In the last issue we discussed the retrospective on Indian artist Ramkinkar Baij curated by K.S. Radhakrishnan to understand what is a retrospective and how it is a curated. We understood that retrospectives help to bring a large body of artworks of an artist to the public. It also helps us to understand the contributions of the artists in a historical perspective. Continuing that discussion today in Art1st’s “The Curator” series we will learn about the exhibition “Raja Deen Dayal: The Studio Archives from the IGNCA Collection” curated by Jyotindra Jain (along with Pramod Kumar K.G.) at Indira Gandhi National Center for Arts in 2010.
The Curator #14
Curator: Dr. Jyotindra Jain
Exhibition: “Raja Deen Dayal: The Studio Archives from the IGNCA Collection”, 2010
Dr. Jyotindra Jain is an eminent art-cultual historian and curator. He was the Director of the National Crafts Museum, New Delhi, Member Secretary and Professor (Cultural Archives), at Indira Gandhi National Centre for the Arts (IGNCA), New Delhi, and also Professor at the School of Arts and Aesthetics at Jawaharlal Nehru University, Delhi.
Also let us look at Raja Deen Dayal. Who was he and why was he so important? He was born in 1844 to a middle-class Jain family from Sardhana, near Meerut in today’s Uttar Pradesh. Later he studied at the Thompson Civil Engineering College in Roorkee. In 1854, photography was introduced as a subject in the college, where Deen Dayal perhaps first developed an interest in it.
After leaving the College he started working for the Public Works Department as a draftsman. It was around 1882-84 that he met Sir Lepel Griffin of the Bengal Civil Service, who was posted in Central India. He was commissioned by Sir Lepel to assist on his mission to document monuments of the architectural heritage of Central India. During this tour Deen Dayal documented the temples, forts and palaces at Gwalior, Orchha, Khajuraho, Sanchijhansi, Deegh, Indore, Omkareswar, etc. This was a remarkable trip for Deen Dayal, 86 of his photographs were published in the monograph of Lepel’s titled Famous Monuments of Central India in 1886. Deen Dayal’s talent was recognized and he was in demand to document monuments. He was commissioned by Archaeological Survey of India.
In the coming years he worked as an official photographer to several Viceroys, including Lord Dufferin and Earl Elgin. In 1887 he received the Royal Warrant of Appointment as Photographer to Her Majesty, the Queen (Victoria).
According to IGNCA, “The legacy of Raja Deen Dayal is an exhibition mounted from the collection of glass-plate negatives of India’s most accomplished photographer of the 19th century, and an introduction to the life and works of Raja Deen Dayal. The photographer beyond the portrayal of his subjects draws a picture of his time. He translates his perceptions through his medium and thus a collection of photographs is the milieu as experienced and described by him. Raja Deen Dayal’s photographs offer us not only vivid insights into India’s rich art and cultural heritage but also provide valuable testimonials for historians.”
This exhibition was divided into three sections.
The Place: The photographer’s record of the physical setting in which he lived and worked, and through which he travelled, the natural and man made physical substructure.
The People: The individuals who peopled the setting, the various and varied inhabitants.
The Event: The happenings and activities of the people which enlivened the setting, marked the passage of time and indicated the modes of life then, as perceived by the photographer.
Dr. Jain says, “We decided to host this exhibition as he was undoubtedly the most prolific Indian photographer of his time, a man who made his mark on the work of European counterparts then. He is a towering figure in Indian photography,” For this exhibition, IGNCA had displayed the largest ever number of works of Deen Dayal.
The exhibition drew immense response and praise. Seminal photographers also showered praises on it and also on Deen Dayal’s legacy.
Noted photographer Ram Rahman remarked, “My favourite part of this exhibition was seeing a few of Deen Dayal’s architectural images, which I had not seen before. But there should have been at least one original picture by Deen Dayal on display. The original albumen prints are the size of the negatives. Here, those images have been simulated. A glass print would have given an average viewer an idea of how prints used to be in those days,” he says.
Take a look at Raja Deen Dayals’ photographs at IGNCA when you visit. Have a wonderful weekend.
- Premjish, Director-Outreach, Art1st