Art and polemic in Pakistan : cultural politics and tradition in contemporary miniature painting /
'This book tells a compelling story of the spectacular and somewhat unlikely revival of the magnificent medieval Mughal miniature painting genre in contemporary Pakistan and it subsequent success in the global art world. It deftly circumvents the prevailing stereotypes of upheaval, violence and...
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| Format: | Book |
| Language: | English |
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London :
Tauris Academic Studies,
[2010], ©2010
London ; New York : Tauris Academic Studies ; Distributed in the United States and Canada exclusively by Palgrave Macmillan, 2010 London ; New York : c2010 London ; New York : ©2010 London ; New York, NY : New York, NY : 2010 London ; New York : [2010] |
| Series: | International library of cultural studies
International library of cultural studies 13 International library of cultural studies |
| Subjects: |
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| 100 | 1 | |a Whiles, Virginia |0 http://viaf.org/viaf/107044528 | |
| 100 | 1 | |a Whiles, Virginia | |
| 245 | 1 | 0 | |a Art and polemic in Pakistan : |b cultural politics and tradition in contemporary miniature painting / |c Virginia Whiles |
| 260 | |a London : |b Tauris Academic Studies, |c [2010], ©2010 | ||
| 260 | |a London ; |a New York : |b Tauris Academic Studies, |c 2010 | ||
| 260 | |a London ; |a New York : |b Tauris Academic Studies, |c c2010 | ||
| 260 | |a London ; |a New York : |b Tauris Academic Studies, |c ©2010 | ||
| 260 | |a London ; |a New York, NY : |b Tauris Academic Studies ; |a New York, NY : |b Distributed in the United States and Canada exclusively by Palgrave Macmillan, |c 2010 | ||
| 264 | 1 | |a London ; |a New York : |b Tauris Academic Studies, |c [2010] | |
| 264 | 4 | |c ©2010 | |
| 300 | |a xxiii, 294 p., [32] p. of plates : |b ill. (chiefly col.) ; |c 23 cm | ||
| 300 | |a xxiii, 294 pages, 32 unnumbered pages of plates : |b illustrations (chiefly color) ; |c 23 cm | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a unmediated |b n |2 rdamedia | ||
| 338 | |a volume |b nc |2 rdacarrier | ||
| 440 | 0 | |a International library of cultural studies | |
| 490 | 1 | |a International library of cultural studies ; |v 13 | |
| 490 | 1 | |a International library of cultural studies | |
| 500 | |a This WorldCat-derived record is shareable under Open Data Commons ODC-BY, with attribution to OCLC |5 CTY | ||
| 504 | |a Includes bibliographical references (p. [263]-285) and index | ||
| 504 | |a Includes bibliographical references (pages [263]-285) and index | ||
| 504 | |a Includes bibliographical references and index | ||
| 505 | 0 | |a Conclusions. Tradition and identity ; Class and gender ; Political outlook ; Aesthetic issues ; Market and globalisation ; Performative subversion? | |
| 505 | 0 | |a Introduction : miniature manoeuvres. Performative knowledge ; Global flows and the agency of artworks ; Performative reading -- Social, political and historical formations relating to miniature practice. Tradition and identity ; Gender and patriarchy ; Militancy and fundamentalism ; Economics and globalisation ; Everyday life ; Mohammed Imran Qureshi ; Aisha Khalid -- Miniature practice. The miniature department ; Teachers and training ; Zahoor-ul-Akhlaq ; The present ustad : Bashir Ahmed ; Training ; Image and text ; Drawing exercises ; Wasli preparation ; Copying ; Pigments ; Brush work ; Time and theory ; Group X ; Group O ; Nusra Latif Qureshi ; Saira Wasim -- Imagining or inventing the tradition of miniature painting?. Patronage and patriarchal attitudes ; Tradition, orientalism and nationalism ; Discursive links ; The traditional art course ; The language debate ; Reflections ; Khadim Ali ; Hamra Abbas -- Miniature practice and aesthetics : social and visual, local and global. Four points of view ; Western art history and its shifts ; The post-colonial context ; Hybrid pedagogies, social aesthetics and constructed communities ; Indigenous aesthetics ; The Karkhana Project ; Phenomenology and corporeal aesthetics ; Sensorial or detached viewing ; Sacred and secular, popular and elitist ; Popular culture and the practice ; Audience