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Architecture of Empire
Art and Nationalism
Swadeshi Art
Raj Bhavan, Seat of Governor, Calcutta 1803
Kedleston Hall, Curzon home, 1759
Viceroy’s House, Delhi 1912-29
Architecture of Empire
Indo-Saracenic
• Mixture of
Native Indo-Islamic
Indian
Gothic revival
Neo-Classical
Characteristics
• Onion (Bulbous) Domes
• Overhanging Eaves
• Pointed Arches, Cusped
Arches, or Scalloped
Arches
• Vaulted Roofs
• Domed Kiosks, Many
Miniature Domes, or
Domed Chattris
• Towers or Minarets
• Harem Windows
• Open Pavilions
• Pierced Open Arcading
Types of Buildings
• Courts and other Civic Buildings
• Clock Towers
• Government Colleges and High School Buildings
• Railway Stations
• Art Galleries
• Palaces of the Indian Maharajas
Crawford Market, Bombay, 1869
Crawford Market, Trade, John Lockwood Kipling
Victorian Web
Audience Hall, Bijapur,1600
Inspired Indo-Saracenic style
Madras Board of Revenue, Chisholm, 1879
Senate House, Madras University
Robert Chisholm between 1874 and 1879
Chennai Central Station, tower by Chisholm
Victoria Public Hall, Chennai, Chisholm, 1890
Mayo College, Major Mant, 1885
'an Eton in India’
Madras High Court Palace,
J. W. Brassington and Henry Irwin, 1892
Viceregal Lodge, Shimla, Henry Irwin, 1880
Ripon Building, Madras, G. S. T. Harris, 1913
Mysore Palace, Henry Irwin
By Muhammad Mahdi Karim - Own work, GFDL 1.2, https://commons.wikimedia.org/w/index.php?curid=36123357
Byzantine Domes Senate House
Capitals
New Palace, Kohlapur, Charles Mant, 1894
Tanjore Pagoda
Photo by Edmund David
Lyon, 1868
Princely States Lifestyle
• Durbar halls,
• Rooms for European guests
• Dining and drawing rooms,
• Fireplaces, marble fountains and statues.
• Notable new princely towns: Jaipur, Bikaner and
Mysore
Princely States
• British Crown guarantor of peace and commerce
treaties.
• Powers were limited to internal matters.
• British agents
Lukshmi Vilas Palace for rulers of Baroda
Sir Jamsetjee Jeejebhoy School of Art
• 1857 Founded by Parsi merchant who made his
money in cotton and opium
• 1866 Taken over by the Government with Lockwood
Kipling as professor
• Divisions
– Decorative painting
– Modeling
– Wrought iron
– 1900 added architecture
Krishna Drishta
Ravi Varma, 1888
Hamsa Damayanti
Ravi Varma, 1899
Shivaji and his general,
Baji Prabhu at Pawan
Khind, 1660
Dhurandhar, J.J., 1895
Birth of Krishna
Ravi Varma, 1890 Abanindranath Tagore, 1895-97
Bengal School of Art: Approach
Reject
• British academic art
• Indian academic art
Accept
• New teachings of Ernest Havell, principal of the
Government School of Art from 1896
• Seek pan-Asian approach
Havell’s View of Art in India
• Western commercialism − Art as an instrument of
wealth
• Western education − Art is neglected
• Anglo-Indian administration − Art as luxury,
intellectual subject, amusement
• Countryside − Art as part of life, religion, work
Craft
• Movement to replace handicraft with machine
production
• Havell argues for the preservation of village
handicraft
– Availability of mechanical improvements that could double
income
Reasons for Using Native Architecture
I. Suitable for climate
II. Local expertise in design and construction is
available
III. Aesthetic
Resisted by administrators who use English architects
Sources
• Popular culture
– Kallighat paintings
• Medieval miniatures
• Ancient murals
• Mughal miniatures
• Japanese art
Leading artists
• Abanindranath Tagore
– Nandalal Bose
– M.A.R Chughtai
– Gaganendranath Tagore
Kaligat art
Radha and Krishna
Kaligat art
Babu with a hookah
Kaligat Art
Courtesan
Abanindranath Tagore (1871-1951)
• Nephew of
Rabindranath Tagore
• Considered creator of
swadeshi values in
Indian art
Passing of Shah
Jahan, 1902
A Music Party, 1905
Ganesh Janani, 1908
Journey’s End, 1913
Gagendranath Tagore
Metamorphosis,

