Colour, Art and Empire: Visual Culture and the Nomadism of Representation (International Library of Visual Culture)
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Color wreaks havoc with western expectations of biological determinism, objectivity and eugenics. Beyond the cracks of such discursive practice, color becomes a sentient and nomadic retort to be pitted against a perceived colonial hegemony. Its alter materiality's and ideological reinvention as a resource for independence struggles, makes color fundamental to multivalent genealogies of artistic and political action and their relevance to the present.
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impenetrability embodied by the technology of painting. The miniature professed a discontinuity with profane space; it planes gesture towards the universe as a series of hanging forms – Sufism’s Five Divine Presences which move upwards from the physical world to the archangelic, the intermediate, the world of Divine names and Divine Essence (dhāt). Poised at the plane of the intermediate, the miniature has the potential to act as gateway to a higher state of being.20 Scarcity in relation to
g a n d r e v o l u t i o n i n i n d i a 49 pounded again, washed with lye and put into another vessel. Again the residue is washed and ground using the same soap, or alternatively, it is treated with hot water mixed with milk several times until the lapis lazuli entirely comes out of it before it is dried and wrapped in paper. According to Home, lapis lazuli should be prepared with two ounces of common yellow wax, with two ounces of rosin and with two ounces of olive oil: These melted in a
hues…Compare an Egyptian painting, staring in red, green, and yellow, with a water-colour by David Cox…each has its own circle of admirers.158 As opposed to the grey haze which plagues city life, Allen advocated the pleasure of novelty and pungency in the strong imitation of the analytic colours – red, blue, yellow, orange, green and purple – in ways reminiscent of Field’s scale of chromatic equivalents and Jones’ The Grammar of Ornament.159 This desire for colour harmony he believed to be
subject’.183 Darwin believed that beauty was the effect of natural selection and that colour had to be understood as a contrivance to ensure survival. His implied reduction of beauty to the stimulation of mere visual pleasure clearly had its critics in the artistic and scientific communities. Allen, with his interest in aestho-psychology, expands upon Darwin’s thesis to conjecture that the love of colour is founded upon the natural food of various species which was then transferred to the choice