Gods in the time of democracy
Frontmatter -- Contents -- Acknowledgments -- Introduction EMERGENCE -- 1 STATUES AND SCULPTORS -- 2 DEMOCRACY -- 3 ICONOPRAXIS -- 4 CARS AND LAND -- 5 SCALE -- Notes -- Bibliography -- Index
| Main Author: | |
|---|---|
| Format: | Electronic Book |
| Language: | English |
| Subito Delivery Service: | Order now. |
| Check availability: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Durham
Duke University Press
[2021]
|
| In: | Year: 2021 |
| Standardized Subjects / Keyword chains: | B
India
/ Folk art
/ Monumental sculpture
/ God (Motif)
/ Aesthetics
|
| Further subjects: | B
Religion and culture (India)
B Art and popular culture (India) B Art and religion (India) History 21st century B Aesthetics Religious aspects B Commercial art (India) B Large-scale sculpture (India) 21st century Themes, motives B Sculpture & Installation / ART B Idols and images in art B Gods in art B Art and society (India) History 21st century |
| Online Access: |
Cover (Verlag) Cover (lizenzpflichtig) Volltext (doi) Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Parallel Edition: | Non-electronic
|
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| 520 | |a Frontmatter -- Contents -- Acknowledgments -- Introduction EMERGENCE -- 1 STATUES AND SCULPTORS -- 2 DEMOCRACY -- 3 ICONOPRAXIS -- 4 CARS AND LAND -- 5 SCALE -- Notes -- Bibliography -- Index | ||
| 520 | |a In 2018 India's prime minister, Narendra Modi, inaugurated the world's tallest statue: a 597-foot figure of nationalist leader Sardar Patel. Twice the height of the Statue of Liberty, it is but one of many massive statues built following India's economic reforms of the 1990s. In Gods in the Time of Democracy Kajri Jain examines how monumental icons emerged as a religious and political form in contemporary India, mobilizing the concept of emergence toward a radical treatment of art historical objects as dynamic assemblages. Drawing on a decade of fieldwork at giant statue sites in India and its diaspora and interviews with sculptors, patrons, and visitors, Jain masterfully describes how public icons materialize the intersections between new image technologies, neospiritual religious movements, Hindu nationalist politics, globalization, and Dalit-Bahujan verifications of equality and presence. Centering the ex-colony in rethinking key concepts of the image, Jain demonstrates how these new aesthetic forms entail a simultaneously religious and political retooling of the “infrastructures of the sensible.” | ||
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