How did the European photographers created the image of india
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The Distribution of Annual Rainfall in India – Explained!
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The distribution of rainfall in any region is mostly influenced by the relief features on the surface of the Earth and the direction of the rain-bearing winds in that region. Another important factor which influences the distribution of annual rainfall in India is the path followed by the cyclonic depressions. The region located on the windward side of mountains, hills or plateaus receives comparatively more rainfall than the leeward side.
The average annual rainfall in India is about 120 cm. Most of this rainfall is received during four months (June, July, August and September) of the Southwest Monsoon season. The amount of annual rainfall varies not only from place to place, but also from season to season. In general, the monsoon rainfall is highly erratic.
Many areas of the north-eastern part of India receive more than 500 cm of annual rainfall, while many parts in the Thar Desert receive less than 10 cm of annual rainfall. There are yearly variations in the distribution of annual rainfall and they are the root cause of floods, droughts and famines in India.
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Broadly, India can be divided into the following four regions, depending upon the average annual rainfall received by those regions.
Areas of Very Heavy Rainfall:
The areas receiving an average rainfall of more than 200 cm are included in this region. The highest rainfall occurs along the Western Coastal plain, extending from Mumbai to Thiruvananthapuram, the western slopes of the Western Ghats, the southern slopes of the Eastern Himalayas, the sub-Himalayan areas in the northeast, the hills of Meghalaya.
In certain parts of the Khasi and Jaintia Hills, in north-eastern India, the average annual rainfall generally exceeds 1000 cm, but drops to about 200 cm or even less in the Brahmaputra valley and the adjoining hills, which are located in the rain-shadow area. Meghalaya is the wettest part of India with Mawsynram and Cherrapunji getting about 1220 cm and 1100 cm of average annual rainfall respectively. This region does not experience drought conditions, but is subjected to frequent floods.
Areas of Heavy Rainfall:
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The areas receiving an average annual rainfall between 100 cm and 200 cm are included in this region. The eastern slopes of the Western Ghats, northern and middle Ganga valley, north-eastern peninsula, Manipur, coastal areas of Andhra Pradesh and Tamil Nadu are included in this region. Here irrigation is needed as a protective measure against drought.
Areas of Low Rainfall:
The areas receiving an average annual rainfall between 50 cm and 100 cm are included in this region. The Upper Ganga Valley, eastern Rajasthan, Punjab, Haryajia, Kashmir and large parts of Gujarat, Maharashtra, Western Madhya Pradesh, Andhra Pradesh, Karnataka, and Tamil Nadu, are included in this region. Large irrigation projects have been developed to overcome the danger of droughts and famines.
Areas of Very Low Rainfall:
The areas receiving an average annual rainfall of less than 50 cm are included in this region. Here the desert and semi- desert conditions prevail. The areas included are the rain-shadow areas in the Deccan Plateau, north Kashmir, southern Punjab, western Rajasthan and Kachchh. There is an acute shortage of
Answer:
They began producing pictures which became widely popular in Europe and helped shape Western perceptions of India. European artists brought with them the idea of realism. ... European artists also brought with them the technique of oil painting – a technique with which Indian artists were not very familiar
The New Medium is a neat survey of the birth and rise of photography as a major art form in the subcontinent. Twenty-five photographs are ordered chronologically around the bright, airy rooms of the gallery, each one chosen to reflect a distinct decisive moment in Indian photographic history.
Driven by Bubbar’s background in art history, his recognition of context binds the project together as the beginnings of a technological and artistic revolution in the context of one distinct and, in itself, rapidly evolving culture.
In the middle of the 19th century, photography took over from painting as the new mode of representing the world – hence the name, The New Medium.
The exhibition frames an era in which the diverse customs of India – the temples, animals and people – could all be experienced with objective photographic clarity for the very first time, above and beyond the limits of any painter’s eye.
The exhibition begins with landscape shots of famous architecture – the Taj Mahal, Golden Temple, et al – commissioned by the East India Company when the camera first arrived on Indian shores in the mid-nineteenth century. In one image, taken by John Murray after the Indian rebellion in 1857, a pyramid of cannonballs are piled high in front of the Pearl mosque in Agra, reflecting a period of reinvigorated British colonial dominance.
As the practice of photography evolved, a contrasting style developed alongside the predominantly European influence on the art form. This turn is most notable in the work of Raja Deen Dayal, India’s most celebrated 19th-century photographer, whose appointment as court photographer to the sixth Nizam of Hyderabad allowed him unique access to the inner circles of aristocratic life.
“British photographers had preconceived ideas about what constituted a beautiful landscape or portrait,” Bubbar tells BJP. “But Dayal didn’t have the same conditioning. This made his work distinct. He was the pre-eminent Indian photographer.”
One of Dayal’s portraits, taken in 1882, depicts the Maharaja of Bijawar sitting cross-legged, surrounded by servants. This moment – what Bubbar calls “the great encounter” – that would have had unprecedented significance for its subjects, for they are traditional leaders from remote parts of India, facing the long exposure of an original camera for the first time in their lives.
Juxtaposing these portraits with more modern equivalents is a core achievement of The New Medium. After the turn of the 20th century, an increasingly commercial demand for portrait photography led to the opening of studios in major Indian cities. This translated into different stylistic conventions, such as the use of elaborate, Victorian-style indoor props – ornate wooden stools, painted curtain drapes – in an attempt to emulate a European environment.
The biggest contrast to Dayal’s early portraits is Bubbar’s favourite image of the collection: American photographer Man Ray’s intimate photograph of Maharaja Holkar of Indore, dressed in a suit and tie, circa 1930. He says: “Holkar was ahead of the game; a truly 20th century guy. He wanted to create his entire own modern identity, so he surrounded himself with all the newest things and finest people.”
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