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7 The Raj - Imperial Architecture -Art and Nationalism

Editor's Notes

  1. “In the public buildings put up by the Raj it was essential always to make visible Britain’s imperial position as ruler, for these structures were charged with the explicit purpose of representing empire itself. Since they wanted to legitimatize their rule, they decided to justify their presence by relating themselves to the previous rulers, the Mughals. The British deliberately kept Mughal princes in power so as to not to provoke Indian contempt and to further establish their connection to the Mughals. These princes were a vision of the future, but the British also needed them to be a representation of the past. And it worked.” -Sir Thomas Metcalf
  2. Chattris Fatehpur Sikri
  3. Installed in 1869, this was one of two white marble tympanum reliefs over the main entrances to the market, both compositions showing many Indian figures in varying depths of relief. This one shows a heavily laden man bringing in a basket heaped with pineapples, bananas and papayas; two men on the left apparently bartering for goods; and a similarly seated woman on the right selling to a customer with one child in her arms and another beside her. In the background and in shallower relief, is a loaded bullock cart with its attendant, this cart bearing melons or gourds of various kinds. Julius Bryant feels the reliefs may be "more Western than Indian in style" possibly to suit William Emerson's Gothic market complex, but the content is all Indian. The prominent wheel serves as a symbol as well, not just of the transport involved in trade but of the fundamental movement of life.
  4. Chisholm "has paid the first tribute to the genius of the past; he has set the first example of a revival in native art, which, I hope, will not remain unappreciated and unfruitful."
  5. Travancore roof caps
  6. Golden anniversary
  7. The Main Building was completed in 1885 and was designed by Major Mant. Some of the greatest changes in the school were brought about by Mr. Stow who was the Principal from 1931-1943. In the same year, the Viceroy ceased to be the President of the General Council. This body was in ‘future presided over by a ruling Prince elected by the council. The British promoted their own sense of “rightful self-g|orification", which came to appeal to the aesthetic sensibilities of continental Europeans and Americans, whose architects astutely incorporated indigenous "Asian Exoticism" elements, while implementing their own engineering innovations to support such elaborate constructions, both in India and abroad, evidence for which can be found to this day in public, private and government-owned buildings.
  8. fluted pillars from the Red Fort in Delhi, onion domes from the Taj Mahal, Mughal tracery and European halls
  9. Thakurta, Tapati Guha, and Tapati Guha Thakurta. "Westernisation and Tradition in South Indian Painting in the Nineteenth Century: The Case of Raja Ravi Varma (1848-1906)." Studies in History 2.2 (1986): 165-195.
  10. Tagore Rajput style 5 x8.25
  11. Havell 1884 Madras School of Art trditional ignored Indian art but accepted Indian craft 1896 Calcutta Schol of Art Condiitons of English art school of 30 years past. Only European pictures as models. Started collection of Indian art. Supports preseration ov village hadnicraft
  12. Abanindranath Tagore (7 August 1871 - 5 December 1951) The nephew of Rabindranath Tagore and the younger brother of the celebrated artist Gaganendranath Tagore, Abanindranath Tagore was the principal artist and creator of the 'Indian Society of Oriental Art' and the first major exponent of swadeshi values in Indian art. He was the foundational and most critically important figure of the influential Bengal school of art, which led to the development of modernity in Indian painting. The orientation in the artistic outlook of Abanindranath created a new awakening in India and brought about a revival of the Indian Art which for centuries lay decadent and hidden from the public view. He sought to modernize Mughal and Rajput styles in order to counter the influence of Western models of art, as taught in Art Schools under the British Raj and developed an Indian style of painting, later known as Bengal school of art. such was the success of Tagore's work that it was eventually accepted and promoted as a national Indian style within British colonial art institutions. He was also a much-loved author in Bengali, particularly for children.