371:
423:
435:
399:
387:
411:
33:
290:
instance, in a version produced by the
Kansaripara Studio, there is a sculpture showing a goose being choked by an angel, in the background. This is a conventional Greco-Egyptian metaphor of the victory of good over evil. The same painting also subtly indicates that it is midnight on the cuckoo-clock, alluding to sexual meanings.
149:, etc. These paintings were in direct contrast with the religious oil paintings and prints that were being produced around the same time. The religious paintings were placed in temple rooms, mansions and respectable homes, while erotica paintings of Sundaris decorated the private quarters, dancing room of the
234:, and child marriage, saved the women from death, social dignity was still a long way to come – in this sense, the women were caught between conflicted positions of identity, and disjunct worlds of the past, present and future. The women remain stranded as tradition and modernity clashed.
323:
quality. The Paan
Sundari image was also refined later by the Kansaripara Art Studio in what was called the Kumada Sundari paintings showing a bejewelled woman preparing a paan, probably for herself, or perhaps for her client. In a variant of a Golap Sundari painting, two women are portrayed sharing
241:
According to
Shatadeep Maitra, art produced during the 19th century in Calcutta outlined the several changes that were happening due to the colonial influence. Gods and Monsters wearing Oxford shoes, women wearing blouses, changes in the official language policy as English replaced Persian, etc.,
266:
wrote: "Sati, enforced widowhood, and girl marriage are customs that were primarily intended to solve the problem of the surplus man and surplus woman in a caste and to maintain its endogamy ... Burning the widow eliminates all the three evils that a surplus woman is fraught with. Being dead and
336:
Manada
Sundari prints were produced by the Kamarpara Art Studio. Similar to other Sundaris represented with musical instruments, the Manada figure sketch initially was drawn with an oval face that was gradually refined in later stages. The instruments such as the violin are shown proportionally
289:
This is an example of a later
Sundari iconography. The images depicting Anuragini, which means 'piety' in Bengali, show mature iconography. Her red saree connotes fertility, typically a power reserved for gods. In the backdrop, often other images are included hinting at mixed connotations. For
298:
The Bibi, referring to a married woman, formed another category of popular erotic art. Bibi was usually posed like the woman in the
Pramoda Sundari prints, and her marital status was clearly indicated by the mark of vermillion on her forehead. The woman depicted is clearly objectified as a
213:
Sumanta
Banerjee highlights how the "first generation of prostitutes on the colonial world of market economy of 19th-century Bengal" included most significantly the widows from Kulin, besides women who were raped, abducted, struck by famine, or abject poverty." This is corroborated by
337:
bigger in size. The background too features prominently in these prints: ranging from carpeted flooring, to textured patterns, and marbled skirting. The prints were based on illustrations made by different artists of the Studio.
246:
and its social consequences became mixed with popular imagery. Having limited or no education, many women whose husbands had died had to rely on sex work for survival.” The
Sundari paintings were produced as a result.
280:
Pramoda
Sundari images depict a woman sitting with several grooming products, brushing her hair while holding a mirror before her face. The paintings show an objectified representation of women engaged in self-care.
250:
The images served as pin-ups, but also involved voyeuristic dynamics as the women were shown wearing translucent saris. The paintings provided an entry point into the "sanctum sanctorum of a woman's home".
226:
cites a survey report of 1850s. According to the report, out of 12,000 women working as sex workers in
Kolkata during the time, 10,000 were Hindu widows. Most of them hailed from Kulin Brahmin families.
970:
311:, or rose in Bengali, and posing licentiously, attracting her lover. Paan Sundari paintings was of a subtler idiom, but also had with sexual connotations. The latter depicted a woman preparing a
102:, owing to the series of socio-political disruptions happening during the period. The paintings provide a commentary on the larger social phenomenon of widowhood, that forced women into
560:
135:. They were produced by popular art studios set up during the 1890s, such as the Chorebagan Art Studio, the Kansaripara Art Studio, etc. The art studios inherited the style of
355:, a percussion instrument. She is categorised as one of the Sundaris associated with musical instruments. The objectification of her image is closely comparable to the Mughal
153:, or the dancing parlours. In most of these paintings, the Sundaris were depicted draped in the widow's garment, the typical white saree. These women were akin to the
434:
370:
868:
842:
610:
422:
1016:
944:
675:
359:
or courtesans. Her translucent white saree with a black border corroborates the fact, merging in her identity both traces of a widow and a courtesan.
79:
who took up sex work to survive, and are valuable references to understand the position of women in a society that was undergoing drastic shifts.
