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Dear Vara Thanks for your prompt response. The image and the article you attached from H&G, which had photos of that sculpture from other angles too, are very helpful. And yes, it seems to be the Buddha all right, though the two hand-postures</div>
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<div dir="ltr"><div><div class="gmail_default" style="font-family:georgia,serif;font-size:large">Dear Vara </div><div class="gmail_default" style="font-family:georgia,serif;font-size:large"><br></div><div class="gmail_default" style="font-family:georgia,serif;font-size:large">Thanks for your prompt response. </div><div class="gmail_default" style="font-family:georgia,serif;font-size:large"><br></div><div class="gmail_default" style="font-family:georgia,serif;font-size:large">The image and the article you attached from H&G, which had photos of that sculpture from other angles too, are very helpful. And yes, it seems to be the Buddha all right, though the two hand-postures (<i>mudras</i>) seem to be only half-familiar to me for they are seldom shown to go together. </div><div class="gmail_default" style="font-family:georgia,serif;font-size:large"><br></div><div class="gmail_default" style="font-family:georgia,serif;font-size:large"> The article on "Oriental Bloomsbury" may turn out to have something on the provenance of this piece of sculpture if and when I can access that article (it's beyond a hefty paywall, as usual), though it looks a little too broad in scope. (Dickinson, Russell, Empson, Acton -- all in Bloomsbury?) Has anyone read this article? </div><div class="gmail_default" style="font-family:georgia,serif;font-size:large"><br></div><div class="gmail_default" style="font-family:georgia,serif;font-size:large">As for Forster, he did see a fair bit of Indian sculpture <i>in situ</i> on his two visits to India in 1912-13 and 1021-22, before he published <i>A Passage to India</i>. But in that novel, he (creatively) erased even the carvings that actually are there on the Barabar caves, so as to make his Marabar caves primordially bare and featureless. </div><div class="gmail_default" style="font-family:georgia,serif;font-size:large"><br></div><div class="gmail_default" style="font-family:georgia,serif;font-size:large">When Forster was setting off on his second visit to India, Virginia Woolf said, perhaps half-jokingly and half-solicitously, that he might be leaving England forever. "He will become a mystic, sit by the roadside and forget Europe." Nothing like that happened, of course, and F remained very much a British Liberal sceptic. </div><div class="gmail_default" style="font-family:georgia,serif;font-size:large"><br></div><div class="gmail_default" style="font-family:georgia,serif;font-size:large">Despite its many "muddles," <i>Passage</i> " remains probably the best novel ever written about India by a Westerner, and therefore the closest that Bloomsbury got to India in creative terms. A collection of new essays has recently appeared to mark the centenary of its publication and it has about half a dozen passing references to Virginia Woolf, and a couple to Leonard too. (See <a href="https://urldefense.com/v3/__https://orientblackswan.com/details?id=9789354429293__;!!KGKeukY!zR-9joDmm9lcxGu5P1MtkfE-w9nlzHy_GxLjY_0C6HKPC1z4-5Jan3i57kxC51EFaFRLlKn2FoKP7SjYmjwWqoS5npWf$" target="_blank" style="background-color:rgba(0,0,0,0);color:rgb(66,133,244);font-family:-apple-system,"helvetica neue";font-size:1rem;word-spacing:1px;border-color:rgb(66,133,244)">https://orientblackswan.com/details?id=9789354429293</a> -- and excuse the self-promotion!) </div><div class="gmail_default" style="font-family:georgia,serif;font-size:large"><br></div><div class="gmail_default" style="font-family:georgia,serif;font-size:large">As for VW and India, I'll shortly write another mail to this list with some more queries. </div><div class="gmail_default" style="font-family:georgia,serif;font-size:large"><br></div><div class="gmail_default" style="font-family:georgia,serif;font-size:large">Best wishes.