Museum)和费城艺术博物馆(Philadelphia Museum of Art)的两件历史文物为案例研究，围绕这两件文物构建了对19世纪和20世纪初孟加拉殖民地生活方方面面的复杂叙述。这两件坎塔都是精心挑选的:两件(不同寻常的)都绣有铭文，上面写着制造者的名字和制作原因——一件是送给制造者父亲的礼物，另一件是对罗陀和奎师那的赞美。这两个kantas在视觉上非常不同，尽管它们的主题描绘风格不在讨论范围内。其中一本主要是世俗的主题，而另一本则讲述了罗陀和奎师那的故事。这两幅画上描绘的场景是作者巧妙地探讨孟加拉女性识字、妇女在民族主义运动中的地位、寡妇的地位、孟加拉先生及其肖像的演变、家庭暴力、公共交通、侍从和仆人的角色、舞蹈和舞者、印度教旅行游子、卡利加特绘画和巴塔拉版画、孟加拉币、对花花公子的讽刺描绘等主题的起点。婆罗门和意志薄弱的人，以及莲花、游船和合成动物的肖像。这本书主要通过民族志、文学和档案资料，而不是从艺术史的角度来研究坎塔;因此，与其他关于坎达刺绣的书籍相比，它的插图很少。丰富的尾注提供了比较作品的细节，但更多的插图将是受欢迎的。卡利加特绘画的插图，流行的版画和兵马俑寺庙雕刻简洁地说明了他们的观点。有时，语言倾向于学术术语和冗长的句子。考虑到对孟加拉殖民地生活的广泛讨论，我很惊讶地发现，书中没有提到俾路查纱丽(Baluchar sari)，这是与坎塔(kantha)同时代的一种纱丽，它的图像也使用了人物(和蒸汽火车)，尽管是由城市背景下的专业男性织布工制作的。虽然我发现关于现代干塔的部分太长了，但对这两件特色作品的腹地的探索充满了兴趣。作者对坎塔斯上的图像进行了详细的分析，并对其进行了解释，这不仅使我们更仔细地观察了这些作品本身，而且还邀请我们更广泛地思考19世纪和20世纪初孟加拉妇女的生活是什么样的。前高级策展人，维多利亚和阿尔伯特博物馆rosemarycrill@gmail.com©2021,Rosemary Crill https://doi.org/10.1080/02666030.2021.1893021

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引用次数: 2

Mayakonda, A Fortified Headquarters Town of the Chitradurga Nayakas Mayakonda, Chitradurga Nayakas的要塞总部

IF 2.5 0 ASIAN STUDIES

South Asian Studies

Pub Date : 2021-01-02 DOI: 10.1080/02666030.2021.1875742

R. Lewis

The Chitradurga Nayakas ruled part of central Karnataka between the 1550s and 1779. When mapped by the British in the early 1800s, the former Chitradurga kingdom comprised eleven parganas or districts, each of which were administered by a headquarters town. Similar territorial divisions existed throughout the Early Modern kingdoms and chiefdoms of South India. Taking Mayakonda as an example, I trace its development and history as the fortified headquarters of a pargana on Chitradurga’s frontier. The results illustrate the contributions that such towns made to the overall success of small kingdoms like Chitradurga, as well as providing insight into some of the common objects of Early Modern wars in South India.

Chitradurga Nayakas在1550年代至1779年间统治着卡纳塔克邦中部的部分地区。当英国人在19世纪早期绘制地图时，前奇特拉杜尔加王国由11个parganas或区组成，每个区由一个总部镇管理。类似的领土划分存在于整个早期现代王国和南印度的酋邦。以Mayakonda为例，我追溯了它的发展和历史，它是Chitradurga边境上一个pargana的强化总部。这些结果说明了这些城镇对Chitradurga这样的小王国的整体成功所做的贡献，同时也为我们提供了对南印度早期现代战争中一些常见物品的深入了解。

引用次数: 0

Mapping the Pāśupata Landscape: Narrative, Place, and the Śaiva Imaginary in Early Medieval North India 绘制Pāśupata景观:中世纪早期北印度的叙事、地点和Śaiva想象

IF 2.5 0 ASIAN STUDIES

South Asian Studies

Pub Date : 2021-01-02 DOI: 10.1080/02666030.2020.1854496

B. J. Fleming

引用次数: 4

The Master may Wander into Servanthood: The King and his Architect 大师可能会成为仆人:国王和他的建筑师

IF 2.5 0 ASIAN STUDIES

South Asian Studies

Pub Date : 2021-01-02 DOI: 10.1080/02666030.2021.1945251

Libbie Mills

Sanskrit building literature offers a thorough presentation of the complex planning, building and ritual that goes into a construction. Among the factors considered by these building manuals is the choice of the architect. In greater or lesser depth, they list the qualifications and qualities to be looked for in an architect so that all will go well, and a few of them go on to address what can go wrong. The paper will follow four texts that examine the architect: the Devyāmata, Samāraṅgaṇasūtradhāra, Aparājitapṛcchā, and Mayamata. The focus will be on the watchful relationship between the architect and his royal patron.

