Contents
Prologue
1. The Moulding of the MUSE
2. The Moulding of the MUSE: I. Bharat Bhavan and the Art vs. Ethnography Discourse
3. The Moulding of the MUSE: II. Jangarh’s ‘Discovery’
4. The Moulding of the MUSE: III. Multiple Mediations and the ‘Secularising’ Processes in Jangarh’s Work
5. The Moulding of the MUSE: IV. Visualising his Gods
6. The Moulding of the MUSE: V. Printmaking
7. The Moulding of the MUSE: VI. Jangarh, Theatre and Music
8. The Moulding of the MUSE: VII. The Vidhan Bhavan Mural Project (1996) and the Consolidation of the Pardhan Idiom of Painting
9. The Moulding of the MUSE: VIII. The Narrative Turn
10. The Moulding of the MUSE: IX. Retrieving the World Left Behind: A Place from Where to Speak
11. The Moulding of the MUSE: X. A Conjuror’s Archive
12. TRAPPED IN CROSSING
13. TRAPPED IN CROSSING: I. Jangarh’s Letter to his Mother
14. TRAPPED IN CROSSING: II. Jangarh’s Letter to his Wife, Nankushiya
15. TRAPPED IN CROSSING: III. The Letter from the Mithila Museum, Japan
AFTERWORD
AFTERWORD: I. Ram Singh Urveti
AFTERWORD: II. Anand Shyam
AFTERWORD: III. Bhajju Shyam
AFTERWORD: IV. Narmada Prasad Tekam
AFTERWORD: V. Mayank Shyam
AFTERWORD: VI. Dileep Shyam
BIBLIOGRAPHY
ACKNOWLEDGEMENTS
About the Publication
Before any sound critical framework could be evolved around the artist Jangarh Singh Shyam as the originator of an extraordinary individualistic idiom of painting, ruthless market forces came to dominate his art, claiming Jangarh... Read More
About the Author
An eminent scholar of Indian art and popular visual culture, Jyotindra Jain has published extensively in the areas of his Indian art and craft traditions. He is presently a Member of the International Advisory of the Humboldt Foru... Read More