</div><div class="gmail_default" style="font-family:georgia,serif;font-size:large">Harish </div><div class="gmail_default" style="font-family:georgia,serif;font-size:large"> </div><div class="gmail_default" style="font-family:georgia,serif;font-size:large"><span style="font-family:monospace,monospace">Harish Trivedi</span></div></div><div><div dir="ltr" class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div dir="ltr"><div> </div><div> </div></div></div></div></div><br></div><br><div class="gmail_quote"><div dir="ltr" class="gmail_attr">On Sun, 10 Nov 2024 at 09:10, Neverow, Vara S. <<a href="mailto:neverowv1@southernct.edu" target="_blank">neverowv1@southernct.edu</a>> wrote:<br></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><div>
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Dear Harish,</div>
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The webpage I inserted below has a much better photograph of the sculpture on the mantel of the fireplace (and also has an amazing number of other photographs of Charleston).</div>
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<a href="https://urldefense.com/v3/__https://www.houseandgarden.co.uk/gallery/charleston__;!!KGKeukY!zR-9joDmm9lcxGu5P1MtkfE-w9nlzHy_GxLjY_0C6HKPC1z4-5Jan3i57kxC51EFaFRLlKn2FoKP7SjYmjwWqnujt4HV$" id="m_-7390526757939708488m_-3692791182571203833m_8345275926957677243m_-8619900081062612100LPlnk" target="_blank">https://www.houseandgarden.co.uk/gallery/charleston</a></div>
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<a id="m_-7390526757939708488m_-3692791182571203833m_8345275926957677243m_-8619900081062612100LPImageAnchor303810" href="https://urldefense.com/v3/__https://www.houseandgarden.co.uk/gallery/charleston__;!!KGKeukY!zR-9joDmm9lcxGu5P1MtkfE-w9nlzHy_GxLjY_0C6HKPC1z4-5Jan3i57kxC51EFaFRLlKn2FoKP7SjYmjwWqnujt4HV$" target="_blank"><img id="m_-7390526757939708488m_-3692791182571203833m_8345275926957677243m_-8619900081062612100LPThumbnailImageId303810" alt="" height="134" style="display: block;" width="240" src="https://media.houseandgarden.co.uk/photos/6189374862b737ababca0b22/16:9/w_2580,c_limit/973472-house-23jun15_PaulMassey_b.jpg"></a></div>
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<div id="m_-7390526757939708488m_-3692791182571203833m_8345275926957677243m_-8619900081062612100LPTitle303810" style="font-size:21px;font-weight:300;margin-right:8px;font-family:wf_segoe-ui_light,"Segoe UI Light","Segoe WP Light","Segoe UI","Segoe WP",Tahoma,Arial,sans-serif;margin-bottom:12px">
<a id="m_-7390526757939708488m_-3692791182571203833m_8345275926957677243m_-8619900081062612100LPUrlAnchor303810" href="https://urldefense.com/v3/__https://www.houseandgarden.co.uk/gallery/charleston__;!!KGKeukY!zR-9joDmm9lcxGu5P1MtkfE-w9nlzHy_GxLjY_0C6HKPC1z4-5Jan3i57kxC51EFaFRLlKn2FoKP7SjYmjwWqnujt4HV$" style="text-decoration:none" target="_blank">The interiors of Charleston: the house the Bloomsbury Group turned in to a living work of art</a></div>
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Nestled in bucolic Sussex gardens the seventeenth-century exterior belies the riot of imaginative decoration inside; a legacy of its function as artistic residence to the Bloomsbury Group.</div>
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<a href="https://urldefense.com/v3/__http://www.houseandgarden.co.uk__;!!KGKeukY!zR-9joDmm9lcxGu5P1MtkfE-w9nlzHy_GxLjY_0C6HKPC1z4-5Jan3i57kxC51EFaFRLlKn2FoKP7SjYmjwWqsdLj8hh$" target="_blank">www.houseandgarden.co.uk</a></div>
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This article looks like it might be of relevance:</div>
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<span style="font-weight:600"><a href="https://urldefense.com/v3/__https://www.euppublishing.com/author/Nadel*2C*Ira__;JSs!!KGKeukY!zR-9joDmm9lcxGu5P1MtkfE-w9nlzHy_GxLjY_0C6HKPC1z4-5Jan3i57kxC51EFaFRLlKn2FoKP7SjYmjwWqmA2Wdu1$" id="m_-7390526757939708488m_-3692791182571203833m_8345275926957677243m_-8619900081062612100LPlnkOWA5d2f8dd0-2e01-d295-ca3c-490e2e97034b" style="color:rgb(139,139,139);text-align:left" target="_blank">Ira Nadel</a></span></div>
