What do you think?
Rate this book
Reverse Glass Painting in India
English
252 (Throughout Color and B/W Illustrations)
252 (Throughout Color and B/W Illustrations)
252 pages, Hardcover
Published June 6, 2017
10 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 of 1 review
May 5, 2017
A Nice Read to Understand the History and Artmaking Process of Indian Reverse Glass Painting
In the book "Reverse Glass Painting in India" distinguished Indian art historian Anna L. Dallapiccola illustrates a popular form of visual art widely appreciated and practiced in the royal courts and temples across the South Indian states. She presents here a collection of over a 100 colour images depicting not only Hindu deities but also the royal families in their candid mood. In the Introduction chapter, the author familiarizes the process of art-making as a fascinating, yet comparatively a new genre of Indian art that flourished in the mid-19th century. The art form got influenced by the Chinese and European masters and their techniques, before founding its own place in South Asia. Dallapiccola identifies three regional styles of the Reverse Glass Painting, namely, Southern India, Western India and Northern India. Now, Southern India is striving most concerning numbers of artists or patrons available to keep this form of art alive. The modern states in Southern India embrace this kind of artmaking include Tamil Nadu, Telangana, Andhra Pradesh, Odisha, Kerala, and Karnataka. The book is systematically structured with four sections depicting specific art themes, namely, (i) Gods, Goddesses, and Ascetics, (ii) Dandies and Courtesans, (iii) Kings, Nobles and Other Portraits, and (iv) Landscapes and Other Themes. Each section contains several sub-sections to imbibe visual treat and related anecdotes on the art objects for the general readers. This book contains the reproduction of several popular paintings crafted during the colonial period (nineteenth to twentieth centuries), with narratives of time, space, and subjects.
The book turns out an interesting book for understanding a history of reverse glass painting in South Asia during the colonial and post-colonial periods. Narratives of Dallapiccola appear appropriate for the readers keen to know the socio-cultural fabrics appreciating this form of modern visual art.
In the book "Reverse Glass Painting in India" distinguished Indian art historian Anna L. Dallapiccola illustrates a popular form of visual art widely appreciated and practiced in the royal courts and temples across the South Indian states. She presents here a collection of over a 100 colour images depicting not only Hindu deities but also the royal families in their candid mood. In the Introduction chapter, the author familiarizes the process of art-making as a fascinating, yet comparatively a new genre of Indian art that flourished in the mid-19th century. The art form got influenced by the Chinese and European masters and their techniques, before founding its own place in South Asia. Dallapiccola identifies three regional styles of the Reverse Glass Painting, namely, Southern India, Western India and Northern India. Now, Southern India is striving most concerning numbers of artists or patrons available to keep this form of art alive. The modern states in Southern India embrace this kind of artmaking include Tamil Nadu, Telangana, Andhra Pradesh, Odisha, Kerala, and Karnataka. The book is systematically structured with four sections depicting specific art themes, namely, (i) Gods, Goddesses, and Ascetics, (ii) Dandies and Courtesans, (iii) Kings, Nobles and Other Portraits, and (iv) Landscapes and Other Themes. Each section contains several sub-sections to imbibe visual treat and related anecdotes on the art objects for the general readers. This book contains the reproduction of several popular paintings crafted during the colonial period (nineteenth to twentieth centuries), with narratives of time, space, and subjects.
The book turns out an interesting book for understanding a history of reverse glass painting in South Asia during the colonial and post-colonial periods. Narratives of Dallapiccola appear appropriate for the readers keen to know the socio-cultural fabrics appreciating this form of modern visual art.
Displaying 1 of 1 review