VISUAL HISTORY IN SOUTH ASIA

The course is one of the educational activities of the degree course in Language, culture and society of Asia and Mediterranean Africa; characterizing for the students of the Indological area - but useful even for those more generally interested in visual productions and cultural dynamics - it intends to construct and consolidate the student's knowledge of the regional artistic productions. The course aims in fact to offer an exhaustive overview of the visual history and image culture in South Asia, by analyzing artistic and architectural productions that can be traced back to the various historical and political contexts, religious traditions and different geographical regions. The protohistory and the archaeological discoveries in the Indus valley, the Buddhist art, the Hindu temple and its conception are only some of the major themes that will be touched. At the same time the course intends to demonstrate how the study of the visual productions can constitute a crucial support in the analysis of historical, political, religious and social phenomena, both in ancient and in modern and contemporary periods.

Key objective of the course is a critical approach to the artistic and architectural production of Central Asia and South Asia. The student at the end of the course should master the appropriate vocabulary and be able to identify, describe and critically analyze art objects, sculptures and monuments from the geographical areas treated in relation to their historical, political and religious context. Great importance will be given to the comprehension of the artistic phases, to the evolution of the different productions and of their stylistic and structural peculiarities. The course aims especially to examine the symbolic importance and the perception of the work of art and the role of the artistic patronage and production in the political affirmation and in the processes of identity building.

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

The course will examine some of the fundamental aspects of South Asian and Central Asian material and visual culture. After a brief introduction on protohistory and early archaeological discoveries, the course will focus on Buddhist and Hindu artistic productions, examining case studies from India to the Himalayan countries of Central Asia. Historical analysis will be joined by stylistic, historical-religious, anthropological, and technical analysis. Relationships and interactions between geographical and cultural areas, eras and styles will be analyzed. Subject of reflection will also be the musealization of South Asian artworks, the way sacred objects are displayed and the related ongoing debate, conservation and restoration in South Asian and international museums, and the sensitive issue of restitution.

Essential readings:
Course notes and slides
Selected chapter from:
- Mitter, Partha. Indian art. Oxford University Press, USA, 2001.
- Huntington, Susan L. The Art of Ancient India. Weatherhill, 2001.
- Wright, Rita P. The ancient Indus: Urbanism, economy, and society. Cambridge: Cambridge University Press, 2010.
- Pieruccini, Cinazia. Storia dell’arte dell’India. I. Dalle origini ai grandi templi medievali. Einaudi, 2013.
- Pieruccini, Cinzia. Storia dell’arte dell’India. II. Dagli esordi indo-islamici all’indiependenza. Einaudi, 2013.
- Kramrisch, Stella. Il Tempio Indù. Luni, 1999.
- Desai, Vishakha N., and Darielle Mason. Gods, guardians, and lovers: temple sculptures from North India AD 700-1200. The Asia Society Galleries, 1993.
- Michell, George. Architecture and Art of Southern India: Vijayanagara and the Successor States 1350-1750. Vol. 6. Cambridge University Press, 1995.
- Branfoot, Crispin. Gods on the Move: architecture and ritual in the south Indian temple. British Academy & Society for South Asian Studies, 2007.
- Leidy, Denise Patry. The Art of Buddhism. Am Introduction to its History and Meaning. Shambala, 2008.
- Schimmel, Annemarie. The empire of the great Mughals: History, art and culture. Reaktion Books, 2004.
- Burton-Page, John, and George Michell. Indian Islamic architecture: Forms and typologies, sites and monuments. Brill, 2007.
- Beach, Milo Cleveland. Mughal and Rajput painting. Vol. 3. Cambridge University Press, 1992.
- Snellgrove, David and Tadeusz Skorupski. The Cultural heritage of Ladakh. Volume One: Central Ladakh. Aris & Phillips. 1977
- Slusser, Mary Sheperd. Nepal Mandala: A Cultural Study of the Kathmandu Valley: A Cultural Study of the Kathmandu Valley. (2 Vols.) Princeton University Press, 1982.
- Pal, Pratapaditya. Art of Nepal. Los Angeles County Museum of Art, 1985.
- Pal, Pratapaditya. Himalayas. An Aesthetic Adventure. The Art Institute of Chicago. 2003.
- Lo Bue, Erberto (a cura di), Wonders of Lo. The Artistic Heritage of Mustang. Marg, 2010.
- Bartholomew, Terese Tse and John Johnston. The Dragon's Gift: The Sacred Arts of Bhutan. Serindia, 2008.
Further readings will be indicated during the course.

Complementary readings:
a series of scientific writings useful to examine in depth the topics discussed in class and to carry out the assignment will be indicated during the course and uploaded on the university's e-learning platform moodle.unive.it.

During the course, the student will be asked to prepare short in-depth analysis of topics related to the course contents that will be presented to the class in order to foment the discussion and will be evaluated. A further in-depth analysis of a chosen subject (agreed with the professor) will be prepared and discussed during the oral examination. Assessment will be by means of a final oral examination on the approached themes and of the assignments; great importance will be given to the students' attendance and active participation to lessons and discussions. The acquired knowledge, the appropriate use of the technical vocabulary and the ability to critically approach the proposed readings and themes and to bring them in relation to previously acquired knowledges will be assessed during the final examination.

Frontal classes, complemented by lectures and conferences, students' presentations and the discussion of issues raised during the classes. The course will adopt a thematic approach and will move from the analysis of the visual productions. Through the study of styles, art objects and dynamics of patronage, discussions and a critical approach will be ecouraged.

Italian

Students are strongly advised to attend classes regularly; whose unable to regularly attend classes are asked to contact the professor at the beginning of the course in order to discuss the examination program.

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