Words and Pictures: Rāmāyaṇa Traditions and the Art of Ekphrasis
This article examines two ambitious enactments of the Rama story or Rāmāyaṇa, side by side: the 17th-century painted Mewar Rāmāyaṇa and Vālmīki’s epic poem (ca. 750-500 BCE). Through a formal analysis of two crucial episodes of the tale, it highlights the creative tactics of each medium and stresses...
| Published in: | Religions |
|---|---|
| Main Author: | |
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
[2020]
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| In: |
Religions
|
| Further subjects: | B
Ramayana
B Ekphrasis B Rajput painting B text and image B Valmiki B Indian epic poetry B Mewar |
| Online Access: |
Presumably Free Access Volltext (Verlag) Volltext (doi) |
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| 520 | |a This article examines two ambitious enactments of the Rama story or Rāmāyaṇa, side by side: the 17th-century painted Mewar Rāmāyaṇa and Vālmīki’s epic poem (ca. 750-500 BCE). Through a formal analysis of two crucial episodes of the tale, it highlights the creative tactics of each medium and stresses their separate aesthetic interests and autonomy. While A. K. Ramanujan’s notion of the “telling” has been immensely influential in South Asian studies to theorize the Rāmāyaṇa’s multiplicity, that concept tends to privilege speech-based embodiments. I propose, by contrast, that ekphrasis may be a more broadly applicable lens. Understanding ekphrasis as an enactment of the Rama story in any medium or in interart media, I advocate for considering poetry and painting on an equal plane as opposed to the standard view of the Mewar paintings as visual translations of linguistic phenomena. Ekphrasis, as a gateway to the maker’s creative process and preoccupations, is central to the paper’s argument, as is the role receivers play in the act of Rāmāyaṇa making. | ||
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