Confrontation And Interation

Swaraj(self-rule)was an important stage in India's anti-colonial struggle.It pursued self-rule not only on the political and geographical level,but also on the regional culture and national spirit.In this context,Confrontation and Interlacing not only refers to the relationship between primitivism art and Bengal school in Indian art world,but also refers to the relationship between regional art and culture and colonial cultural insititution in colonial context.This thesis will select five artists and their practice and important events in this period as the research object,using comparative study,situational logic,etymology archaeology,art,sociology and other art history research method,to research their situation of artistic creation at that time,look forward to restore the relationship between the primitivism and Bengal school,and try to tease out the basic logic of the development of modern art in the context of India.This thesis will discuss and demonstrate from the following parts: the first part will start with the Bauhaus exhibition in 1922,and discuss the spread of western modern art in India and the logic of production and the situation of artistic creation of Indian primitivism by the research of the exploration and practice of the three artists,Rabindranath Tagore,Amrita Sher-Gil and Jamini Roy.As the third plan for Indian modern art proposed by Rabindranath Tagore,it might be said that the organization of the Bauhaus exhibition and the introduce of the western modern art were the double abandonment of the norms of the Indo-European academic art and the early Bengal school which dominated the Indian art world at that time.After,the primitivism discourse took a practical strategy that develop their artistic discourse in the villages which were away from the urban city.The research to the situation of the practical activities and the important events would be helpful for the restore the logic of the primitivism artistic discourse' development in a comprehensive and solid way.In the second part,Abanindranath Tagore and Nandalal Bose who were notice as the representative artists Bengal school will be the object of research.The early Bengal school echoed the thought of Swadeshi(native)that resistance to British goods,looked forward to regain the indigenous culture by abandoning the Indo-European academic art and retaking the indigenous traditional art of mainland.Facing to the criticism from various sectors(especially the primitivism)on its superficial historical retroism,the school realized the transformation by transferring to primitivism in the field of discourse and approaching to primitivism in practical strategies during Swaraj period,and continued to interact with social politics in a new way.Based on the research of situation of first two part,the third part will analyze the practical strategies of primitivism and Bengal school during the Swaraj period,tease out the confronting and interacing relationship between the indigenous art and culture and the colonial cultural control in this time.In such a review,it will be an important work in the last part of this thesis to summarize the evolution logic of Indian modern art and reflect on its enlightenment to Chinese modern art.As an Asian region which facing the cultural conflict and the social revolution between east and west as well as China,the interpretation and horizontal reference of Indian modern art history would be helpful to provide a new perspective for the study of art history in China.