India of another age

SHIVANGI AMBANI-GANDHI on TheIndianEmpire, a new exhibition at AGNSW

“Everyone in India seems to know Jim. Every where we went, someone would be calling out, Jimji!” said Jackie Menzies, head curator of Asian Art at the Art Gallery of New South Wales, at the opening of The Indian Empire: Multiple Realities

She was referring to Dr. Jim Masselos, whose large collection of India-related material - The Portvale Collection - forms the core of The Indian Empire exhibition which continues until November 7, 2010. Menzies’ observation should not come as a surprise to those who know of Dr Masselos’ intensive travel over 40 years across India, London and Australia, building up this collection. On display are materials covering 200 years - from the 1700s to the 21st century which follow the cultural dialogue that occurred between the colonizers, the British and the colonised Indians. The British response to India is captured in texts, books, prints and photographs, while the Indians adopted lithography and photography alongside their existing traditions. The exhibition begins with a range of early maps of Indian regions. Interestingly, these capture not just the topographical features with beautiful detail, but also document the centres of military, administrative and religious (Christian) power. Alongside, are the earliest images from when the British first encountered the vibrant and often bizarre customs and traditions of Indian people. Images here range from multiheaded deities to the custom of sati varied regions as well as landscape images including one of the Taj Mahal and another of the Elephanta Caves in Mumbai. These images, when seen together, evoke a vivid image of India of the time.

In the same section, is a work by an unknown artist from Kutch in Gujarat, depicting what is meant to be St Paul’s Cathedral - only in the artist’s imagination, the gargoyles seem to have turned into soldiers on the roof, and the people are depicted wearing Chinese-style hats, while a stylised cloud floats over the scene. This image goes to show that just as the English were creating exotic imagery of India, the Indians too were imagining their European ‘other’.

Another important part of the Portvale Collection on display as part of the exhibition is the textile section, which includes wall hangings, cholis, odhnis and purses - all beautifully handcrafted, embroidered in varied hues with shimmering mirror-work from the regions of Kutch and Saurashtra in India.

….just as the English were creating exotic imagery of India, the Indians too were imagining their European ‘other’

These works are followed by works which belong to the Company School - so named because they were often commissioned by employees of the East India Company. These include images of Indian people from

However, the major focus of the Portvale Collection and this exhibition is photography. These photographs capture the lives of the colonials as well as the Indian princes, artisans, military and civilian personnel - capturing a vivid picture of the everyday in India at the time. The photographs also include some beautiful landscapes as well as some family albums in black and white.

Also included in this section are some very interesting, and often humorous illustration books created for the public in Britain who may have never visited the exotic colony. A page from Indian Spices for English Tables for instance, takes a dig at the local shipping practices.

The story of the Indian Empire ends with the Indians’ adoption of lithography and photography - in this exhibition, mainly captured through the works of artists Raja Ravi Verma and Pushpamala N. Verma’s prints depicting Hindu deities and historical heroes in kitschy, saturated colours. Pushpamala N. with Clare Arni, on the other hand, mediates on the history of photography as a tool used to identify native peoples. This project, Native Women of South India, illustrates the choreography and spectacle involved in early anthropological studies, by re-enacting stereotypes of women. Among the ten photographs from this series on display, is one of the (in) famous Indian politician Jayalalitha posing as Hunterwali in Cracking the Whip

The Indian Empire: Multiple Realities will continue at the Art Gallery of New South Wales until November 7, 2010. Entry is free.