Tapati Guha-Thakurta
Biographic Data
| ID | 259326 |
|---|---|
| NAME | Tapati Guha-Thakurta |
| GIVEN NAMES | Tapati |
| FAMILY NAME | Guha-Thakurta |
| SIGNATURE | GUHA-THAKURTA T |
| AFFILIATIONS | Centre for Studies in Social Sciences Calcutta |
| VERIFIED | No |
| TOTAL WORKS | 15 |
| TOTAL CITATIONS | 14 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1997 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
How Secular Is Art?: On the Politics of Art, History and Religion in South Asia
As an invitation to interrogate the secular modality of art, the book unsettles both the categories of 'art' and 'secular' in their theoretical and historical implications. It questions the temporal, spatial and cultural binaries between the 'sacred' and the 'secular' that have shaped art historical scholarship as well as artistic practice. All the essays here are anchored in a conception of a region, whether we call it South Asia or the Indian s…
How Secular Is Art: On the Politics of Art, History and Religion in South Asia
Twin Sisters with Cameras
The Blurring of Distinctions
This chapter explores a set of contentions and paradoxes that have arisen from the repeated blurring of distinctions between the ‘artistic’ and the ‘religious’ object across different institutional and public sites in contemporary India. In September 1996, a line drawing of the goddess Saraswati by M. F. Husain, one of the artist’s large repertoire of stylized female nudes done in the 1970s became the object of sudden moral outrage among local ac…
Field Notes on the Contemporaneity of Tradition
The Production and Reproduction of a Monument: The Many Lives of the Sanchi Stupa
This essay considers the many lives of the ancient Buddhist stupa complex at Sanchi, tracing its transformations from a disused ruin and a site of ravage and pilferage to one of the best-preserved standing stupa complexes of antiquity. It engages with nineteenth-century histories of Sanchi's passage from discovered and excavated relic to portable object and image, exploring some of the processes of its imaging, replication, display, and documenta…
Production et reproduction d'un monument: Le stupa de Sanchi dans l'Inde coloniale
Le site de Sanchi, dans l'État de Bhopal, a connu bien des vicissitudes depuis la première description qu'en fit un officier de l'armée des Indes en 1819. Cet ensemble de stupas bouddhistes du IIIesiècle avant notre ère est passé de l'état de ruine et de relique à celui de monument en un peu plus de deux siècles. L'histoire de cette transformation est aussi celle de l'Inde coloniale et celle de l'archéologie indienne, qui toutes deux se structure…
Monuments, Objects, Histories: Institutions of Art in Colonial and Post-Colonial India
Art history as it is largely practiced in Asia as well as in the West is a western invention. In India, works of art-sculptures, monuments, paintings-were first viewed under colonial rule as archaeological antiquities, later as architectural relics, and by the mid-20th century as works of art within an elaborate art-historical classification. Tied to these views were narratives in which the works figured, respectively, as sources from which to re…
Havell, Ernest Binfield
Coomaraswamy, Ananda Kentish
Raz, Ram
Calcutta
Marshall, Sir John
Fergusson, James
The museumised relic: Archaeology and the first museum of colonial India
The museumised relic: Archaeology and the first museum of colonial India
Production et reproduction d'un monument: Le stupa de Sanchi dans l'Inde coloniale
Le site de Sanchi, dans l'État de Bhopal, a connu bien des vicissitudes depuis la première description qu'en fit un officier de l'armée des Indes en 1819. Cet ensemble de stupas bouddhistes du IIIesiècle avant notre ère est passé de l'état de ruine et de relique à celui de monument en un peu plus de deux siècles. L'histoire de cette transformation est aussi celle de l'Inde coloniale et celle de l'archéologie indienne, qui toutes deux se structure…
The museumised relic: Archaeology and the first museum of colonial India
Havell, Ernest Binfield
Coomaraswamy, Ananda Kentish
Raz, Ram
Calcutta
Marshall, Sir John
Fergusson, James
Monuments, Objects, Histories: Institutions of Art in Colonial and Post-Colonial India
Art history as it is largely practiced in Asia as well as in the West is a western invention. In India, works of art-sculptures, monuments, paintings-were first viewed under colonial rule as archaeological antiquities, later as architectural relics, and by the mid-20th century as works of art within an elaborate art-historical classification. Tied to these views were narratives in which the works figured, respectively, as sources from which to re…
Production et reproduction d'un monument: Le stupa de Sanchi dans l'Inde coloniale
Le site de Sanchi, dans l'État de Bhopal, a connu bien des vicissitudes depuis la première description qu'en fit un officier de l'armée des Indes en 1819. Cet ensemble de stupas bouddhistes du IIIesiècle avant notre ère est passé de l'état de ruine et de relique à celui de monument en un peu plus de deux siècles. L'histoire de cette transformation est aussi celle de l'Inde coloniale et celle de l'archéologie indienne, qui toutes deux se structure…
The Production and Reproduction of a Monument: The Many Lives of the Sanchi Stupa
This essay considers the many lives of the ancient Buddhist stupa complex at Sanchi, tracing its transformations from a disused ruin and a site of ravage and pilferage to one of the best-preserved standing stupa complexes of antiquity. It engages with nineteenth-century histories of Sanchi's passage from discovered and excavated relic to portable object and image, exploring some of the processes of its imaging, replication, display, and documenta…
Field Notes on the Contemporaneity of Tradition
The Blurring of Distinctions
This chapter explores a set of contentions and paradoxes that have arisen from the repeated blurring of distinctions between the ‘artistic’ and the ‘religious’ object across different institutional and public sites in contemporary India. In September 1996, a line drawing of the goddess Saraswati by M. F. Husain, one of the artist’s large repertoire of stylized female nudes done in the 1970s became the object of sudden moral outrage among local ac…
Twin Sisters with Cameras
How Secular Is Art?: On the Politics of Art, History and Religion in South Asia
As an invitation to interrogate the secular modality of art, the book unsettles both the categories of 'art' and 'secular' in their theoretical and historical implications. It questions the temporal, spatial and cultural binaries between the 'sacred' and the 'secular' that have shaped art historical scholarship as well as artistic practice. All the essays here are anchored in a conception of a region, whether we call it South Asia or the Indian s…
How Secular Is Art: On the Politics of Art, History and Religion in South Asia
Art (8 works) · History (7 works) · Archaeology (3 works) · Art history (3 works) · Colonialism (3 works) · Geography (3 works) · History and Developments in Astronomy (3 works) · Law (3 works) · Philosophy (3 works) · Politics (3 works)