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<span style="background-color:rgb(255,255,255);font-weight:600">"Oriental Bloomsbury"</span></div>
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<span style="font-weight:600">Modernist Cultures, February 2018, vo. 13, No. 1 : pp. 14-32</span></div>
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<a href="https://urldefense.com/v3/__https://www.euppublishing.com/doi/abs/10.3366/mod.2018.0192__;!!KGKeukY!zR-9joDmm9lcxGu5P1MtkfE-w9nlzHy_GxLjY_0C6HKPC1z4-5Jan3i57kxC51EFaFRLlKn2FoKP7SjYmjwWql_mNN_Z$" id="m_-7390526757939708488m_-3692791182571203833m_8345275926957677243m_-8619900081062612100LPlnk862658" target="_blank">https://www.euppublishing.com/doi/abs/10.3366/mod.2018.0192</a></div>
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The abstract states:</div>
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The multiple and occasionally contradictory response of Bloomsbury to the Orient is the focus of this essay which also considers the reverse: the Orient's response to Bloomsbury and the promotion of their texts in the East. From Roger Fry to G. L. Dickinson,
Virginia Woolf, and Vanessa Bell, the Orient became a source of aesthetic interest and problematized politics. French Orientalism and Proust initially corroborated the experiences of Woolf in Constantinople and Leonard Woolf in Ceylon, soon to be revised by
new views of Imperial authority. Yet Bloomsbury and the Orient artistically depended on each other, at one point Fry scolding Bloomsbury and England that ‘we can no longer hide behind the Elgin marbles and refuse to look at the art of China’. And look they
did, from attending museum shows to collecting Oriental art and furniture, while adopting Oriental fashions – and, when possible, traveling to China and Japan marked by visits by Bertrand Russell, William Empson, and Harold Acton. The response of individual
Bloomsbury writers to the Orient mixes curiosity and jealousy. To her nephew Julian Bell, teaching at Wuhan University, Woolf wrote that ‘you are much to be envied. I wish I had spent three years in China at your age’.</div>
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E. M. Forster's <i>A Passage to India </i>might also have some traces of relevance regarding Indian art. </div>
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I hope this response is somewhat helpful. </div>
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Best,</div>
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Vara</div>
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<span style="background-color:rgb(255,255,255)">Vara Neverow</span></div>
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<span style="font-size:12pt;background-color:rgb(255,255,255)">(she/her/hers)</span><span style="font-size:16px"><br>
Professor, English Department</span></div>
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Editor, <i>Virginia Woolf Miscellany</i><br>
Southern Connecticut State University<br>
New Haven, CT 06515<br>
203-392-6717<br>
<a href="mailto:neverowv1@southernct.edu" target="_blank">neverowv1@southernct.edu</a></div>
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<span style="color:black"><i>I acknowledge that Southern Connecticut </i></span><span style="color:rgb(32,31,30)"><i>State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples.</i></span><span style="color:black"><i> </i></span><span style="font-size:10pt;color:rgb(32,31,30)"><i> </i></span></p>
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<span style="font-family:"Times New Roman",Times,serif;font-size:13.3333px;color:rgb(32,31,30)"><b>Recent Publications:</b></span></p>
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<span style="font-family:"Times New Roman",Times,serif;font-size:13.3333px;color:rgb(32,31,30)">Lead editor,
<i>Virginia Woolf: Critical and Primary Sources </i>(Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984,
