Werk/Gegenstand/Objekt
Titel
Titel/Objekt
Advertisement for Sri Ambal & Co.
Klassifikation (GND)
Klassifikation (normiert)
Gattung:
posters
Inschrift/Wasserzeichen
Inschrift/Wappen/Marken
Transkription
Sri Ambal & Co.
High Class Snuff Manufacturers
Transkription
Post Box No.3
Madras.
Transkription
Nath.
Transkription
Nath.
Anbringungsort/Beschreibung
Künstlersig. (Übersetzung)
Aufbewahrung/Standort
Aufbewahrungsort/Standort (normiert)
Delhi / The Priya Paul Collection of Popular Art
Objektbeschreibung
Objektbeschreibung
Three Hindu goddesses Lakshmi, Parvati and Saraswati are sitting next to each other in front of a big tree. Parvati holds her young son, Ganesha, the elephant god and other symbols in her hands. Saraswati holds a veena in one hand and scrolls in another while her feet rest on a white lotus. Lakshmi is depicted with her feet on a pink lotus and holding three lotuses. They are surrounded by water and an elephant rising out of the water in front of them offers up a flower garland with its trunk. A lion and a peacock can also be seen in the image. To the lower left corner of the image, a packet of snuff can be seen depicted. In the background, behind the goddesses a waterfall, mountains and a river can be seen. (sp)
Colour information: Colour
Erhaltungszustand
good
Kommentar
##explanatory comments/crosstagging:
A widely circulated Ravi Varma image, depicting the goddesses Lakshmi, Durga and Saraswati, shown with their respective vahanas, the elephant, the lion and the peacock. The print is courtesy of a “high class snuff manufacturer” from Madras, with the consumer product, a tin of snuff, shown in the bottom left-hand corner to avoid detracting from the main focus of the picture. The scale of the vahanas vis-à-vis the goddesses confirms their relative importance. Images such as the above are nowadays less likely to be found in urban settings as calendar art in use. Where they are found, they are more likely to be framed and used as artwork to adorn a room, or as devotional imagery for purposes of worship. (Arvind Rajagopal)(gs)
##explanatory comments/crosstagging:
In fact, there are subtle but interesting shifts in how mythological imagery is treated in calendar art over time. For example, motifs and representational styles migrate from the mythological to other domains. Meanwhile as the language of the market becomes more familiar, commodity images acquire an authority of their own, and no longer require the presence of gods and goddesses to win an audience. (Arvind Rajagopal)(gs)
##explanatory comments/crosstagging:
The deities shown in Indian calendar art are not continuous with temple art despite the similarity of their subject matter, because of the medium of their depiction. Print renders these images hybrid in character: they are both profane and sacral, iconographically conventional and yet new in the means of their reproduction and circulation. For example, they reached (and reach) not only twice-born castes, for example, but also untouchables who might have been barred from approaching the deities portrayed, if they were situated in Hindu temples. (Arvind Rajagopal)(gs)
##explanatory comments/crosstagging:
Although calendar art may, at first glance, appear to be relatively changeless, it is of course transformed alongside mechanical innovation and the spread of capitalist markets, and reflects historical and political changes over the years. What might seem constant is the profusion of mythological imagery. (Arvind Rajagopal)(gs)
##related hyperlinks:
http://www.tasveergharindia.net/cmsdesk/essay/100/index_1.html last accessed 2011-01-15 Tasveer Ghar essay (gs)
Maß-/Formatangaben
Format/Maße/Umfang/Dauer
H 50 cm, W 38 cm, portrait
Auflage/Druckzustand
Werktitel/Werkverzeichnis
Herstellung/Entstehung
Künstler/Urheber/Hersteller (normiert)
Nath
Material/Technik
chromolithographs, paper (fiber product), framing (processes)
Auftrag
Publikation
Fund/Ausgrabung
Provenienz
Restaurierung
Sammlung Eingang
Ausstellung
Bearbeitung/Umgestaltung
Thema/Bildinhalt
Thema/Bildinhalt (GND)
Thema/Bildinhalt (normiert)
festoon (motif)
Sri Ambal & Co.
Lakshmi
Sarasvati
Ganesha
recheck-Gerhard
Parvati
peacocks (animals)
lions (animals)
Asian elephants (animals)
crowns (headdresses)
mountains
waterfalls (natural bodies of water)
lotus (motif)
scrolls (information artifacts)
vinas
saris (garments)
recheck-Medialab
recheck
peacock feather
Nath <artist>
Literaturangabe
Literaturangabe
Beller, Jonathan 2006. "The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle." Dartmouth, NH: University Press of New England. (gs)
Grojs, Boris 2008. "Art Power." Cambridge, MA: MIT Press.
(gs/ja)
Freitag, Sandria B 2007. “South Asian ways of seeing, Muslim ways of knowing: The Indian Muslim niche market in posters.” The Indian economic and social history review. 44, no. 3, (2007), pp. 297-331. (gs)
Haug, Fritz 1986. "Critique of Commodity Aesthetics: Appearance, Sexuality and Advertising in Capitalist Society." Minneapolis: University of Minnesota Press. (gs)
Jain, Kajri 2007. "Gods in the Bazaar: The Economies of Indian Calendar Art. Durham." NC: Duke University Press.(gs)
Mazzarella, William 2003. "Shoveling Smoke: Advertising and Globalization in Contemporary India." Duke University Press. (gs)
Masselos, Jim 2006. “A goddess for everyone: the mass production of divine images,” in Jackie Menzies, ed. Goddess Divine Energy. Sydney: Art Gallery of New South Wales and Thames and Hudson. (gs)
Rajagopal, Arvind 1998. "Advertising, Politics and the Sentimental Education of the Indian Consumer." Visual Anthropology Review, 14 (2): pp. 14-31. (gs)
Rajagopal, Arvind 2010. "The Commodity Image in the (Post) Colony" (gs)
Rechte am Objekt
Beziehungen
in Beziehung zu
Bottom portion of advertisement, "Hindu goddesses, in an advertisement of Sri Ambal & Co.(high class snuff manufacturer)
detail view
in Beziehung zu
Hindu goddesses, in an advertisement of Sri Ambal & Co.(high class snuff manufacturer)
detail view
in Beziehung zu
Hindu goddesses, in an advertisement of Sri Ambal & Co.(high class snuff manufacturer)
detail view
Externe Bezüge
Aufnahmen/Reproduktionen
Rechtsstatus
In Copyright (InC) / Urheberrechtsschutz
Creditline
The Priya Paul Collection. Reproduced with kind permission of the collector.
Copyrighted. Copyright with the original artists and publishers.
