The Act of Drawing as Cultural Translation: Modern Depictions of an Ajanta’s Dancer
This paper analyzes the reception of the Ajanta paintings in Kolkata and Dresden around 1910 by means of the concept of cultural translation following Dipesh Chakrabary’s formulation in Provincializing Europe (2000). This concept serves as an analytical tool for investigation of transcultural intera...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2019 |
| País: | España |
| Institución: | Consejo Superior de Investigaciones Científicas (CSIC) |
| Repositorio: | DIGITAL.CSIC. Repositorio Institucional del CSIC |
| OAI Identifier: | oai:digital.csic.es:10261/407318 |
| Acceso en línea: | http://hdl.handle.net/10261/407318 |
| Access Level: | acceso abierto |
| Palabra clave: | Cultural translation Transculturalism Drawing Ajanta Entangled modernisms Ernst Ludwig Kirchner Bengal School of Painting Contemporary art |
| Sumario: | This paper analyzes the reception of the Ajanta paintings in Kolkata and Dresden around 1910 by means of the concept of cultural translation following Dipesh Chakrabary’s formulation in Provincializing Europe (2000). This concept serves as an analytical tool for investigation of transcultural interactions that needs to be concretized and proofed in localizable processes. Therefore, the act of drawing is regarded as a cultural translation process through which the artists re-imagined motifs from Ajanta within their own personal and different historical contexts. This analysis of modern versions of a dancer from Ajanta avoids text-related categories such as a binary conception of original and copy, as well as an universalizing and Eurocentric vision of modernism. Instead, the concept of cultural translation sheds light on a transmedial, translocal and chained process of transcription and re-codification of images in relation to the artistic local contexts, which were inserted in the global circulation determined by the power dynamics of colonialism. |
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