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Re-framing the past: Re-making invisible histories of nineteenth century pedagogies of drawing and re-membering art educators in colonial India.

机译：重塑过去：重塑印度殖民地时期绘画和重新认识艺术教育家的十九世纪教学方法的无形历史。

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The purpose of this study is to re-frame the institutional histories of two art schools, National Art Training School at South Kensington and the Calcutta School of Art in Calcutta, established during mid-nineteenth century in England and India. This study explores the teaching of drawing in these schools, both from a historical and pedagogical perspective from 1850-1915. Further, the study investigates and analyzes the life and teachings of E.B. Havell, the English Principal of the Calcutta School of Art from 1896 to 1906, and Abanindranath Tagore, the School's Indian Vice-Principal from 1905 to 1915. Together they questioned the colonial methods of teaching drawing at the Calcutta School of Art in the late 19th century, which later led to the Bengali Renaissance, and establishment of a new school of Indian Painting known as the "Bengal School" in early twentieth century. This study raises questions about the teaching of drawing and negotiation of teaching practices in-between cultures of the colonizer and the colonized. Further, by analyzing the similarities and differences between the art training and art teaching of Havell and Tagore, this study argues that the collaboration around ideas on pedagogy and art between the two men can be viewed as a beginning of postcolonial reaction in Indian art education in the late nineteenth century. The lasting impact of this historical moment on the pedagogies of drawing in contemporary India lies at the heart of this historical and cross-cultural inquiry. In a broader context, this study identifies the pedagogy of art as worthy of study, and argues for the need to raise questions about undocumented histories of postcolonial art education. The study will offer a powerful reference point from which present day practices of teaching of drawing and issues of culturally embedded pedagogy in art schools in Bombay and Calcutta can be examined. By re-framing the colonial past, this study invites students especially South Asian students, to establish a relationship with their past in the postcolonial context. It is a historical, theoretical and comparative analysis, providing an opportunity to examine Indian art education from the position of both, the colonizer and the colonized.

机译：这项研究的目的是重新组织两所艺术学校的历史，这两家艺术学校分别是位于南肯辛顿的国家艺术培训学校和于19世纪中叶在英国和印度建立的加尔各答的加尔各答艺术学院。这项研究从1850年至1915年的历史和教学角度探讨了这些学校的绘画教学。此外，该研究还调查并分析了E.B.的生活和教学。 Havell，1896年至1906年担任加尔各答艺术学院的英语校长，以及Abanindranath Tagore，1905年至1915年该学院的印度副校长。他们共同质疑19世纪后期在加尔各答艺术学院教授绘画的殖民方法世纪，后来导致了孟加拉文艺复兴，并在20世纪初建立了新的印度绘画学校，称为“孟加拉学校”。这项研究提出了有关绘画教学和在殖民者文化与殖民者文化之间进行谈判的教学实践的问题。此外，通过分析哈维尔和泰戈尔的艺术培训与艺术教学之间的异同，本研究认为，两人围绕教育学和艺术思想的合作可以看作是印度印第安艺术教育中后殖民反应的开始。十九世纪末期。这一历史性时刻对当代印度绘画教学法的持久影响，是这一历史和跨文化探究的核心。在更广泛的背景下，这项研究认为艺术教学法值得研究，并认为有必要对未记载的后殖民艺术教育历史提出疑问。该研究将提供一个有力的参考点，从中可以审查孟买和加尔各答艺术学校的绘画教学和文化教学法的当今实践。通过重新定义殖民时代的过去，这项研究邀请学生，特别是南亚学生，在后殖民时代的背景下与他们的过去建立关系。这是一项历史，理论和比较分析，为从殖民者和被殖民者的立场审视印度艺术教育提供了机会。

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作者
Kantawala, Ami.;
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作者单位

Teachers College, Columbia University.;

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授予单位 Teachers College, Columbia University.;
学科 Education Art.;Education History of.;History Asia Australia and Oceania.
学位 Ed.D.
年度 2007
页码 484 p.
总页数 484
原文格式 PDF
正文语种 eng
中图分类
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入库时间 2022-08-17 11:39:36

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Re-framing the past: Re-making invisible histories of nineteenth century pedagogies of drawing and re-membering art educators in colonial India.

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