HA227
Poetry, Piety and
Power: Indian Painting 1200-Present
Fall
2002
Prof.
Cynthia P. Atherton
Lectures: T, TH 9:30–10:45 a.m., Johnson 304
Discussion: F (X) 10:10 a.m.-11:00 a.m.; (Y) 11:15a.m.-12:05 p.m.
note: all discussions, unless otherwise specified, will be at the Center for the Arts, in the
College Museum Simonds Study Gallery. After you leave your bags and coats in the vestibule near the back entrance, wait quietly for me to come and let you in. Pencils only!! allowed in the room, so please come prepared.
Offices:
Johnson 405B (in Art Office); and in the south entrance of Battell
(the door nearest
Campus Security; my office is on the left side as you enter.)
Monday and Wednesday, 11:00 a.m.-12:00 p.m. (Battell South office)
Tuesday and Thursday, 11:00 a.m.-12:00 p.m. (Johnson 405 office)
or by appointment
Getting in touch: x5232 (office); x2331 (home; not after 9:00 p.m., please); and by e-mail: atherton@ middlebury.edu (*important: see course policies below for my feelings about staying in touch).
Course Description: This course considers the history, context, style, and significance of a broad spectrum of Indian painting traditions. We will look closely at Jain and Hindu religious illustrations; the evocative courtly and religious imagery from the Rajput and other regional kingdoms; the extraordinarily refined and naturalistic Mughal imagery; the influence of colonialism; and the development of modern and contemporary works. We will also work with a visiting exhibition of two contemporary South Asian women artists at the College Museum, paying special attention to questions of gender, tradition, contemporary artistic expression, craft, and personal, social, and political meaning.
·
Conversations with Traditions: Nilima Sheikh/Shahzia Sikander (Asia Society, 2001)
·
HA227 Coursepack
Recommended
texts:
· Mohsin Hamid, Moth Smoke (New York: Picador USA/Farrar, Straus and Giroux, 2000)
·
Barbara Stoler Miller, ed./trans. The Love Song of the Dark Lord: Jayadeva’s
Gitagovinda (New York: Columbia University
Press, 1977)
About the readings:
The study of Indian art can rapidly become very confusing if you do not keep up with the readings and lectures. Readings will play a particularly important part of this course, and I expect you to do the readings before you come to class. You can anticipate my referring to the readings during lectures, and I will frequently be soliciting your contributions for in-class discussion. I also welcome your questions and comments about the readings. Additionally, more suggestions for reading will handed out in class as the semester develops, and I have an extensive list of books on reserve at Starr Library.
One major point I’d like to make is that, while we will be using some on-line resources, the best source for information relevant to the course and to your research papers remains in books and in journals. I will insist on your actually making reference to the many books available on reserve and in the library—on-line sources are to be considered a useful (but not major) supplement to your reading and research. If nothing else, this course should introduce you to a world of gorgeous images and ideas that need to be experienced in real (not virtual) time and space. I want you to exercise your eyes and your imagination—not just exercise your elbow as you push a mouse around.
Assignments and Expectations: The format of this class is structured around twice-weekly slide lectures and once-weekly discussions. In addition to the formal assignments for the course, there will be structured opportunities for informal writing and discussion in class.
· Discussion sections provide opportunities for looking closely at original works of art, and for exploring ideas and issues in the readings. We will also use slides in our discussion sections, but the focus will always be on developing a vocabulary and an eye for visual details. Discussion sections are also the place to ask questions about concepts brought up in class or the readings. You will be required to submit short (approx. 2-3 pages) discussion papers for most weeks, and these will be graded. Please note that I will not accept discussion papers after the fact or in lieu of your presence (i.e., e-mailing it to me instead of turning up in class is not acceptable). You will also be giving gallery presentations on select works in the Conversations with Traditions exhibition.
· Attendance and class participation is mandatory in both class and discussion sections. Please note that there are also some other out-of-class activities (field trip, lectures) that I also consider required.
· There will be two (2) hour-long exams during the semester. There will be no final exam, but there will be a final research paper and a formal presentation. Exams will be generally consist of short essay answers and longer comparisons about material you are familiar with from class and readings. I also include “unknown” slides to challenge your visual, analytical, and interpretive knowledge.
