Teaching Workshop: Indian Art in Italian Museums: Strategies for Interpretation, Communication and Reception
A.Y. 2023/2024
Learning objectives
The workshop will examine the most relevant collections of Indian art in Italian museums, reflecting on how museum exhibitions can contribute to the understanding of an art which is in many respects distant from European models. Forms, patterns, styles and artistic patronage in the art history of ancient and medieval India will be discussed, analysing in particular Hindu, Buddhist and Jaina sculptural production and architecture. Reference will be made to terminology in the original languages (ancient and Middle Indian languages) and to the main surviving treatises on iconography and architecture. The historical and cultural context that shaped the artworks will be outlined, identifying the traits that distinguish the artistic language of the specific geographical area and historical phase, and chosen subjects, myths and underlying doctrinal conceptions will be illustrated.
The workshop will then address nodal issues related to the reception of Indian art in the West, and trace historical dynamics and paths of export, import and acquisition of Indian works of art. The course will unfold through the direct analysis of photographic materials collected in various archives and online museum catalogues, and through guided tours of the most accessible museums.
The workshop will then address nodal issues related to the reception of Indian art in the West, and trace historical dynamics and paths of export, import and acquisition of Indian works of art. The course will unfold through the direct analysis of photographic materials collected in various archives and online museum catalogues, and through guided tours of the most accessible museums.
Expected learning outcomes
Students will learn to recognise the peculiarities of the artistic language of ancient and medieval India, to circumscribe the historical and cultural context of the production of the artworks, to use the specific terminology in the original language, and learn the main historical and cultural issues in the encounter with the West. They will be able to identify the best curatorship and communication techniques in a museum exhibition dedicated to a non-European artistic production. The acquired skills will help in the training of various professionals working in museums, such as the research manager, the collections curator, the head of mediation and educational services, and the communication manager.
Lesson period: Second semester
Single course
This course can be attended as a single course.
Course syllabus and organization
Single session
Responsible
Lesson period
Second semester
Course syllabus
The workshop series aims to provide essential knowledge and analytical tools regarding the most significant collections of Indian art held in Italian museums.
Attention will focus in particular on the small but representative collection of Gandhara art in the Archaeological Museum in Milan, and the important collections of Indian art in the Museum of Oriental Art in Turin (MAO) and the Museum of Civilizations (MuCiv) in Rome; the latter inherits the historic collection of the National Museum of Oriental Art, named after Giuseppe Tucci and previously housed in Palazzo Brancaccio.
The history of the collections and museums will be presented and the museographic solutions adopted will be examined, reflecting on nodal issues related to the understanding and fruition of artworks in many ways distant from Western modes of expression. We will trace the fundamental historical and cultural dynamics related to the encounter between India and Europe.
Focusing on some of the most relevant artworks on display, we will discuss the choice of the subjects and the symbolic visual vocabulary characteristic of Indian iconography, identifying ideologies, mythological allusions, and underlying religious conceptions (Buddhist, Jaina or Hindu). We will make use of key terms in the original language, and we will outline theoretical prescriptions found in Sanskrit treatises on applied arts. We will discuss the historical and cultural context that gave rise to the artwork, with reference to the major dynasties of ancient and mediaeval India. We will analyse the artistic languages that characterised the different historical phases and geographical areas.
Attention will focus in particular on the small but representative collection of Gandhara art in the Archaeological Museum in Milan, and the important collections of Indian art in the Museum of Oriental Art in Turin (MAO) and the Museum of Civilizations (MuCiv) in Rome; the latter inherits the historic collection of the National Museum of Oriental Art, named after Giuseppe Tucci and previously housed in Palazzo Brancaccio.
The history of the collections and museums will be presented and the museographic solutions adopted will be examined, reflecting on nodal issues related to the understanding and fruition of artworks in many ways distant from Western modes of expression. We will trace the fundamental historical and cultural dynamics related to the encounter between India and Europe.
Focusing on some of the most relevant artworks on display, we will discuss the choice of the subjects and the symbolic visual vocabulary characteristic of Indian iconography, identifying ideologies, mythological allusions, and underlying religious conceptions (Buddhist, Jaina or Hindu). We will make use of key terms in the original language, and we will outline theoretical prescriptions found in Sanskrit treatises on applied arts. We will discuss the historical and cultural context that gave rise to the artwork, with reference to the major dynasties of ancient and mediaeval India. We will analyse the artistic languages that characterised the different historical phases and geographical areas.
Prerequisites for admission
No prior knowledge is required.
Teaching methods
Lecturing to present the main topics. Organization of visits to the nearest museums that hold collections of Indian art.
Teaching Resources
Materials will be provided during the lectures.
Assessment methods and Criteria
Class participation and attendance. Group discussions to verify the understanding of key concepts and ideas.
Professor(s)