<i>Virginia Woolf: Critical and Primary Sources</i> (Bloomsbury, 2020); Co-editor,
<i>The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature</i> (Edinburgh, 2020; with Jeanne Dubino, Paulina
</span><span style="font-family:"Times New Roman",Times,serif;font-size:10pt;color:rgb(32,31,30)">Pająk, Catherine H</span><span style="font-family:"Times New Roman",Times,serif;font-size:13.3333px;color:rgb(32,31,30)">ollis, and Celiese
Lypka)</span></p>
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<div id="m_-7390526757939708488m_-3692791182571203833m_8345275926957677243m_-8619900081062612100divRplyFwdMsg" dir="ltr"><font face="Calibri, sans-serif" style="font-size:11pt" color="#000000"><b>From:</b> Harish Trivedi <<a href="mailto:harish.trivedi@gmail.com" target="_blank">harish.trivedi@gmail.com</a>><br>
<b>Sent:</b> Saturday, November 9, 2024 10:05 PM<br>
<b>To:</b> Neverow, Vara S. <<a href="mailto:neverowv1@southernct.edu" target="_blank">neverowv1@southernct.edu</a>><br>
<b>Cc:</b> vwoolf listerve <<a href="mailto:vwoolf@lists.osu.edu" target="_blank">vwoolf@lists.osu.edu</a>><br>
<b>Subject:</b> Re: [Vwoolf] "Radical Modernity: From Bloomsbury To Charleston"</font>
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<div dir="auto">Thanks for this. </div>
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<div dir="auto">Could someone please identify the sculpture on the mantelpiece depicting the Buddha/ a Hindu deity? Do we know who acquired it (Vanessa/Duncan etc.) and in what circumstances? </div>
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<div dir="auto">Is a better photo of it available somewhere? <br>
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<div dir="auto">I am especially curious as the Bloomsbury group appears to have had little interest in Indian art— or did they? </div>
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<div dir="auto">Best wishes. <br clear="all">
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<div dir="ltr"><font size="4" face="monospace,monospace">Harish Trivedi</font> </div>
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<div dir="ltr">On Sat, 9 Nov 2024 at 8:19 PM, Neverow, Vara S. via Vwoolf <<a href="mailto:vwoolf@lists.osu.edu" target="_blank">vwoolf@lists.osu.edu</a>> wrote:<br>
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Greetings, "Radical Modernity: From Bloomsbury To Charleston," Sotheby's and Charleston's free London exhibition curated by Kim Jones ("Free & Open to the Public from 9 – 26 November"): https: //www. charleston. org. uk/press/sothebys-and-charleston-unite-for-a-two-part-exhibition-celebrating-the-bloomsbury-group-curated-by-kim-jones/</div>
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Greetings,</div>
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"Radical Modernity: From Bloomsbury To Charleston," Sotheby's and Charleston's free London exhibition curated by Kim Jones ("Free & Open to the Public from 9 – 26 November"):</div>
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<a href="https://urldefense.com/v3/__https://www.charleston.org.uk/press/sothebys-and-charleston-unite-for-a-two-part-exhibition-celebrating-the-bloomsbury-group-curated-by-kim-jones/__;!!KGKeukY!0wbxDlH59or105RtN1AyADko9WbYWl7fiox6TwlsWkzM8L0DFrtiRpfWT6JX2fURZu0PISDNyNj2OzQ4egtauv0LSCbW$" id="m_-7390526757939708488m_-3692791182571203833m_8345275926957677243m_-8619900081062612100x_m_-6172099092015090400LPlnk" target="_blank">https://www.charleston.org.uk/press/sothebys-and-charleston-unite-for-a-two-part-exhibition-celebrating-the-bloomsbury-group-curated-by-kim-jones/</a></div>
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<a id="m_-7390526757939708488m_-3692791182571203833m_8345275926957677243m_-8619900081062612100x_m_-6172099092015090400LPImageAnchor568064" href="https://urldefense.com/v3/__https://www.charleston.org.uk/press/sothebys-and-charleston-unite-for-a-two-part-exhibition-celebrating-the-bloomsbury-group-curated-by-kim-jones/__;!!KGKeukY!0wbxDlH59or105RtN1AyADko9WbYWl7fiox6TwlsWkzM8L0DFrtiRpfWT6JX2fURZu0PISDNyNj2OzQ4egtauv0LSCbW$" target="_blank"><img id="m_-7390526757939708488m_-3692791182571203833m_8345275926957677243m_-8619900081062612100x_m_-6172099092015090400LPThumbnailImageId568064" alt="" height="160" width="106" style="display: block;" src="https://www.charleston.org.uk/wp-content/uploads/2024/10/Lee-Robbins-3-800x1200.jpg"></a></div>