·
The final research paper will be 12-15
pages of text, plus illustrations and supporting material. You will also be
expected to make a 10-minute formal presentation on your paper sometime in the last two weeks of class. There is no possibility for make-ups with
the presentations. If you miss
that class, you will lose credit for the presentation.
· The percentage breakdown is as follows:
2 hour exams @ 20% = 40%
1 final paper & presentation @ 30% = 30%
Discussion papers = 20%
Participation and gallery talks = 10%
Late work and problems in general: Unexcused late papers or paper drafts will be docked one-half a letter grade for each day late (i.e., from a B to a B-, etc.), and no alternative dates can be arranged for exams unless previously approved. The only excuses accepted are medical or family emergencies, for which I require a doctor’s or Dean’s notices (please note: making a trip to the health center on the day of the exam or paper does not constitute a medical emergency; a doctor’s certification for illness is required.) Similarly, I expect you will plan your break and vacation travel according to the official College calendar. For example, you are expected to be in class on the Tuesday before Thanksgiving. A Dean’s excuse is not acceptable for missing class or work due to family vacation plans.
That being said, if you really are having problems meeting deadlines, speak to me in advance and—depending upon the circumstances—it may be possible to negotiate a deadline that is more workable for your schedule. If it is absolutely unavoidable that you hand something in late, you won’t be off the hook entirely; I will ask you to submit a draft or turn in at least parts of the work in advance. I expect you to BE IN TOUCH with me if you are having problems; that is what I am here for. Whatever you do, DON’T DISAPPEAR or avoid the issue—delaying dealing with the problems only compounds your difficulties.
E-mail: E-mail is a great way to keep in touch and it is useful if you have a quick question and can’t find me in person or on the telephone. I also welcome comments about the course and any other kind of feedback, positive or negative (as long as it is relevant and helpful). E-mail, however, is NOT to be used as an avoidance technique or substitute for seeing me (and other human beings!). I expect to see you, or talk to you in person on a regular basis. Also, please be understanding—I’ll do my best to get back to you quickly, but there will be times when I can’t respond to you immediately.
Web page: A web page for this course is currently under construction. There I will place the syllabus, slide lists, reserve lists, paper-writing guidelines, important images, maps, chronologies, links, etc. You should get in the habit of checking into it on a regular basis--once it is up and running. Details will be handed out shortly.
Dumb things I hate: using the word “like” unless it is a verb; using “it’s” incorrectly; wearing caps in class (backwards or otherwise); hiding in the back; arriving late; not taking notes; falling asleep in class; eating in class (though coffee-drinking is okay, especially in the morning!); leaving class to use the bathroom (unless you’re sick); not showing up for appointments.
Course
Schedule
T Sep.10 Introduction
Th Sep.12 Early Indian Art: Aesthetics and Techniques
Reading: Behl (cp); Kramrisch
(cp); Guy (cp); Losty (cp)
F. Sep.13 Discussion: Learning to Look/Meet in exhibition
For this week only: discussion paper due on Tuesday
T Sep.17 Establishing a Foundation: Early Painting
Reading: Beach, 1-14; Purinton and Newman (cp)
Discussion papers due in class
Th Sep.19 Painting under Akbar
Reading: Beach, 15-78; Topsfield (cp); Okada (cp); Seyller
(cp);
Poster (cp)
F Sep.20 Discussion: The Hamza Nama and the Art of Storytelling
F
Sep.19-21
CLIFFORD SYMPOSIUM: Art Matters: Visions for Arts in the 21st
Century,
Keynote address by Edward Albee,
gospel concert, panel discussion, 24 hours of art, and more!
T Sep.24 Jahangir, The Seizer of the World
Reading: Beach, 78-110; Beach (cp); Thackston (cp); Lowry (cp);
Skelton (cp)
Th Sep.26 Shah Jahan, The Ruler of the World
Reading: Beach, 128-150; Sheikh (cp)
F Sep.27 Discussion: Body Language – Bodily Ideals in Indian Art
S.
Sep.28
11:30 a.m, CFA 221
Prof. Atherton will present a museum lecture on the Sikander/Sheikh
exhibition; you are strongly encouraged to attend
3:00 p.m. and 8:00 p.m., Dana Auditorium
Monsoon Wedding film by Mira Nair (not to be missed!)
