Oxford Centre for Hindu Studies
Hilary Term 2023
Lectures of the J.P. and Beena Khaitan Visiting Fellow
9 Rooms: Philip Rawson and the exhibiting of tantra
Lecture one was given Thursday 16th February 2023 and is now available at: https://youtu.be/2p9CKcDQAk4
This lecture is about a leading British authority on Indian art, Philip Rawson (1924-1995). The title refers to the nine enclosed spaces in which the Tantra exhibition he curated in 1971 was laid out at London’s Hayward Gallery. The arrangement confounded an important modernist conviction that any exhibit worth seeing required a clinically minimal mode of display. The Hayward was a minimal ‘white cube’ but, paradoxically, Rawson gathered hundreds of historical Indian items within confined coloured rooms, and heightened the viewer’s sensory engagement with ambient sound and slide projections. The results were widely held to have had greater contemporary resonance than the concurrent exhibition of new Californian art on the Hayward’s upper floor.
The contradiction was not lost on me. As a postgraduate student at the Royal College of Art I had gone to see what artists on the west coast of America were doing, but discovered instead, much closer to home, experimental forms of art practice being spectacularly put to work in the service of cultural material usually found in museums. Frustratingly, the Arts Council of Great Britain archive, which holds documents on the commissioning and popular reception of this exhibition, contains no installation photographs; so there is no record of what Tantra actually looked like. As a result, I will set out how the research I am undertaking at the Oxford Centre for Hindu Studies re-engages with the sensorily-charged enclosures that
Rawson derived from the nine emotional states (rasas) described by the tantric sage Abhinavagupta. The impact of Rawson’s tantrism on the London art scene of the early 1970s will be re-appraised, but my real goal is the creation of new practice-based contexts for researching his pioneering exhibition-making. Just over 50 years after Tantra closed I would like to see the show’s curator receive more attention.
9 Bookmarks: Rawson’s writing and the influence of Abhinavagupta
Lecture two was given Thursday 2nd March 2023 and is now available at: https://youtu.be/hTla_1SaWjk
Lecture two is an analysis of Philip Rawson’s textual references to the aesthetic speculations of Abhinavagupta, which not only influenced the layout of the Tantra exhibition, but also provided a theoretical underpinning for the many art books Rawson wrote throughout his career. He was a very creative museum professional who also thought of himself as an art educator and, from this perspective, he saw art schools as laboratories for the advancement of sensory experience and the amplification of what we now call ‘affect’.
In the Tantra exhibition he had (purposely, I think) addressed the experimental aspirations of Western art students, and those of us who thronged the Hayward Gallery were busy reading his latest publications. In particular, Drawing (1969) and Ceramics (1971) were landmarks in their field, and Indian aesthetics are perceptively at work in both books – both entwine passionate explorations of the ‘language’ of these art forms with the sensible, embodied, and numinous values we associate with Abhinavagupta’s philosophical reflections. Consequently, in this second lecture I discuss some of the most theoretical passages in Rawson’s writing at the time he was curating the Hayward show.
Over the years, my own copies of Drawing and Ceramics have accumulated impromptu bookmarks made from offcuts of my drawings, and these must figure in the discussion because they are a by-product of my long rumination on Rawson’s educational thinking. A year after the Tantra exhibition closed he joined the staff at the Royal College of Art and became my teacher and mentor. Thus, my account is built upon a great deal of direct knowledge which is, on the one hand, sensitive to the educative significance Rawson attributed to aesthetic encounters, but on the other hand, inflected by an acknowledgement that his books are now placed at some distance from a world that is post-structuralist, postmodern, and postcolonial.