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cover of episode Karen Pechilis et al. ed., "Devotional Visualities: Seeing Bhakti in Indic Material Cultures" (Bloomsbury, 2023)

Karen Pechilis et al. ed., "Devotional Visualities: Seeing Bhakti in Indic Material Cultures" (Bloomsbury, 2023)

2024/5/9
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A
Amy Ruth Holt
K
Karen Pechilis
R
Raj Balker
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Raj Balker: 本书探讨了印度教虔诚视觉文化,以及如何通过视觉实践影响和扩展宗教信仰。 Karen Pechilis: 本书研究了长达十多年的时间,探究了印度教虔诚视觉文化,Bhakti研究是一个非常受欢迎且易于理解的研究领域,它可以独立研究,也可以与其他宗教传统进行比较研究。Bhakti研究长期以来侧重于文本研究,本书则关注Bhakti的视觉文化和体验。本书强调Bhakti视觉文化的多样性,并非单一现象。本书探讨了物质视觉文化如何构建、改变、重新想象和引导印度教虔诚传统,关注图像以及观看实践如何使某些事物可见。本书研究的对象不仅包括传统的Bhakti群体,还包括一些意想不到的群体,例如女权主义者、商人等。本书探讨了darshan(朝圣)的概念及其在Bhakti视觉文化中的作用,以及不同类型的darshan。 Amy Ruth Holt: 本书涵盖了各种类型的物质和视觉文化,包括田野调查、访谈、电影、戏剧、寺庙雕塑、档案图像、博物馆藏品以及网络图像等。本书的一个令人惊讶的发现是,许多人现在使用在线资源进行研究。本书关注图像的重复使用,以及过去与现在的联系。本书探讨了视觉文化如何改变人们看待事物的方式。本书使用“visualities”一词来弥合艺术史和宗教研究之间的差距,将视觉文化和物质文化结合起来。本书适合各种学者和对视觉文化感兴趣的人阅读。本书关注图像在不同背景下的变化和使用。本书内容广泛,涵盖了不同传统和社会群体。本书的结构是根据“观看实践”来组织的,而非按照传统的宗教类别(神、圣人、导师)来划分。本书的章节围绕着“物质化记忆”、“镜像与非物质化肖像”和“塑造回望”等观看实践展开。本书“物质化记忆”部分探讨了人们如何将记忆中的事物物质化。本书“镜像与非物质化肖像”部分探讨了人们如何在图像中看到自己,以及图像如何创造共享的存在感。本书“塑造回望”部分探讨了凝视的概念,特别是女性凝视在Bhakti图像中的表现。本书的作者们对本书做出了巨大贡献。

Deep Dive

Key Insights

Why did Karen Pechilis and Amy Ruth Holt decide to focus on the material visualities of bhakti imagery in their book?

They wanted to investigate how these images inspire, shape, convey, and expand visual practices of devotional communities and extend the reach of devotion in society in new and unexpected ways.

What are some of the unexpected communities of interpreters of bhakti images discussed in the book?

The book includes discussions on artisans, diaspora women, South Asian Sufis, businessmen, dancers, and filmmakers.

How does the book connect material and visual cultures in the context of bhakti?

It identifies devotional practices of looking, such as materializing memory, mirroring and immaterializing portraits, and shaping the return look, which illustrate modes of established and experimental image usage.

Why is bhakti one of the most-studied aspects of Indic devotionalism?

Bhakti is extensively studied due to its expression through emotive poetry, song, and vivid hagiographies of saints.

What is the significance of the cover image for 'Devotional Visualities: Seeing Bhakti in Indic Material Cultures'?

The cover image, 'Finding Home Fereshteh No. 75 Lilith' by Siona Benjamin, reflects the artist's multicultural identity and reclaims the figure of Lilith with feminine beauty, tying into the book's theme of pluralism and entanglement of traditions.

How does the book address the concept of darshan in relation to bhakti visualities?

The book discusses darshan as an established way of seeing, noting its hierarchical nature in temple settings and its democratization through roadside shrines, highlighting the participatory impulse of bhakti.

What are the three main practices of looking explored in the book?

The book explores materializing memory, mirroring and immaterializing portraits, and shaping the return look as key practices of looking in bhakti visualities.

How does the book challenge traditional views on sacralization of material objects?

It focuses on how memories dear to people become materialized in generative ways, rather than just sacralizing objects.

What is the significance of the female gaze in the context of bhakti visualities?

The female gaze, as performed through female bhakti saints, is critical of societal norms and calls attention to issues like violence against women, anchoring larger social messages in bhakti images.

What is the broader appeal of 'Devotional Visualities: Seeing Bhakti in Indic Material Cultures' to various disciplines?

The book appeals to a diverse audience interested in visual studies, material culture, performance theory, ethnography, and changing nature of temple and media imagery, as well as general readers interested in visual and cultural aspects of India.

Chapters
The idea for 'Devotional Visualities' originated from a series of collaborative efforts between Karen Pechilis and Amy Ruth Holt, starting from a conference in 2013 and evolving through various symposiums and panel discussions.
  • Collaboration began in 2013 at a conference organized by Karen Pechilis.
  • The project evolved through multiple symposiums and panel discussions.
  • The book's concept was formalized in 2019 after a symposium on Bhakti Visualities.

Shownotes Transcript

Devotional Visualities: Seeing Bhakti in Indic Material Cultures)* *(Bloomsbury, 2023) is the first to focus on material visualities of bhakti imagery that inspire, shape, convey, and expand both the visual practices of devotional communities, as well as possibilities for extending the reach of devotion in society in new and often unexpected ways. Communities of interpreters of bhakti images discussed in this book include not only a number of distinctive Hindu bhakti groups, but also artisans, diaspora women, South Asian Sufis, businessmen, dancers, and filmmakers.

This book's identification of devotional practices of looking, such as materializing memory, mirroring and immaterializing portraits, and shaping the return look, connect material and visual cultures as well as illustrate modes of established and experimental image usage.

*Bhakti *is one of the most-studied aspects of Indic devotionalism on account of its expression through emotive poetry, song, and vivid hagiographies of saints. The diverse devotional visualities analyzed in this book meaningfully circulate *bhakti *images in past and present, generating their renewed relationship to contemporary concerns.

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