T Oct.1 Late Mughal/Deccani
Reading: Beach, 110-115
Th Oct.3 Rajput: Malwa and Mewar
Reading: Beach, 115-121; 157-160; 174-178; 216-219;
Beach, “Context” (cp);
Desai (cp); Goswamy, “Essence”(cp);
Miller, “Valmiki” (cp); Losty (cp)
F Oct.4 Discussion: Poetry and Painting: Jayadeva’s Gita Govinda
Reading: Miller, Love Song; Goswamy, “Rasa” (cp)
T Oct.8
Rajput: Bikaner, Kishangar, Bundi, Kotah
Reading: Beach, 121-124; 160-168; 178-184; 219-220;
Th Oct.10 Punjab: Basohli, Kangra
Reading: Beach, 168-173; 190-207; 214-216;
Goswamy, “Pahari” (cp);
F Oct.11 Discussion: The Gaze, or Who’s doing the Looking?
Reading: Aitken (cp); Garimella, (cp)
T Oct.15
EXAM #1
Th Oct.17 Company Painting: New Patrons, New Forms
Reading: Beach, 220-228;
Pal and Dehejia, “Native Artists ”(cp)
Special occasion!
5:30 p.m. North Indian Dinner at Prof. Atherton’s house;
followed by 7:30 p.m. North Indian music concert at the CFA. (feel
free to dress up)
F Oct.18
Discussion: Individual meetings about final paper and presentation
with
Prof. Atherton
T Oct.22 Romance and the Raj: India though British eyes (today is “Thursday”)
W Oct.23 Discussion: Individual meetings (cont'd) (today is “Friday”)
F Oct.25 MIDTERM RECESS—NO CLASS
T Oct.29 Early Indian Photography
Reading: Dehejia, “Fixing a Shadow,” (cp); Harris (cp)
Th Oct.31 Art, Nationalism, Modernism
Reading: Conversations with Traditions, pp.6-10
Guha-Thakurta, The Making of a New “Indian Art”(handout);
Clark, Modern Asian Art (handout);
Mitter (cp);
Kapur, When Was Modernism
(handout)
F Nov.1 Discussion: New Visual Paradigms for the Nation
Reading: Pinney (cp)
T Nov.5 Art, Nationalism, Modernism (cont’d)
Reading: see Oct.31
Th Nov.7 Beyond Nationalism: New Forms/New Directions
Film: 8:30 p.m. BiHall 104, special showing of the film Earth
by Deepa Mehta (after Academic Forum)
F Nov.8
Discussion: Gallery Talks
Reading: Sugata Bose and Ayesha Jalal, Chs. 16 & 17 (handout);
Bapsi Sidhwa, “Defend Yourself Against
Me” (handout);
Elizabeth Bumiller,
“Flames” (handout)
.
T Nov.12
EXAM #2
Th. Nov.14 Shahzia Sikander and Nilima Sheikh
Reading: Devji and Bhabha readings (handout)
Mohsin Hamid, Moth Smoke
4:30 p.m., Johnson 304
Slide lecture by artist Shahzia Sikander (required)
F Nov.15 Discussion: Gallery talks
M Nov.18 FINAL PAPER DRAFT DUE BY 5:00 p.m.
Late drafts will result in a penalty on the final
paper grade.
T Nov.19
Poster Art
Reading: Jain (cp); Pritchett and Hawley readings (handout)
Th Nov.21 Nathdwara/ritual and ephemeral arts
Reading: Lyons (cp)
F Nov.22 NO DISCUSSION/BMFA Field Trip on Saturday
S Nov.23
BOSTON MUSEUM OF FINE ARTS FIELD TRIP (required)
The BMFA has one of the premier collections of Indian
painting in the
United States. We have
the special privilege of meeting Joan Cummins,
Indian Painting Curator, who will be showing us important works not
normally on view to the general public. 8:00 a.m.- around 11:00 p.m.
T Nov.26
Individual Presentations on Final Paper
Note: ALL of you are expected to be in class today. No
Thanksgiving
travel excuses will be accepted. Not showing up is extremely
inconsiderate to your
colleagues, and your presence is critical in class
because
you will be evaluating your colleagues’ presentations.
Th Nov.28 NO CLASS-THANKSGIVING BREAK
F Nov.29 NO CLASS-THANKSGIVING BREAK
T Dec.3 Individual Presentations on Final Paper
Th Dec.5 Individual Presentations on Final Paper
F Dec.6 NO DISCUSSION— FINAL PAPER DUE by 5 p.m.