Abstract Using the example of Upendrakishore Ray (1863–1915), a well-known Bengali artist, writer, technologist and publisher, this essay critiques prevalent theories that portray colonial Indian modernity as a largely derivative discourse. Addressing Ray’s globally recognised contributions to the refinement of technologies for the printing of photographs and paintings, the article shows how Ray’s relative lack of resources could not obstruct his innovative approach and investigates why, in spite of his originality, his Western recognition was no more than transient. Turning then to Ray’s views on pictorial art, the essay shows how in this area, he merely followed the precepts of western ‘academic’ art and failed to attain any originality. Indian engagements with modernity, the essay concludes, were neither exclusively original nor invariably imitative, and we need new theoretical approaches that can accommodate this diversity and unpredictability.

中文翻译：

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在模仿与创新之间：Upendrakishore Ray 与殖民现代性的模糊性

摘要 本文以著名的孟加拉艺术家、作家、技术专家和出版商 Upendrakishore Ray (1863-1915) 为例，批判了将印度殖民现代性描绘成一种主要衍生话语的流行理论。文章阐述了 Ray 在改进照片和绘画印刷技术方面的全球公认贡献，展示了 Ray 相对缺乏资源如何阻碍他的创新方法，并调查为什么尽管他具有独创性，但他在西方的认可仅短暂的。再谈雷对绘画艺术的看法，文章表明他在这方面只是遵循西方“学术”艺术的戒律，并没有取得任何独创性。印度与现代性的接触，文章总结道，