Abstract
Manusmriti is a significant Hindu religious text in India that covers various topics such as laws, duties, rights, conduct, virtues, and others. A substantial component of the Manusmriti supports societal inequality, notably gender and caste discrimination. Women were regularly shown in artworks with their charming appearance until the 1970s, reflecting the conditioning of society through texts such as Manusmriti. Art’s dynamics evolved from depicting traditional and patriarchal subjects influenced by religion and its ideal concept of women to art as a mirror of society. Through her work When Champa Grew Up, Nilima Sheikh was one of the first contemporary artists to expose the negative repercussions of the dowry system. Dowry, which is still commonly practiced in India today, was originally mentioned in Manusmriti. Even today, a part of society with radical religious ideas defends and enforces the discriminatory rules contained in Manusmriti. Visual representation had an important role in unifying society behind religious ideals. Similarly, I argue through my research paper that contemporary art has the power to influence people by reflecting on present societal inequalities, leading to debate and, finally, the abolition of ritual behaviors. This research paper employs four methodologies: aesthetic analysis, formal analysis, art-historical analysis, and socio-political analysis. These methodologies provide an in-depth comprehension of the research subject.
Presenters
Kripa RadhakrishnanStudent, Ph.D. Candidate in Interdisciplinary Arts, Ohio University, Ohio, United States
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
The Arts in Social, Political, and Community Life
KEYWORDS
MANUSMRITI, DOWRY, VISUAL ARTS, CONTEMPORARY INDIA, CONTEMPORARY ART, ART AND SOCIETY, AESTHETIC MAN, HUMANITY, COMPLETE MAN
