Dr. Vashishtha has specialized in Art History and Aesthetics and has chosen Rajasthan as a part of her wider studies on Indian art history. She worked on Representation of Ramayana themes in Visual arts of Rajasthan as senior Research fellow, ICHR, New Delhi and also on tradition and modernity in Indian arts during the twentieth century as Fellow Indian institute of advanced study, Shimla. She has five publications to her credit. Her work entitled sculptural traditions of Rajasthan ca.800-1000 AD has been acclaimed in the academic circles besides she has published a large and has also participated in Several national and international seminars.
The present monograph tradition and modernity in Indian arts is an exhaustive study of the concepts of traditions and modernism in visual arts of paintings and sculpture. It tries to unveil the untouched and lesser known facets of Indian artistic tradition during the first half of the twentieth century. The author has discussed the efforts of groups of thinkers social workers and artists for the search of identity and idiom of Indian artistic tradition and its transformation into modern. The work starts with the hypothesis that tradition and modernity are not opposed to each other but parts of a continuous process. It explodes the general view that Indian artistic tradition was lost before the advent of British education. The emergence of Bengal school and its attaining the status of a national modern school of painting has been illustrated with supportive arguments. This work highlights the role of the pupils of Abanindranath and Nandalal bose as promoters and transformers of Indian tradition into modern throughout India. It also succinctly deals with the interaction of these artists with other arts centres at Bombay, Delhi and Madras. The common thread between them was that artists at all centres resisted intervention of the British Government in art education. Some of the centres were inclined to adhere to tradition. Others opposed it in the beginning but after experimentation in Western Idiom of art reverted to their roots and enriched Indian tradition by assimilating in it the western techniques of art.
Are these two positions on women very different from one another? Do these interpretations of tradition and modernity in India hold the key for emancipating women in our male-dominated society? In what ways do these conceptions measure up towards eliminating the inherently unequal relations of power between men and women? In other words, it is important to understand if either of the two voices qualifies as a genuinely feministic call for changing the rules governing the family, the work-place as well as the public sphere.
|List of Illustrations||xiii|
|1||Tradition and Modernity in Indian Arts||1|
|2||Formative factors for the Revival of arts||19|
|3||Search for identity||44|
|4||Satellites of Bengal School||99|
|5||Experimentation vis-avis tradition||127|
|6||Development of Indian Modernism||168|