VISUAL HISTORY IN SOUTH ASIA

This course is a core component of the undergraduate degree programme in Languages, Cultures and Societies of Asia and Mediterranean Africa (South-East Asian curriculum). Its aim is to develop and strengthen students’ knowledge of the artistic productions of India and the Himalayan regions (Module 1), as well as those of the South-East Asian region (Module 2). The course offers an overview of the visual history and material culture of these areas, examining artistic and architectural works within their respective historical, political, and religious contexts, with particular attention to Buddhism and Hinduism. At the same time, it seeks to foster an understanding of how the study of the visual domain can serve as a crucial tool in the analysis of historical, political, religious, and social phenomena, both in antiquity and in modern and contemporary times.

The aim of the Module 1 is to foster a critical approach to the artistic and architectural production of India and the Himalayan regions. By the end of the course, students should have mastered the specific vocabulary and be able to recognise, describe, and critically analyse the artistic and architectural productions of the geographical areas studied, in relation to their historical, political, and religious contexts. Significant emphasis will be placed on a precise understanding of artistic phases, the progression and evolution of the numerous regional productions, and their stylistic and structural particularities. Above all, the course seeks to encourage students to reflect on the symbolic importance and perception of artworks and to examine how artistic patronage and production have been employed as instruments of political assertion and identity construction.

The course does not require any prior knowledge of the subject.

The Module 1 will examine key aspects of the material and visual culture of India and the Himalayan regions. Following a brief introduction to early archaeological discoveries, the course will focus on Buddhist and Hindu artistic productions, exploring case studies from India to the Himalayan countries. Historical analysis will be complemented by stylistic, historical-religious, anthropological, and technical perspectives. The course will also investigate the relationships and interactions between geographical and cultural areas, as well as between periods and styles. Additionally, it will address the musealisation of South Asian artworks, including the ways in which sacred objects are exhibited and the ongoing debates surrounding these practices. Other topics of reflection include the conservation and restoration of artworks in South Asian and international museums, as well as issues related to restitution, repatriation, and the decolonisation of artistic heritage.

Essential readings:
Course notes and slides
A book of your choice between these two:
- Mitter, Partha. Indian art. Oxford University Press, USA, 2001.
- Pieruccini, Cinazia. Storia dell’arte dell’India. I. Dalle origini ai grandi templi medievali. Einaudi, 2013.
Selected chapter from:
- Debreczeny, Karl and Elena Phakhoutova (a cura di), Himalayan Art in 108 Objects, Rubin Museum of Art, 2023.
Two articles:
- Bellini, Chiara, “Surrounding the Sacred Space. Two painted Scrolls from the Collection of Namgyal Monastery in Mustang, Nepal”, in Journal of the Royal Asiatic Society, Jul 2020: 1-44.
- Luczanits, Christian, “From Kashmir to Western Tibet: The Many Faces of a Regional Style.” In Collecting Paradise. Buddhist Art of Kashmir and Its Legacies, edited by Rob Linrothe. New York & Evanston: Rubin Museum of Art and Mary & Leigh Block Museum of Art, Northwestern University, 2014: 108-149.

Some of these materials will be provided in PDF format on the university’s e-learning platform, moodle.unive.it, during the course, along with additional optional readings for further study or video contributions.

Attending students will be encouraged to participate freely during the course to stimulate discussion, respecting their own pace and sensitivity. The assessment of performance will be based on the outcome of a final oral exam covering the course content and assigned materials. The evaluation will consider not only the knowledge acquired, presentation skills, and the use of appropriate technical vocabulary but also the ability to critically engage with the readings and topics discussed, as well as to connect the analyses to knowledge gained in other educational activities.

oral

Assessment Grid:
28–30 with honours: Excellent command of the topics covered in lectures and textbooks; clear ability to organise and prioritise information; appropriate and precise use of technical terminology.
26–27: Good knowledge of the topics addressed in lectures and assigned readings; reasonably well-developed ability to structure and present information orally; adequate familiarity with technical terminology.
24–25: Knowledge of the topics covered in lectures and textbooks is not always thorough; oral presentation is generally structured, though the use of technical terminology is occasionally inaccurate.
22–23: Frequently superficial understanding of the topics addressed in lectures and textbooks; oral presentation is unclear and lacks appropriate use of technical terminology.
18–21: Partial and sometimes fragmented understanding of the topics covered in lectures and textbooks; oral presentation is confused and demonstrates limited use of technical terminology.

Lectures and in-class discussions will be complemented by guest lectures delivered by invited researchers. The course will take the form of a seminar and adopt a thematic approach, working directly with visual materials. The study of styles, artworks, and patterns of patronage will serve as a basis for discussion and as a stimulus for critical analysis.