The book, using archival sources, examines the colonial and postcolonial history of arts education in Pakistan through the National College of Arts, founded as the Mayo School of Arts in 1875. It deconstructs art history and anthropology frameworks embedded in imperial and national discourses, policies, and pedagogy.
The book, using archival sources, examines the colonial and postcolonial history of arts education in Pakistan through the National College of Arts, founded as the Mayo School of Arts in 1875. It deconstructs art history and anthropology frameworks embedded in imperial and national discourses, policies, and pedagogy.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Nadeem Omar Tarar was a Professor of Communication and Cultural Studies at the National College of Arts (NCA) in Lahore. Currently, he is affiliated with the Department of Anthropology at the University of Texas at Austin, USA, on the print culture of South Asia.
Inhaltsangabe
Introduction Chapter One CRAFTING ARTISANS AS PRIMITIVE ARTISTS: ART AND CRAFT DISCOURSES IN COLONIAL PUNJAB I. Primitivisation of Indian Art and Artist II. 'Primitive Art in Civilized Places': the Formation of the Pedagogic Triad of Trade Exhibitions, Museums and Art Schools in Colonial Punjab III. Lahore Museum: A Storehouse of Natural History and Primitive Art IV. "Aboriginal" Artisans and the Colonial Ethnography of Occupational Castes Chapter Two KIPLING'S SCHOOL: BRITISH ARTS AND CRAFTS MOVEMENT IN PUNJAB I. Technical Education in Colonial Punjab and the Making of the Mayo School of Art II. The Lahore Model: the Mayo School under Lockwood Kipling III. The Suitable Boys: the Mayo School of Art and Ibbetson's Anthropology IV. From "Primitive" Artisans to "Modern" Craftsmen-Artists Chapter Three POLITICS OF ART AND CRAFT: RETHINKING THE MAYO SCHOOL I. Drawing Masters as Artists: The Emergence of Fine Arts in Punjab II. Posters from the Early Twentieth Century Colonial Punjab: Chromolithography and Mayo School of Art Chapter Four AESTHETICS MODERNISM IN THE POST-COLONY: THE MAKING OF A NATIONAL COLLEGE OF ART I. From Craft to Fine Arts: The Nationalist Discourse on Traditional Arts II. The Development of Industrial and Technical Education in Pakistan as a Panacea for Modernization III. From Mayo School of Art to National College of Arts: The Forward Looking Years IV. Post-Bauhaus at NCA: An Aborted Agenda Chapter Five FRAMINGS OF A NATIONAL TRADITION: DISCOURSES ON MODERN MASTERS AND THE INVENTION OF MINIATURE PAINTING IN PAKISTAN I. Neo-Orientalist Discourse of Revivalisms: Tagore and Chughtai II. Haji Sharif: Encounter with Tradition and Modernity III. Discourse on Old Masters and the Myth of Tradition in Miniature Painting IV. Miniature Painting as Kitsch: Shazia Sikander's Innovation V. 'The Original as Copy': Creative Process in Indian Painting Conclusions Appendix Bibliography
Introduction Chapter One CRAFTING ARTISANS AS PRIMITIVE ARTISTS: ART AND CRAFT DISCOURSES IN COLONIAL PUNJAB I. Primitivisation of Indian Art and Artist II. 'Primitive Art in Civilized Places': the Formation of the Pedagogic Triad of Trade Exhibitions, Museums and Art Schools in Colonial Punjab III. Lahore Museum: A Storehouse of Natural History and Primitive Art IV. "Aboriginal" Artisans and the Colonial Ethnography of Occupational Castes Chapter Two KIPLING'S SCHOOL: BRITISH ARTS AND CRAFTS MOVEMENT IN PUNJAB I. Technical Education in Colonial Punjab and the Making of the Mayo School of Art II. The Lahore Model: the Mayo School under Lockwood Kipling III. The Suitable Boys: the Mayo School of Art and Ibbetson's Anthropology IV. From "Primitive" Artisans to "Modern" Craftsmen-Artists Chapter Three POLITICS OF ART AND CRAFT: RETHINKING THE MAYO SCHOOL I. Drawing Masters as Artists: The Emergence of Fine Arts in Punjab II. Posters from the Early Twentieth Century Colonial Punjab: Chromolithography and Mayo School of Art Chapter Four AESTHETICS MODERNISM IN THE POST-COLONY: THE MAKING OF A NATIONAL COLLEGE OF ART I. From Craft to Fine Arts: The Nationalist Discourse on Traditional Arts II. The Development of Industrial and Technical Education in Pakistan as a Panacea for Modernization III. From Mayo School of Art to National College of Arts: The Forward Looking Years IV. Post-Bauhaus at NCA: An Aborted Agenda Chapter Five FRAMINGS OF A NATIONAL TRADITION: DISCOURSES ON MODERN MASTERS AND THE INVENTION OF MINIATURE PAINTING IN PAKISTAN I. Neo-Orientalist Discourse of Revivalisms: Tagore and Chughtai II. Haji Sharif: Encounter with Tradition and Modernity III. Discourse on Old Masters and the Myth of Tradition in Miniature Painting IV. Miniature Painting as Kitsch: Shazia Sikander's Innovation V. 'The Original as Copy': Creative Process in Indian Painting Conclusions Appendix Bibliography
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