It is evident that in the past half century, in independent and democratic India modern art has taken root. It is widely practiced in all possible plurality, complexity and innovativeness. International recognition of modern Indian art has also come about and it has featured in international biennales and major museums. India itself has hundreds of art galleries which showcase and sell such art. This spurt in art practice has also brought about a wide range of art writing. Well documented art books, elegantly designed catalogues and a number of art journals contain and promote art writing.
Significantly most of this art-writing is deeply almost exclusively influenced by the Western conceptual framework, modes of analysis and critical language. It is true that a lot of modern and contemporary art has been influenced by the Western art but it also belongs to a long and rich tradition of Indian art. Over centuries an impressive and rich body of ideas, concepts, methods etc have evolved both for visual arts and arts and aesthetics in general. However, sadly and inexplicably, this rich tradition has been disinherited, forgotten, neglected or not paid any attention to. The so called global critical language for art seems to be under a total hegemony of the Western concepts and aesthetic framework. This trend needs to be critically examined. Some questions need to be asked:
i. Are the earlier Indian concepts and methods have lost all relevance to the modern Indian art practice?
ii. Does the modern Indian art take its inspiration and root from concepts and aesthetics which are global and hardly local, native or vernacular?
iii. Is it possible to reinvent some classical or traditional Indian concepts so as to address aspects of modern art practice?
iv. The reason most art-writing is in English that an inevitable alienation from or disinheritance of Indian aesthetics comes about?
v. Is the current state of art-writing part of a post colonial cultural amnesia?
vi. How can one explain and appreciate the art of a Raza, the ‘leela’-playfulness of a Husain or the abstraction of a Gaitonde without taking recourse to some deeply Indian concepts?
We wish that at the seminar in IIAS Simla we discuss these questions and other related matters. In an ethos of growing cultural amnesia we should hopefully reexamine, reinvent, rediscover our traditional repertoire of concepts of making, looking at and enjoying art.
A limited number of participants will be invited for the seminar. We especially encourage young scholars to apply. Those interested in participating should send an abstract (500 words maximum) of the proposed paper along with their C.V. to the following Email ID:
Call for Papers:
A limited number of participants will be invited for the Seminar. Those interested in participating should send (preferably by email) an abstract (500 words) of the proposed paper along with their C.V. to:
The last date for submission of abstract (500 words) is 30 April, 2018 till 12:00 midnight. The Institute intends to send invitation letters to selected participants by 10 May, 2018. It is the policy of the Institute to publish the papers, not proceedings of the seminars it organizes. Hence, all invited participants will be expected to submit complete papers, hitherto unpublished and original, with citations in place, along with a reference section, to the Academic Resource Officer, Indian Institute of Advanced Study, Shimla – 171005 by 30 May, 2018. Style sheet for the submission of papers may be downloaded from the IIAS website http://www.iias.org/ content/shss.
IIAS, Shimla, will be glad to extend its hospitality during the seminar period and is willing to reimburse, if required, rail or air travel expenses from the place of current residence in India, or the port of arrival in India, and back.
Indian Institute of Advanced Study,
Rashtrapati Nivas, Shimla 171005 Tel: +91 177 2832930 ; +91 177 2831376Email: firstname.lastname@example.org
Like us on Facebook
Copyright © 2018, Indian Institute of Advanced Study
Drupalized by Rupinder Singh