
Published online:
22 June 2017
Published in print:
27 July 2017
Online ISBN:
9780190457617
Print ISBN:
9780190457594
Contents
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12.1. Introduction 12.1. Introduction
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12.2. The Philosophers 12.2. The Philosophers
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12.2.1 Mysore Hiriyanna and Anand Kentish Coomaraswamy: The Location of Rasa 12.2.1 Mysore Hiriyanna and Anand Kentish Coomaraswamy: The Location of Rasa
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12.2.2 Mulk Raj Anand and K. C. Bhattacharyya: Form and Function 12.2.2 Mulk Raj Anand and K. C. Bhattacharyya: Form and Function
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12.2.3 Muhammad Iqbal and Mian Mohammad Sharif: Indian Aesthetics in a Sufi Voice 12.2.3 Muhammad Iqbal and Mian Mohammad Sharif: Indian Aesthetics in a Sufi Voice
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12.2.4 Questioning the Very Idea of Indian Authenticity: Benoy Kumar Sarkar 12.2.4 Questioning the Very Idea of Indian Authenticity: Benoy Kumar Sarkar
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12.3. The Art Worlds of Bombay and Calcutta 12.3. The Art Worlds of Bombay and Calcutta
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12.3.1 Varma and Tagore 12.3.1 Varma and Tagore
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12.3.2 An Indian in Paris: Amrita Sher-Gil 12.3.2 An Indian in Paris: Amrita Sher-Gil
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4. Conclusion 4. Conclusion
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Chapter
12 Indian Ways of Seeing: The Centrality of Aesthetics
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Pages
284–314
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Published:June 2017
Cite
Bhushan, Nalini, and Jay L. Garfield, 'Indian Ways of Seeing: The Centrality of Aesthetics', Minds Without Fear: Philosophy in the Indian Renaissance, The Oxford History of Philosophy (New York , 2017; online edn, Oxford Academic, 22 June 2017), https://doi.org/10.1093/oso/9780190457594.003.0013, accessed 6 May 2025.
Abstract
This chapter examines the role of art, art criticism and aesthetic theory in philosophy, culture, and the nationalist movement. It devotes particular attention to the modernization of classical rasa theory and its deployment in art criticism, and to debates about that in which “authentic” Indian art consists. It considers the art of Ravi Varma, Abanindranath Tagore, and Amrita Sher-Gil and the aesthetic theory of A. K. Coomaraswamy, K. C. Bhattacharyya, M. Hiriyanna, and Mulk Raj Anand.
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