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<a id="m_-7390526757939708488m_-3692791182571203833m_8345275926957677243m_-8619900081062612100x_m_-6172099092015090400LPUrlAnchor568064" href="https://urldefense.com/v3/__https://www.charleston.org.uk/press/sothebys-and-charleston-unite-for-a-two-part-exhibition-celebrating-the-bloomsbury-group-curated-by-kim-jones/__;!!KGKeukY!0wbxDlH59or105RtN1AyADko9WbYWl7fiox6TwlsWkzM8L0DFrtiRpfWT6JX2fURZu0PISDNyNj2OzQ4egtauv0LSCbW$" style="text-decoration:none" target="_blank">Charleston
— Sotheby’s and Charleston Unite for a Two-Part Exhibition Celebrating The Bloomsbury Group, Curated by Kim Jones</a></div>
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The exhibition features rarely-seen works</div>
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<a href="https://urldefense.com/v3/__http://www.charleston.org.uk__;!!KGKeukY!0wbxDlH59or105RtN1AyADko9WbYWl7fiox6TwlsWkzM8L0DFrtiRpfWT6JX2fURZu0PISDNyNj2OzQ4egtauuixoY5i$" target="_blank">www.charleston.org.uk</a></div>
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<a href="https://urldefense.com/v3/__https://theweek.com/culture-life/art/vanessa-bell-a-world-of-form-and-colour-an-expansive-exhibition__;!!KGKeukY!0wbxDlH59or105RtN1AyADko9WbYWl7fiox6TwlsWkzM8L0DFrtiRpfWT6JX2fURZu0PISDNyNj2OzQ4egtauvIpgTfB$" id="m_-7390526757939708488m_-3692791182571203833m_8345275926957677243m_-8619900081062612100x_m_-6172099092015090400LPlnk" target="_blank">https://theweek.com/culture-life/art/vanessa-bell-a-world-of-form-and-colour-an-expansive-exhibition</a></div>
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<a id="m_-7390526757939708488m_-3692791182571203833m_8345275926957677243m_-8619900081062612100x_m_-6172099092015090400LPImageAnchor943007" href="https://urldefense.com/v3/__https://theweek.com/culture-life/art/vanessa-bell-a-world-of-form-and-colour-an-expansive-exhibition__;!!KGKeukY!0wbxDlH59or105RtN1AyADko9WbYWl7fiox6TwlsWkzM8L0DFrtiRpfWT6JX2fURZu0PISDNyNj2OzQ4egtauvIpgTfB$" target="_blank"><img id="m_-7390526757939708488m_-3692791182571203833m_8345275926957677243m_-8619900081062612100x_m_-6172099092015090400LPThumbnailImageId943007" alt="" height="135" width="240" style="display: block;" src="https://cdn.mos.cms.futurecdn.net/8DsHdTH9x3eLYx8fZKhrWJ-1200-80.png"></a></div>
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<div id="m_-7390526757939708488m_-3692791182571203833m_8345275926957677243m_-8619900081062612100x_m_-6172099092015090400LPTitle943007" style="font-size:21px;font-weight:300;margin-right:8px;font-family:wf_segoe-ui_light,"Segoe UI Light","Segoe WP Light","Segoe UI","Segoe WP",Tahoma,Arial,sans-serif;margin-bottom:12px">
<a id="m_-7390526757939708488m_-3692791182571203833m_8345275926957677243m_-8619900081062612100x_m_-6172099092015090400LPUrlAnchor943007" href="https://urldefense.com/v3/__https://theweek.com/culture-life/art/vanessa-bell-a-world-of-form-and-colour-an-expansive-exhibition__;!!KGKeukY!0wbxDlH59or105RtN1AyADko9WbYWl7fiox6TwlsWkzM8L0DFrtiRpfWT6JX2fURZu0PISDNyNj2OzQ4egtauvIpgTfB$" style="text-decoration:none" target="_blank">Vanessa
Bell: A World of Form and Colour – an 'expansive' exhibition</a></div>
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The 'sweeping' show features over 140 works from paintings to ceramics</div>
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<a href="https://urldefense.com/v3/__http://theweek.com/__;!!KGKeukY!zR-9joDmm9lcxGu5P1MtkfE-w9nlzHy_GxLjY_0C6HKPC1z4-5Jan3i57kxC51EFaFRLlKn2FoKP7SjYmjwWqolaCkmQ$" target="_blank">theweek.com</a></div>
