Kalighat painting

I examine the use of an enlarged portion of a Kalighat painting of the goddess Kali in the recent exhibition Indian Kalighat Paintings at the Cleveland Museum of Art (June – September 2011). 1 The image, an especially dramatic one of the goddess Kali sticking her tongue out, was used prominently on the title wall, on an outdoor billboard, and in other publicity (brochures, websites, and the like) and was intended to allure and provoke piqued patrons. Using such an image raises issues concerning the representation of religions and religious objects in museums, the “ Western ” constructions of Hinduism and the so-called “ dark goddess, ” the perpetuation of colonial stereotypes, and the noble, but notorious,need to attract potential patrons.


In _Sacred Objects in Secular Spaces:  Exhibiting Asian Religions in Museums_.  Edited by Bruce M. Sullivan (London: Bloomsbury, 2015).

The limits and definitions of art have become increasingly complex as a result of the conundrum addressed by numerous post-modern concepts and analyses on art and art history. Discussing artworks has been a rudimentary concept for viewers, particularly professionals, since the Baroque. Yet, it is unknown when and how interacting with art influences our perception of it, and this has probably to be scientifically examined. Traditional art evaluation no longer addresses all of the discussions and concerns that arise from the current world's multifaceted significance of art. Today's art education must diversify students' perspectives on art enjoyment.

I examine the use of an enlarged portion of a Kalighat painting of the goddess Kali in the recent exhibition Indian Kalighat Paintings at the Cleveland Museum of Art (June – September 2011). 1 The image, an especially dramatic one of the goddess Kali sticking her tongue out, was used prominently on the title wall, on an outdoor billboard, and in other publicity (brochures, websites, and the like) and was intended to allure and provoke piqued patrons. Using such an image raises issues concerning the representation of religions and religious objects in museums, the “ Western ” constructions of Hinduism and the so-called “ dark goddess, ” the perpetuation of colonial stereotypes, and the noble, but notorious,need to attract potential patrons. In _Sacred Objects in Secular Spaces: Exhibiting Asian Religions in Museums_. Edited by Bruce M. Sullivan (London: Bloomsbury, 2015).

Калькутта представляет собой уникальный для Индии XIX в. художественный центр, в котором сформировалась синтетическая культура, отражающая как исконно индийскую, так и колониальную эстетику. Непродолжительная, но яркая история бытования народной картины Калькутты – калигхата, ксилографий баттала и затем хромолитографий, подготовила почву для сложения своеобразной современной популярной культуры этой страны. Автор исследования предлагает новые критерии оценки художественного качества этих работ.

Calcutta is a unique art center for India in the 19th century, where a synthetic culture, reflecting both native Indian and colonial aesthetics, was formed. A short, but fascinating history of evolution of the folk paintings of Calcutta – kalighat, battala prints and then chromolithographs, paved the way for the formation of India`s specific modern popular culture. The author of the study proposes new criteria for assessing the artistic quality of these works.

I examine the use of an enlarged portion of a Kalighat painting of the goddess Kali in the recent exhibition Indian Kalighat Paintings at the Cleveland Museum of Art (June – September 2011). 1 The image, an especially dramatic one of the goddess Kali sticking her tongue out, was used prominently on the title wall, on an outdoor billboard, and in other publicity (brochures, websites, and the like) and was intended to allure and provoke piqued patrons. Using such an image raises issues concerning the representation of religions and religious objects in museums, the “ Western ” constructions of Hinduism and the so-called “ dark goddess, ” the perpetuation of colonial stereotypes, and the noble, but notorious,need to attract potential patrons. In _Sacred Objects in Secular Spaces: Exhibiting Asian Religions in Museums_. Edited by Bruce M. Sullivan (London: Bloomsbury, 2015).