Those Days: An Exhibition of Vinatege Photographs

Mansi Dhiman Mandhwani

In photography there is a reality so subtle that it becomes more real than reality.’

Photography’s long-acknowledged supremacy to mirror the face of the world was by no means forsaken, but in the 1920s’ and 30’s a host of unconventional forms and techniques suddenly flourished. The explosiveexpansion of photography as a visual medium of untold expressive power and as a primary vehicle of modern consciousness occurred during the two decades immediately following the Great War. In the consequence of this first totally mechanized conflict, avant-garde journalists, artists and commercial illustrators became accustomed photographers. It was as though they were seeking to discover something ofthe soul of contemporary industrial society through its mechanisms and materials. The outbreak of World War I essentially ended the Pictorialist movement as a viable aesthetic program. The inherent violence of the war soon engendered a new commitment by the world’s photographers to document every aspect

By the commencement of the twentieth century, photography was well on its way to becoming the visual language it is today, the pervasive language of democratic communication. Photographers used its growing influence to expose society as they wanted to. India too became a part of this democratic visual language, giving rise to representatives of the history via their photographs. Gallery Art Konsult presents a series of documented photographs of Indian crucial history in the exhibition “Those days: An Exhibition of Vintage Photographs”. The exhibition is dedicated to an avid collector Kiran J. Sant and includes the works of Raja Deen Dayal, M. Sain, Julius Hoffmann & P. A. Johnston, Thomas & Julian Rust, Bourne & Shepherd and contemporary photographer Sanjay Das.

Lavish, extravagant, opulent and pretentious are just some words that come to our mind when you think of the Nawabs’ of Hyderabad. Hyderabad underwent immense growth, both culturally and economically. The Nizams were great patrons of literature, art, architecture and food; and were counted amongst the wealthiest people in the world.The vintage photographic documents express that really well.

The collection leisurely takes us to a historic journey from the hysterical vicinity of twentieth century India. The oeuvre comprised of the political historic photographs, narratives of British dignitaries, iconic Nawabs’ of Hyderabad, Maharaja’s of Rajasthan

Through the documented architectural spaces defines the layers of time and space and how it has changed.n The creation of an architectural structure defines the division of space. It is a practical tool, with durability as well as artistic value. Architecture is not only a formalistic facet, it also defines many other things such as political standing of the patron, economic stature of the area, military and social security of society, etc. The Char-Bengal temple’s façade is one of the best examples of Bengali terracotta art with three arched doorways to the temple. The photographs on display are intriguing and captivating; illustrating a sublime sense of timelessness.