VISUAL HISTORY IN SOUTH ASIA

The course is part of the complementary and integrative teachings of the degree programme in Languages, Cultures, and Societies of Asia and the Mediterranean Africa. While it is particularly relevant for students specialising in South Asia, it is also valuable for those with a broader interest in visual productions and cultural dynamics. The course aims to build and consolidate students’ knowledge of the artistic productions of the region. It seeks to provide a comprehensive overview of the visual history and image culture of South Asia, examining artistic and architectural productions associated with various historical-political contexts, religious traditions, and geographical areas. Key topics will include archaeological discoveries in the Indus Valley, Buddhist and Hindu art in India, and the Himalayan countries. Simultaneously, the course aims to help students understand how the study of visual culture can serve as a crucial tool in analysing historical, political, religious, and social phenomena from antiquity to modernity and the contemporary period.

The aim of the course is to foster a critical approach to the artistic and architectural production of India and the Himalayan regions. By the end of the course, students should have mastered the specific vocabulary and be able to recognise, describe, and critically analyse the artistic and architectural productions of the geographical areas studied, in relation to their historical, political, and religious contexts. Significant emphasis will be placed on a precise understanding of artistic phases, the progression and evolution of the numerous regional productions, and their stylistic and structural particularities. Above all, the course seeks to encourage students to reflect on the symbolic importance and perception of artworks and to examine how artistic patronage and production have been employed as instruments of political assertion and identity construction.

None, but a good knowledge of the English language in order to access autonomously to the bibliography is desirable.

The course will examine key aspects of the material and visual culture of India and the Himalayan regions. Following a brief introduction to early archaeological discoveries, the course will focus on Buddhist and Hindu artistic productions, exploring case studies from India to the Himalayan countries. Historical analysis will be complemented by stylistic, historical-religious, anthropological, and technical perspectives. The course will also investigate the relationships and interactions between geographical and cultural areas, as well as between periods and styles. Additionally, it will address the musealisation of South Asian artworks, including the ways in which sacred objects are exhibited and the ongoing debates surrounding these practices. Other topics of reflection include the conservation and restoration of artworks in South Asian and international museums, as well as issues related to restitution, repatriation, and the decolonisation of artistic heritage.

Essential readings:
Course notes and slides
A book of your choice between these two:
- Mitter, Partha. Indian art. Oxford University Press, USA, 2001.
- Pieruccini, Cinazia. Storia dell’arte dell’India. I. Dalle origini ai grandi templi medievali. Einaudi, 2013.
Selected chapter from:
- Debreczeny, Karl and Elena Phakhoutova (a cura di), Himalayan Art in 108 Objects, Rubin Museum of Art, 2023.
Two articles:
- Bellini, Chiara, “Surrounding the Sacred Space. Two painted Scrolls from the Collection of Namgyal Monastery in Mustang, Nepal”, in Journal of the Royal Asiatic Society, Jul 2020: 1-44.
- Luczanits, Christian, “From Kashmir to Western Tibet: The Many Faces of a Regional Style.” In Collecting Paradise. Buddhist Art of Kashmir and Its Legacies, edited by Rob Linrothe. New York & Evanston: Rubin Museum of Art and Mary & Leigh Block Museum of Art, Northwestern University, 2014: 108-149.

Some of these materials will be provided in PDF format on the university’s e-learning platform, moodle.unive.it, during the course, along with additional optional readings for further study or video contributions.

Attending students will be encouraged to participate freely during the course to stimulate discussion, respecting their own pace and sensitivity. The assessment of performance will be based on the outcome of a final oral exam covering the course content and assigned materials. The evaluation will consider not only the knowledge acquired, presentation skills, and the use of appropriate technical vocabulary but also the ability to critically engage with the readings and topics discussed, as well as to connect the analyses to knowledge gained in other educational activities.

oral

Lectures will be supplemented by conferences, symposiums, and class debates. The course will have a seminar-based structure and adopt a thematic approach, working directly with images. The study of styles, artworks, and dynamics of patronage will serve as a basis for discussions and provide a stimulus for critical analysis.

Italian

Attendance is highly recommended; however, those who are unable to attend regularly can contact the professor via email to receive suggestions on how to best prepare for the exam.

This subject deals with topics related to the macro-area "Poverty and inequalities" and contributes to the achievement of one or more goals of U. N. Agenda for Sustainable Development