Niharika Dinkar
Biographic Data
| ID | 5635013 |
|---|---|
| NAME | Niharika Dinkar |
| GIVEN NAMES | Niharika |
| FAMILY NAME | Dinkar |
| SIGNATURE | DINKAR N |
| AFFILIATIONS | Boise State University |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 0 |
Tirchhi Nazar: The Gaze in South Asia beyond Darshan
Seeing the Elephant: Animal Spectatorship and the Imperial Gaze in Colonial India
In colonial India, the elephant was embraced by the British as a military asset, as well as for the symbolic value it held as an insignia of royal power, drawing upon a body of cultural practices sustained by the ruling elite. At the same time, the circulation of elephants along imperial circuits as they began to be traded and exhibited in menageries and traveling circuses brought them into a different exhibitionary order, that nevertheless kept …
Pyrotechnics and photography: Saltpeter and the colonial history of photographic lighting
Bengal light was among the earliest commercial sources of artificial lighting for photographic use, patented as Photogen in February 1857. Essentially, a pyrotechnic flare whose vital ingredient was saltpeter, it was mined by low caste laborers in Bengal, which had emerged as the leading global producer of saltpeter by the eighteenth century. Saltpeter was a coveted global commodity because it served as the primary material for the manufacture of…
Empires of light: Vision, visibility and power in colonial India
Beyond its simple valorisation as a symbol of knowledge and progress in post-Enlightenment narratives, light was central to the visual politics and imaginative geographies of empire. Empires of Light describes how imperial designations of ‘cities of light’ and ‘hearts of darkness’ were consonant with the dynamic material culture of light in the nineteenth-century industrialisation of light (in homes, streets, theatres, etc.) and its instrumentali…
Private Lives and Interior Spaces: Raja Ravi Varma's Scholar Paintings
Between 1900 and 1904, the celebrated Indian academic painter Raja Ravi Varma painted two depictions of men reading (plate 1 and plate 2). The works are unusual, so much so, as to be quite unrecognizable from the mythological paintings and princely portraits that earned Ravi Varma his reputation with patrons and clients. Ravi Varma was best known for his paintings of lovelorn women gazing comely at the viewer and although men had featured in seve…
Masculine Regeneration and the Attenuated Body in the Early Works of Nandalal Bose
In 2008, the works of the Bengali artist Nandalal Bose (1882-1966) enjoyed a rare North American museum tour, first at the San Diego Museum of Art and then at the Philadelphia Museum of Art. In this first major international excursion, Bose‟s works were celebrated as an exemplar of the new modern visual language adopted by nationalist artists as they rejected Europeanized academic techniques in vogue around the turn of the twentieth century. Alon…
No prominent works on this page.
Masculine Regeneration and the Attenuated Body in the Early Works of Nandalal Bose
In 2008, the works of the Bengali artist Nandalal Bose (1882-1966) enjoyed a rare North American museum tour, first at the San Diego Museum of Art and then at the Philadelphia Museum of Art. In this first major international excursion, Bose‟s works were celebrated as an exemplar of the new modern visual language adopted by nationalist artists as they rejected Europeanized academic techniques in vogue around the turn of the twentieth century. Alon…
Private Lives and Interior Spaces: Raja Ravi Varma's Scholar Paintings
Between 1900 and 1904, the celebrated Indian academic painter Raja Ravi Varma painted two depictions of men reading (plate 1 and plate 2). The works are unusual, so much so, as to be quite unrecognizable from the mythological paintings and princely portraits that earned Ravi Varma his reputation with patrons and clients. Ravi Varma was best known for his paintings of lovelorn women gazing comely at the viewer and although men had featured in seve…
Empires of light: Vision, visibility and power in colonial India
Beyond its simple valorisation as a symbol of knowledge and progress in post-Enlightenment narratives, light was central to the visual politics and imaginative geographies of empire. Empires of Light describes how imperial designations of ‘cities of light’ and ‘hearts of darkness’ were consonant with the dynamic material culture of light in the nineteenth-century industrialisation of light (in homes, streets, theatres, etc.) and its instrumentali…
Tirchhi Nazar: The Gaze in South Asia beyond Darshan
Seeing the Elephant: Animal Spectatorship and the Imperial Gaze in Colonial India
In colonial India, the elephant was embraced by the British as a military asset, as well as for the symbolic value it held as an insignia of royal power, drawing upon a body of cultural practices sustained by the ruling elite. At the same time, the circulation of elephants along imperial circuits as they began to be traded and exhibited in menageries and traveling circuses brought them into a different exhibitionary order, that nevertheless kept …
Pyrotechnics and photography: Saltpeter and the colonial history of photographic lighting
Bengal light was among the earliest commercial sources of artificial lighting for photographic use, patented as Photogen in February 1857. Essentially, a pyrotechnic flare whose vital ingredient was saltpeter, it was mined by low caste laborers in Bengal, which had emerged as the leading global producer of saltpeter by the eighteenth century. Saltpeter was a coveted global commodity because it served as the primary material for the manufacture of…
History (5 works) · Art (4 works) · History (3 works) · South Asian Studies and Conflicts (3 works) · Visual arts (3 works) · Ancient history (2 works) · Archaeology (2 works) · Art history (2 works) · Colonialism (2 works) · Geography (2 works)