398:
645:
485:
222:
in 1892, that “In Bengal, the prostitute class seems to be chiefly recruited from the ranks of Hindu widows.” Usha Chakraborty, in her book
219:
585:
215:
386:
410:
179:
championed the cause of women's rights in Bengal, heralding some of the most transformative changes at the turn of the century.
1031:
205:) families, unable to accept the widows, abandoned them as liabilities, forcing them to work as prostitutes, or migrate to
98:. Sundari images depict 19th-century Bengali woman who had to occupy the conflicted identity position of the widow and the
919:
1006:
1011:
894:
209:, the refuge for widows. Since the widows were rejected by their families, prostitution became a way of survival.
176:
1001:
328:
of the two women are painted in a way so as to present an illusion of them sharing a single piece of clothing.
687:
106:, which became prevalent during the nineteenth and twentieth centuries in Bengal post the abolition of
82:
Each Sundari, literally meaning 'beautiful woman', had a peculiar characteristic, such as playing the
1026:
235:
193:. However, orthodox and upper-caste families refused to accept these changes. After the abolition of
1021:
259:
125:
824:
743:
651:
218:
account. A British civil servant, Mackenzie informed in a letter to H. L. Dampier, the Official
640:, Essays on Colonial Domination and Asian Agency, Amsterdam University Press, pp. 87–102,
816:
735:
641:
561:"Between the brothel and Brindavan—Bengal art shows twin faces of Hindu widows after sati ban"
481:
312:
136:
87:
727:
515:
441:
377:
121:
37:
163:. The paintings served as pin-ups for the gentry class. However, they have a dark history.
700:
181:
108:
324:
a rose – the flower here stands clearly as a metaphor for the lover. The
238:
noted how this resulted in a “a sharp edge in all cultural expressions” of that period.
263:
186:
995:
198:
172:
154:
72:
68:
805:"Women as 'Calendar Art' Icons: Emergence of Pictorial Stereotype in Colonial India"
778:
895:"Castes in India: Their Mechanism, Genesis, and Development, by Dr. B. R. Ambedkar"
141:
132:
103:
17:
920:"Golap Sundari, c.1900 by Nibaran Chandra Ghosh - art print from King & McGaw"
762:
320:
267:
gone, she creates no problem of remarriage either inside or outside the caste."
139:
that portrayed a wide variety of subjects, including modern day scandals, the
56:
32:
820:
739:
716:"Prostitution in Nineteenth Century Bengal: Construction of Class and Gender"
676:"The Beshya and the Babu-Prostitute and Her Clientele in 19th Century Bengal"
655:
633:
478:
The Babu & the Bazaar: Art from the 19th & Early 20th–Century Bengal.
206:
99:
611:"The Babu And The Bazaar: A Journey Through 19th And 20th Century Calcutta"
480:
Aditi Nath Sharkar, with Shatadeep Maitra. DAG Pvt. Ltd., New Delhi, 2022.
347:
190:
843:"'The Babu and The Bazaar' at DAG celebrates art of 19th-Century Bengal"
242:
were documented on the canvas. Similarly, Maitra states how “the end of
828:
804:
747:
715:
202:
60:
869:"An exhibition that spotlights the female figure in early Bengal art"
158:
91:
64:
52:
945:"History of paan: a well-loved Indian treat wrapped in a betel leaf"
731:
764:
Condition of Bengali Women Around the 2nd Half of the 19th Century
224:
Condition of Bengali Women around the 2nd Half of the 19th Century
83:
76:
31:
345:
A Nalini Sundari, usually shown wearing expensive jewellery and
95:
307:
In Golap Sundari paintings, a woman was depicted holding a
428:
Sundaris sharing a rose, oil on canvas, late 19th century
404:
Nalini Sundari, Kansaripara Art Studio, late 19th century
75:, the images depict women, particularly the new class of
634:"Women's Education and Empowerment in Colonial Bengal"
779:"Prostitution in Colonial India - Mainstream Weekly"
632:Chakraborty, Rachana (2009), Hägerdal, Hans (ed.),
299:flirtatious lady desirable to all men around her.
185:was abolished, widow remarriage was promoted, and
392:Golap Sundari, oil on canvas, late 19th century
27:19th-century erotic art depicting Bengali women
416:Paan Sundari, oil on canvas, late 19th century
8:
586:"Kalighat Paintings: Babu, Bibi and Scandal"
444:by Kansaripara Art Studio, late 19th century
40:, Chorebagan Art Studio, late 19th century
380:on paper, late 19th or early 20th century
351:on her right foot, is depicted playing a
455:
366:
120:Sundari paintings were usually sold as
696:
685:
230:While the legal prohibitions against
7:
554:
552:
550:
548:
546:
544:
542:
540:
538:
536:
510:
508:
506:
504:
502:
500:
498:
496:
494:
473:
471:
469:
467:
465:
463:
461:
459:
220:Secretary to the Government of India
189:was restrained in an attempt to end
59:that were popular in 19th-century
25:
1017:Works about prostitution in India
433:
421:
409:
397:
385:
369:
803:Thakurta, Tapati Guha (1991).
