One would have seen several photographs of the Taj Mahal till date. But have you seen the first-ever photographs of the world’s most popular wonders of architecture?
Clicked by Dr John Murray these paper negatives of the monument shine like pearls in the dimly lit gallery holding the exhibition – ‘Drawn from Light - Early Photography and the Indian Sub-Continent’.
Presented by Indira Gandhi National Centre for the Arts and Alkazi Foundation For The Arts, “The exhibition has been named so due to two reasons,” says Rahaab Allana, the curator, elucidating, “The early photographers came to India and followed the painters who had drafted India’s certain kinds of landscapes. Also, the etymology of the word ‘photography’ says it is a practice of creating images by recording light.”
“India was revealed to the world through these early photographers of the 19th century.” These were mainly military and medical officers in the English East India Company. Taking a cue from these details and expressing his love for photography, the curator has put together two exhibitions (exhibited in New York’s Rubin Museum of Art and Brussels’ Royal Museum of Fine Arts) as one, for the viewers to enlighten themselves.
In the two galleries – one showcasing Landscapes and the other where Portraits are displayed, each picture seems to be chosen after careful thought. The research that has gone into bringing this exhibition together is exhaustive for a viewer who would visit thinking it is just another of those exhibitions organised at a large scale!
The images in the gallery with landscapes are capable of holding anyone’s attention. Especially those shot by Samuel Bourne (of Burra Bazaar and Burning Ghat of Calcutta) and Lala Deen Dayal (of Amber City and Jeypore). Archives from Bourne & Shepherd and Nicholas & Co. bring alive the memories of old Bombay and Mahakumbh, respectively.
In the process, Allana has paid a tribute to the efforts of these photographers. One analyses this through the portraits of photographers that are hung alongside their work.
An interesting addition in this gallery is the section sub-titled ‘Cityscapes: A Panorama of Society where William Johnson’s documentation of races and tribes such as Goanese Christians, Rajputs and Nagpur Brahmins provides numerous details about natives in those times.
Undoubtedly, the gallery with portraits displayed in it is more vibrantly designed pulling in more crowds.
Displayed against dark background (as compared to light hues in the previous gallery) are royal portraits of less-popular rulers. The subject of portraiture in photography is dealt differently by the curator. Infact, the curator makes the artworks interactive by explaining how photography had different layers in early times by taking example of the portrait of Maharana Fateh Singh of Udaipur.
“I like how the idea of collaboration is used in embellished photographs,” says Allana pointing to the ‘Portrait of a Standing Lady’ by D Nusserwanji. The red saree of the woman shines due to presence of the white embellishments painted after the photo was taken.
Along with these pictures are ethnographic portraits and also portraits from neighbouring countries of the present day India. Images from Celyon (Sri Lanka), Nepal and Burma have also been showcased.
With most of these photographs, the techniques that the photographers have used have been mentioned, which provide viewers with details of the rich culture of photography that was growing in India and has today reached the sky.
“This exhibition is just a preliminary step,” says Allana intending that now he will work further to document the history of photography in India and soon come up with another exhibition “which will be another micro history of photography in the sub continent.”
The exhibition is on view till at Twin Art Gallery, Indira Gandhi National Centre for the Arts till September 30.
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