and attitudes towards aesthetics ; Reflections ; Ahsan Jamal ; Ayesha Durrani -- Workshop and studio production. The Lahore workshop/school ; Workshops in India ; Trading miniatures ; Contrasts between workshop and studio production ; Hasnat Mehmood -- The global "art-world". Discursive formations ; Diffusion ; Craftmanship as a valorised attribute ; Ethnicity as a market value ; Gender and globalisation ; Global reception ; Local reception ; Market and art-world pressures ; Private, state and corporate patronage ; Reflections -- Conclusions. Tradition and identity ; Class and gender ; Political outlook ; Aesthetic issues ; Market and globalisation ; Performative subversion? | |
| 505 | 0 | |a Introduction : miniature manoeuvres. Performative knowledge ; Global flows and the agency of artworks ; Performative reading -- Social, political and historical formations relating to miniature practice. Tradition and identity ; Gender and patriarchy ; Militancy and fundamentalism ; Economics and globalisation ; Everyday life ; Mohammed Imran Qureshi ; Aisha Khalid -- Miniature practice. The miniature department ; Teachers and training ; Zahoor-ul-Akhlaq ; The present ustad : Bashir Ahmed ; Training ; Image and text ; Drawing exercises ; Wasli preparation ; Copying ; Pigments ; Brush work ; Time and theory ; Group X ; Group O ; Nusra Latif Qureshi ; Saira Wasim -- Imagining or inventing the tradition of miniature painting?. Patronage and patriarchal attitudes ; Tradition, orientalism and nationalism ; Discursive links ; The traditional art course ; The language debate ; Reflections ; Khadim Ali ; Hamra Abbas --^ | |
| 505 | 0 | |a Miniature practice and aesthetics : social and visual, local and global. Four points of view ; Western art history and its shifts ; The post-colonial context ; Hybrid pedagogies, social aesthetics and constructed communities ; Indigenous aesthetics ; The Karkhana Project ; Phenomenology and corporeal aesthetics ; Sensorial or detached viewing ; Sacred and secular, popular and elitist ; Popular culture and the practice ; Audience and attitudes towards aesthetics ; Reflections ; Ahsan Jamal ; Ayesha Durrani -- Workshop and studio production. The Lahore workshop/school ; Workshops in India ; Trading miniatures ; Contrasts between workshop and studio production ; Hasnat Mehmood -- The global "art-world". Discursive formations ; Diffusion ; Craftmanship as a valorised attribute ; Ethnicity as a market value ; Gender and globalisation ; Global reception ; Local reception ; Market and art-world pressures ; Private, state and corporate patronage ; Reflections --^ | |
| 505 | 0 | 0 | |t Performative knowledge -- |t Global flows and the agency of artworks -- |t Performative reading -- |t Tradition and identity -- |t Gender and patriarchy -- |t Militancy and fundamentalism -- |t Economics and globalisation -- |t Everyday life -- |t Cameo 1. Mohammed Imran Qureshi -- |t Cameo 2. Aisha Khalid -- |t miniature department -- |t Teachers and training -- |t Zahoor-ul-Akhlaq -- |t present ustad: Bashir Ahmed -- |t Training -- |t Image and text -- |t Drawing exercises -- |t Wasli preparation -- |t Copying -- |t Pigments -- |t Brush work -- |t Time and theory -- |t Group X -- |t Experimental techniques -- |t Group O -- |t Inter-group tensions -- |t Miniature department exhibition -- |t Reflections -- |t Cameo 3. Nusra Latif Qureshi -- |t Cameo 4. Saira Wasim -- |t Patronage and patriarchal attitudes -- |t Tradition, orientalism and nationalism -- |t Discursive links -- |t traditional art course -- |t language debate -- |t Reflections -- |t Cameo 5. Khadim Ali -- |t Cameo 6. Hamra Abbas -- |t Four points of view -- |t Western art history and its shifts -- |t post-colonial context -- |t Hybrid pedagogies, social aesthetics and constructed communities -- |t Indigenous aesthetics -- |t Karkhana Project -- |t Phenomenology and corporeal aesthetics -- |t Sensorial or detached viewing -- |t Sacred and secular, popular and elitist -- |t Popular culture and the practice -- |t Audience and attitudes towards aesthetics -- |t Reflections -- |t Cameo 7. Ahsan Jamal -- |t Cameo 8. Ayesha Durrani -- |t Lahore workshop/school -- |t Workshops in India -- |t Trading miniatures -- |t Contrasts between workshop and studio production -- |t Cameo 9. Hasnat Mehmood -- |t Discursive formations -- |t Diffusion -- |t Craftmanship as a valorised attribute -- |t Ethnicity as a market value -- |t Gender and globalisation -- |t Global reception -- |t Local reception -- |t Market and art-world pressures -- |t Private, state and corporate patronage -- |t Reflections -- |t Tradition and identity -- |t Class and gender -- |t Political outlook -- |t Aesthetic issues -- |t Market and globalisation -- |t Performative subversion? |