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<img alt="Vanessa Bell and Duncan Grant painted much of Charleston's interiors (Image: Lee Robbins)" title="Vanessa Bell and Duncan Grant painted much of Charleston's interiors (Image: Lee Robbins)" style="width: auto; max-width: 100%; border-radius: 6px;" src="https://img-s-msn-com.akamaized.net/tenant/amp/entityid/AA1t6LsL.img?w=620&h=413&m=6"></span>
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Vanessa Bell and Duncan Grant painted much of Charleston's interiors (Image: Lee Robbins)</div>
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Works by the Bloomsbury group will go on loan and up for sale at an exhibition hosted by a London auction house.</div>
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The event at Sotheby’s will celebrate art and literature by the Bloomsbury group, with works for sale alongside loans from the collection at Charleston, near Firle.</div>
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Radical Modernity: From Bloomsbury To Charleston, a private selling and loan exhibition in collaboration with Charleston, will highlight the “indefatigable spirit of the Bloomsbury Group” across paintings, drawings, furniture, ceramics and literature by Vanessa
Bell, Duncan Grant, Roger Fry, Virginia Woolf and Henry Lamb.</div>
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As part of the exhibition, the historic farmhouse will be loaning some of its most significant pieces, many not usually on public view.</div>
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They include recent acquisitions made as part of Charleston’s 50 for 50 campaign, a hunt for the best Bloomsbury works still in private collections to help mark the forthcoming 50th anniversary.</div>
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In 2030, Charleston will celebrate 50 years since the charity that saved it was established.</div>
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The Bloomsbury group was a circle of intellectuals including artists and writers in the 20th century. Charleston, the home and studio of painters Vanessa Bell and Duncan Grant, became one of the hubs where the group met.</div>
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The Sotheby's exhibition is free and runs from November 9 to 26.</div>
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Best,<br>
Vara</div>
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<span style="background-color:rgb(255,255,255)">Vara Neverow</span></div>
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<span style="font-size:12pt;background-color:rgb(255,255,255)">(she/her/hers)</span><span style="font-size:16px"><br>
Professor, English Department</span></div>
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Editor, <i>Virginia Woolf Miscellany</i><br>
Southern Connecticut State University<br>
New Haven, CT 06515<br>
203-392-6717<br>
<a href="mailto:neverowv1@southernct.edu" target="_blank">neverowv1@southernct.edu</a></div>
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<span style="color:black"><i>I acknowledge that Southern Connecticut </i></span><span style="color:rgb(32,31,30)"><i>State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples.</i></span><span style="color:black"><i> </i></span><span style="font-size:10pt;color:rgb(32,31,30)"><i> </i></span></p>
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<span style="font-family:"Times New Roman",Times,serif;font-size:13.3333px;color:rgb(32,31,30)">Lead editor,
<i>Virginia Woolf: Critical and Primary Sources </i>(Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984,
<i>Virginia Woolf: Critical and Primary Sources</i> (Bloomsbury, 2020); Co-editor,
<i>The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature</i> (Edinburgh, 2020; with Jeanne Dubino, Paulina
</span><span style="font-family:"Times New Roman",Times,serif;font-size:10pt;color:rgb(32,31,30)">Pająk, Catherine H</span><span style="font-family:"Times New Roman",Times,serif;font-size:13.3333px;color:rgb(32,31,30)">ollis, and Celiese Lypka)</span></p>
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