714:Chatterjee, Ratnabali (1993).
1:
809:Economic and Political Weekly
559:Lakshmi, Rama (29 May 2023).
94:, or posing enticingly with
971:"Whores, a painted history"
1048:
761:Chakraborty, Usha (1963).
590:www.thevoiceoffashion.com
516:"The Babu and the Bazaar"
177:Ishwar Chandra Vidyasagar
949:South China Morning Post
783:www.mainstreamweekly.net
1032:19th-century paintings
975:www.telegraphindia.com
695:Cite journal requires
682:(45). 6 November 1993.
638:Responding to the West
319:, often known for its
303:Golap and Paan Sundari
254:Noting the problem of
41:
216:Alexander Mackenzie's
63:, in the province of
35:
236:Tapati Guha Thakurta
767:. Usha Chakraborty.
260:Columbia University
18:Sundari (paintings)
1007:Paintings of women
951:. 20 November 2020
847:The Indian Express
42:
1012:Culture of Bengal
815:(43): WS91–WS99.
726:(9/11): 159–172.
647:978-90-8964-093-2
486:978-93-81217-90-0
137:Kalighat painting
71:. Mostly sold as
45:Sundari paintings
36:Promoda Sundari,
16:(Redirected from
1039:
986:
985:
983:
981:
967:
961:
960:
958:
956:
941:
935:
934:
932:
930:
924:King & McGaw
916:
910:
909:
907:
905:
899:www.columbia.edu
891:
885:
884:
882:
880:
865:
859:
858:
856:
854:
839:
833:
832:
800:
794:
793:
791:
789:
775:
769:
768:
758:
752:
751:
720:Social Scientist
711:
705:
704:
698:
693:
691:
683:
672:
666:
665:
664:
662:
629:
623:
622:
620:
618:
607:
601:
600:
598:
596:
582:
576:
575:
573:
571:
556:
531:
530:
528:
526:
512:
489:
475:
442:chromolithograph
440:Manada Sundari,
437:
425:
413:
401:
389:
378:chromolithograph
373:
122:chromolithograph
38:chromolithograph
21:
1047:
1046:
1042:
1041:
1040:
1038:
1037:
1036:
1002:Indian painting
992:
991:
990:
989:
979:
977:
969:
968:
964:
954:
952:
943:
942:
938:
928:
926:
918:
917:
913:
903:
901:
893:
892:
888:
878:
876:
867:
866:
862:
852:
850:
841:
840:
836:
802:
801:
797:
787:
785:
777:
776:
772:
760:
759:
755:
732:10.2307/3520431
713:
712:
708:
694:
684:
674:
673:
669:
660:
658:
648:
631:
630:
626:
616:
614:
609:
608:
604:
594:
592:
584:
583:
579:
569:
567:
558:
557:
534:
524:
522:
514:
513:
492:
476:
457:
452:
445:
438:
429:
426:
417:
414:
405:
402:
393:
390:
381:
374:
365:
343:
334:
305:
296:
287:
278:
276:Pramoda Sundari
273:
212:
171:Reformers like
169:
118:
28:
23:
22:
15:
12:
11:
5:
1045:
1043:
1035:
1034:
1029:
1024:
1019:
1014:
1009:
1004:
994:
993:
988:
987:
962:
936:
911:
886:
860:
834:
795:
770:
753:
706:
697:|journal=
667:
646:
624:
602:
577:
532:
490:
454:
453:
451:
448:
447:
446:
439:
432:
430:
427:
420:
418:
415:
408:
406:
403:
396:
394:
391:
384:
382:
375:
368:
364:
361:
342:
341:Nalini Sundari
339:
333:
332:Manada Sundari
330:
304:
301:
295:
292:
286:
283:
277:
274:
272:
269:
264:B. R. Ambedkar
258:, in his 1916
187:child marriage
168:
165:
157:courtesans or
117:
116:Form and style
114:
51:are a type of
49:Sundari images
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1044:
1033:
1030:
1028:
1025:
1023:
1020:
1018:
1015:
1013:
1010:
1008:
1005:
1003:
1000:
999:
997:
976:
972:
966:
963:
950:
946:
940:
937:
925:
921:
915:
912:
900:
896:
890:
887:
875:. 6 June 2023
874:
870:
864:
