Does Art Have A Nationality ? | Aparna Joshi

SPEAKER:
Aparna Joshi
Aparna is a second year undergraduate student at Delhi University. She has authored five books spanning topics of History and International Conflict. Her recent book, Mughal Miniatures on the Global Art Scene 1526-1770, was accepted and printed by the Indian National Trust for Art and Cultural Heritage for non-commercial, academic purposes.
SYNOPSIS:
Art is generally a universally appreciated form of expression that, in many cases, predates formal political organization. The earliest examples of art can be found in the form of cave paintings at Bhimbetka, Altamira, and other cave shelters. However, it has always been used as a tool of political patronage and legitimization. For example, in Ancient India, Buddhist paintings were patronized by the Mauryan and Gupta dynasties to show their names attached to claim legitimacy from Buddhist sources. Later in Mughal times, the usage of motifs such as the Lion and the Lamb and, in modern times, poster art- all aim to depict the emperor or politician as the supreme being who needs to be trusted and respected. This begs the question of the importance of patronization, art appreciation and conservation; what deserves to get preserved or patronized by the ruling elites? Further, institutional patronization leads to a religious or communal identity around painting or art. An example can be seen in the Mughal paintings, styles of chronicling in the Mediaeval period.
With the recent school curriculum shunning the concepts of Islamic record-keeping and historicity, is India at the cusp of losing yet another tradition the new India now sees as "Alien''? How does art deal with the context of external influences, and therefore, can it have these multiple polarising identities? For example, only devotional and temple art gets to be patronized; however, the deserted remains of the Yogini temples in Central Western India tell a different tale. Buddhist, Jain, and Temple paintings seem to influence each other and draw from the Greek style of art and proportion, is that too to be treated as ‘Yavna’ or outsider? With the rise of nation-states and rigid boundaries, therefore, does art have a nationality? Art as a whole has been used as an arm of the state, does it, therefore, have a distinct political identity as Hindu, secular, nationalist, or liberal? Lastly, is it a domain of political gains or a paradigm of social change?
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