梵文建筑文献提供了一个全面的介绍，复杂的规划，建筑和仪式，进入一个建筑。这些建筑手册考虑的因素之一是建筑师的选择。在或多或少的深度，他们列出了在架构师中寻找的资格和品质，以便一切顺利，其中一些人继续解决可能出现的问题。本文将遵循四个考察建筑师的文本:Devyāmata, Samāraṅgaṇasūtradhāra, Aparājitapṛcchā和Mayamata。重点将放在建筑师和他的皇家赞助人之间的密切关系上。

引用次数: 1

From Reference to Knowledge Repositories: On Mimetic Aspects of Kalamkari Making 参考知识库:论Kalamkari制作的模仿方面

IF 2.5 0 ASIAN STUDIES

South Asian Studies

Pub Date : 2021-01-02 DOI: 10.1080/02666030.2021.1969807

Rajarshi Sengupta

This essay seeks to explore the significance of mimetic actions in making the knowledge reserve of the early modern kalamkari textile makers of the Coromandel region, southern India. A shared pool of visuals found in these textiles, south Indian murals, Deccani architecture, and artifacts allow us to assess the histories of the artisans who engaged with cross-cultural and intermedial mobilities. Images on these textiles were mediated, often supplied by their patrons. This compelled the artisans to explore the fullest possibilities of their knowledge employing mimetic actions, which are generally misunderstood as ‘copying’ or ‘imitation’. Contemporary woodblock making in Pedana, Andhra Pradesh, present examples to reflect on these actions as the knowledge practice of early modern textile makers. The layered actions of mediating and reproducing images are deeply informed by artisanal decision-making and thus offer insights to potentially retrieve their histories. I propose the reciprocity of mimetic flow in the early modern Deccani visual culture is a result of artisanal decision – a controlled act informed by artisanal resistance enabling transmission of visual knowledge. Further, I will elaborate on the relevance of the idea of ‘copying’ in terms of synthesizing and developing repositories of artisanal knowledge.

本文旨在探讨模仿行动的意义，使知识储备的早期现代kalamkari纺织品制造商的科罗曼德尔地区，印度南部。在这些纺织品、南印度壁画、德卡尼建筑和文物中发现的共同视觉效果使我们能够评估参与跨文化和中间流动的工匠的历史。这些纺织品上的图像是经过调解的，通常由他们的赞助人提供。这迫使工匠们利用模仿行为来探索他们知识的全部可能性，这通常被误解为“复制”或“模仿”。安德拉邦佩达纳的当代木版制作，作为早期现代纺织制造商的知识实践，提供了反映这些行为的例子。调解和再现图像的分层行动深受手工决策的影响，因此提供了潜在的检索历史的见解。我提出，早期现代德卡尼视觉文化中模仿流的互惠性是手工决策的结果——一种由手工抵抗告知的受控行为，使视觉知识得以传播。此外，我将详细阐述“复制”概念在合成和开发手工知识库方面的相关性。

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引用次数: 0

Historicising Child Sexual Abuse in Early Modern and Modern India: Patriarchal Norms, Violence and Agency of Child-Wives and Young Women in the Institution of Child Marriage 将近代早期和现代印度的儿童性虐待历史化:父权规范、暴力以及儿童妻子和年轻妇女在童婚制度中的作用

IF 2.5 0 ASIAN STUDIES

South Asian Studies

Pub Date : 2020-07-02 DOI: 10.1080/02666030.2020.1821515

Padma Anagol

Although child-bride harm was uncovered during the Age of Consent controversy (1890s), no attempt has been made to excavate its origins in Indian history. Rectifying this void, I investigate the phenomena of child sexual abuse in early modern and modern regions of Bengal and Maharashtra. I adopt a female-child-centred approach that involves engaging with the perspectives of girls and young women. Some questions raised are: Did a girl have rights? If so, how was her freewill visualised by the state, law and popular culture? What can we glean from women’s discourses through historical time on pre-pubertal sex, conjugality and child-marriage and how are they different from official discourses? In order to cast light on an obscured subject, I widen the archive to include an analysis of devotional poetry, bardic literature, personal narratives, royal chronicles besides, the more conventional media reports, religious and medical texts. The essay reveals how religious punditry combined with the state and popular culture to produce a convoluted concept of female agency that authorised girl-bride sexual abuse in child marriage. The study finds more continuities than breaks in the prevalence of child-wife abuse within the institution of child marriage from early modern to modern times.

尽管童养媳伤害在19世纪90年代的“同意年龄”争议中被发现，但没有人试图挖掘其在印度历史上的起源。为了弥补这一空白，我调查了近代早期和现代孟加拉和马哈拉施特拉邦地区的儿童性虐待现象。我采取以女童为中心的方法，从女孩和年轻妇女的角度考虑问题。提出的一些问题是:女孩有权利吗?如果是这样的话，她的自由意志是如何被国家、法律和大众文化可视化的?我们可以从历史时期女性关于青春期前性、婚姻和童婚的话语中收集到什么?它们与官方话语有何不同?为了阐明一个模糊的主题，我扩大了档案范围，包括对虔诚诗歌、吟游诗人文学、个人叙述、王室编年史的分析，此外还有更传统的媒体报道、宗教和医学文本。这篇文章揭示了宗教权威如何与国家和流行文化相结合，产生了一种令人费解的女性代理概念，这种概念授权了女童新娘在童婚中遭受性虐待。研究发现，从近代早期到现代，在童婚制度中，虐待儿童妻子的普遍现象更多的是连续性而不是中断性。

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引用次数: 2

Richard Grove (1955-2020) and the Quest for Interdisciplinary Environmentalism 理查德·格罗夫(1955-2020)和对跨学科环境主义的追求

IF 2.5 0 ASIAN STUDIES

South Asian Studies

Pub Date : 2020-07-02 DOI: 10.1080/02666030.2020.1797354

Rohan D’souza

引用次数: 1

The Great Agrarian Conquest: The Colonial Reshaping of a Rural World 《伟大的土地征服:乡村世界的殖民重塑

IF 2.5 0 ASIAN STUDIES

South Asian Studies

Pub Date : 2020-07-02 DOI: 10.1080/02666030.2020.1788281

A. Malhotra

引用次数: 0

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