861:
849:. 9 June 2023
848:
844:
838:
835:
830:
826:
822:
818:
814:
810:
806:
799:
796:
784:
780:
774:
771:
766:
765:
757:
754:
749:
745:
741:
737:
733:
729:
725:
721:
717:
710:
707:
702:
689:
681:
677:
671:
668:
657:
656:j.ctt46mt0s.9
653:
649:
643:
639:
635:
628:
625:
613:. 8 June 2023
612:
606:
603:
591:
587:
581:
578:
566:
562:
555:
553:
551:
549:
547:
545:
543:
541:
539:
537:
533:
521:
517:
511:
509:
507:
505:
503:
501:
499:
497:
495:
491:
487:
483:
479:
474:
472:
470:
468:
466:
464:
462:
460:
456:
449:
443:
436:
431:
424:
419:
412:
407:
400:
395:
388:
383:
379:
372:
367:
362:
360:
358:
354:
350:
349:
340:
338:
331:
329:
327:
322:
318:
314:
310:
302:
300:
293:
291:
284:
282:
275:
270:
268:
265:
261:
257:
252:
248:
245:
239:
237:
233:
228:
225:
221:
217:
210:
208:
204:
201:(upper-class
200:
196:
192:
188:
184:
183:
178:
174:
173:Ram Mohan Roy
166:
164:
162:
161:
156:
152:
148:
144:
143:
138:
134:
133:oil paintings
130:
127:
123:
115:
113:
111:
110:
105:
101:
97:
93:
90:, tuning the
89:
85:
80:
78:
74:
70:
69:British India
66:
62:
58:
54:
50:
46:
39:
34:
30:
19:
978:. Retrieved
974:
965:
953:. Retrieved
948:
939:
927:. Retrieved
923:
914:
902:. Retrieved
898:
889:
877:. Retrieved
872:
863:
851:. Retrieved
846:
837:
812:
808:
798:
786:. Retrieved
782:
773:
763:
756:
723:
719:
709:
688:cite journal
679:
670:
659:, retrieved
637:
627:
615:. Retrieved
605:
593:. Retrieved
589:
580:
568:. Retrieved
564:
523:. Retrieved
520:dagworld.com
519:
477:
356:
352:
346:
344:
335:
325:
316:
308:
306:
297:
288:
279:
255:
253:
249:
243:
240:
231:
229:
223:
211:
194:
180:
170:
159:
150:
146:
140:
128:
119:
107:
104:prostitution
86:, preparing
81:
48:
44:
43:
29:
1027:Printmaking
353:bayan tabla
321:aphrodisiac
244:sati pratha
131:, and even
126:watercolour
124:prints, or
1022:Erotic art
996:Categories
873:Mintlounge
450:References
313:betel-leaf
57:erotic art
821:0012-9976
740:0970-0293
285:Anuragini
207:Brindavan
100:courtesan
565:ThePrint
348:ghungroo
262:thesis,
191:polygamy
61:Calcutta
980:14 June
955:14 June
929:14 June
904:14 June
879:14 June
853:14 June
829:4398221
788:14 June
748:3520431
661:14 June
617:14 June
595:14 June
570:14 June
525:14 June
363:Gallery
357:tawaifs
203:Brahmin
167:History
160:tawaifs
827:
819:
746:
738:
654:
644:
484:
376:Bibi,
326:sarees
197:, the
155:Mughal
92:violin
77:widows
73:prints
65:Bengal
53:pin-up
825:JSTOR
744:JSTOR
652:JSTOR
315:, or
309:golap
271:Types
199:Kulin
151:babus
147:bibis
142:babus
96:roses
84:tabla
982:2023
957:2023
931:2023
906:2023
881:2023
855:2023
817:ISSN
790:2023
736:ISSN
701:help
663:2023
642:ISBN
619:2023
597:2023
572:2023
527:2023
482:ISBN
317:paan
294:Bibi
256:sati
232:sati
195:sati
182:Sati
175:and
145:and
129:pats
109:sati
88:paan
728:doi
67:in
55:or
47:or
998::
973:.
947:.
922:.
897:.
871:.
845:.
823:.
813:26
811:.
807:.
781:.
742:.
734:.
724:21
722:.
718:.
692::
690:}}
686:{{
680:28
678:.
650:,
636:,
588:.
563:.
535:^
518:.
493:^
458:^
112:.
984:.
959:.
933:.
908:.
883:.
857:.
831:.
792:.
750:.
730::
703:)
699:(
621:.
599:.
574:.
529:.
488:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
