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.
The book includes discussions on artisans, diaspora women, South Asian Sufis, businessmen, dancers, and filmmakers.
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.
Bhakti is extensively studied due to its expression through emotive poetry, song, and vivid hagiographies of saints.
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.
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.
The book explores materializing memory, mirroring and immaterializing portraits, and shaping the return look as key practices of looking in bhakti visualities.
It focuses on how memories dear to people become materialized in generative ways, rather than just sacralizing objects.
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.
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.
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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