The Creative Process: The Arts of War (Spring 2017)

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Spring 2017 The Arts of War classical Pakistani government narrative and premise for creation of Pakistan. It glosses over a bloody history of sectarian and religious violence, perpetrated largely due to religion, and removes evidence of the un-secular nature of a large section of Indian law. The use of religion to subvert another religious narrative seems to be odd, for the argument seems to be an antithesis. However, in this reading of Indian war photography during the Kargil War, one thing is certain for me. Compared to the vast repertoire of works produced by Mathew Brady, Robert Capa, James Nachtwey, and other Western war photographers, aesthetically, the images that I looked at simply were unable to match the complexity and the artistic nature of the Western canon. The sanitisation of the true nature of war is highly problematic in these images. There is no mention of more than a thousand people who died on both sides, and the two thousand who were wounded physically. These images show a fragment of the truth of war, but not the entirety of the truth. While it may never be truly possible to capture what war is, and what it means, photography has a truth value that is ascribed to it, and therefore in most contemporary conflict situations in India, guides what a large part of the public perceives to be the sole existing truth. These photographs are simply pieces of propaganda, a publicity exercise by the government to drum up support for a costly war. -- Ishaan Jajodia The provenance of the images in this article is unknown, despite considerable research. The author and publisher intend to correct this at the earliest, and if you have any information about it, we request you to email us at info@themumbaiartcollective.com. 40
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The Creative Process: The Arts of War (Spring 2017)

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