| 505 | 0 | 0 | |t Social Political and Historical Formation Relating to the Miniature Practice -- |t The Miniature Practice -- |t Imagining or Inventing the Tradition of Miniature Painting? -- |t Aesthetics: Social and Visual, Local and Global -- |t Workshop and Studio Production -- |t The Global Art World |
| 520 | |a 'This book tells a compelling story of the spectacular and somewhat unlikely revival of the magnificent medieval Mughal miniature painting genre in contemporary Pakistan and it subsequent success in the global art world. It deftly circumvents the prevailing stereotypes of upheaval, violence and fundamentalism in post 9/11 Pakistan with an alternative story of aesthetic ferment waged through satire, irony, subversion, criticism and the presumed orthodoxy of tradition. The book is extremely well-placed to help us rethink easy assumptions about this troubled recent history of Pakistan through the prism of the recent revival of miniature painting.'-Stephen Hughes, Director, MA Anthropology of Media, Department of Anthropology and Sociology, School of Oriental and African Studies, University of London -- | ||
| 520 | |a '[This book] has originality and insight and throws fresh light on an important aspect of the art world. By letting the categories of artistic production, nationalist identity and subterfuge speak to, inform, and challenge one another, Virginia Whiles has created a rich text which gives both historical depth and contemporary significance on questions of art, commodification and identity.'-Parvathi Raman, Senior Lecturer in Social Anthropology, Department of Anthropology and Sociology, School of Oriental and African Studies, University of London -- | ||
| 520 | |a Art and Polemic in Pakistan provides a fascinating insight into Pakistani responses to national and international issues through the medium of miniature painting, and over sixty paintings from artists based at the National College of Art in Lahore - the institution at the heart of the contemporary movement - are reproduced here in full colour. Whiles therefore sheds new light upon the links between art and cultural politics, and between indigenous and global aesthetics, presenting an artform which challenges common Western assumptions about Asian art. --Book Jacket | ||
| 520 | |a In this first detailed examination of the phenomenon of contemporary miniature painting in Pakistan, Virginia Whiles reveals how artists engage with and respond to underlying political, historical and cultural tensions. In contrast to India, where the miniature tradition is preserved only through its tourist industry of reproduction, miniature painting in Pakistan has broken free of its traditional cast and has become a medium for its artists to challenge the world around them. Although the paintings are rendered with ornate traditional technique, in content they provide a subtle, satirical treatment of serious issues: from religious and political fundamentalism to 'McDonalization', from violence against women to nuclear warfare, from the pressures of Purdah to the machismo of Lollywood film posters. -- | ||
| 520 | |a Pakistan has become a central pivot in contemporary global politics: but what does the Western world know of its culture? In recent decades, Pakistan has seen a revival and radical reinvention of miniature painting, a traditional artform which had originally flourished under the patronage of the Mughal Empire in the sixteenth century and which had declined under the colonial influence of the British. Miniature painting has become the major movement in Pakistani contemporary art, and international exhibitions have been enthusiastically received by the global art community. -- | ||
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