This study develops a theory of Indian art worlds that argues for the need to consider the different discursive formations and related strategic practices of an art world. In so doing, it develops the common notion of "art world" into a plurality of worlds. The author explores the art worlds of the Orisan patta paintings, an Indian art form that has seen a great revival since the early 1950s, due partly to increased national pride after independence and partly to the rise of mass tourism. Locally, the increasing popularity of these paintings has led to, and is reinforced by, a village in the district of Puri being designated a "crafts village" by the states government. Here the author examines the consequences of this increased popularity, paying particular attention to the encompassing local, regional and national discourses involved. In so doing, clashing Indian art worlds demonstrates that, while painters' local discourses are characterized by pragmatism, the discourses of regional and especially national elites are concerned with the exegesis of local paintings and their association with the great Sanskrit tradition. A central theme of the study focuses on the awards given for

This beautifully illustrated book explores the opinions of artists, critics and others involved with arts or crafts, arguing for a theory that considers the different discursive formations and related strategic practices of an art world. Focusing on Orissan patta paintings in India the author examines the local, regional and national discourses involved. In so doing, the text demonstrates that, while painters' local discourses are characterised by pragmatism, the discourses of regional and especially national elites are concerned with the exegesis of local paintings and their association with the great Sanskrit tradition A central theme of the study focuses on the awards given for skill in craft making and their changing significance as they pass from national and regional elites to local painters. It is shown how certain key actions by local painters result from a clash between local discourses on the one hand and regional and national discourses on the other.

Painting Stories explores the accomplishments, struggles, and livelihoods of traditional artisans in Raghurajpur, a village known for its patta chitra painters. In this collection, Helle Bundgaard weaves thirty years of observations and experiences into a tapestry of stories, which together present a poignant image of the lives of Indian craft makers and their personal connections to the art that they create. The painters' stories are situated in a rich cultural environment and steeped in social relations. For them, painting is more than a livelihood or an aesthetic expression - it is a way of life. Painting Stories is a window into a part of our world rarely seen, reminding us of both our rich diversity and our shared humanity. Written with the painters, students, and laypersons in mind, the book includes a discussion of ethnographic storytelling and resources for ethnographic writing, as well as color photographs that bring the stories to life.

Painting Stories explores the accomplishments, struggles, and livelihoods of traditional artisans in Raghurajpur, a village known for its patta chitra painters. In this collection, Helle Bundgaard weaves thirty years of observations and experiences into a tapestry of stories, which together present a poignant image of the lives of Indian craft makers and their personal connections to the art that they create. The painters' stories are situated in a rich cultural environment and steeped in social relations. For them, painting is more than a livelihood or an aesthetic expression - it is a way of life. Painting Stories is a window into a part of our world rarely seen, reminding us of both our rich diversity and our shared humanity. Written with the painters, students, and laypersons in mind, the book includes a discussion of ethnographic storytelling and resources for ethnographic writing, as well as color photographs that bring the stories to life.