In summarizing the sentence, it emphasizes that “violence” is not merely a physical or historical event but also an ideological force manifest in how art is appropriated and othered. The term “violence” here is used to describe systemic injustices that have been embedded in art historical narratives, drawing on examples like Native American ledgers to show that even everyday objects carry traces of this contested history. To clarify, the sentence calls for a rethinking of global art history one that does not shy away from the difficult past, but rather uses it to understand the present complexities of global cultural exchanges.
Ananda Coomaraswamy
Key Works:
The Transformation of Nature in Art (1943)
Christian and Oriental Philosophy of Art (1922)
Background and Context:
Coomaraswamy’s writings seek to recover and articulate the philosophical and aesthetic principles underlying traditional (often non-Western) art forms. In The Transformation of Nature in Art, he argues that art is a symbolic transformation of nature a process that reveals the deep, sacred orders of various cultures. Similarly, Christian and Oriental Philosophy of Art compares Western and Eastern artistic traditions, critiquing the Western tendency to impose its own values and methodologies on non-Western art. His work has been influential in questioning the dominant Western narratives that have long marginalized non-Western cultural expressions. In the context of global art history, Coomaraswamy’s ideas challenge the “provincialism” inherent in art historical narratives that fail to acknowledge the profound contributions of non-Western aesthetic systems.