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Mughal Occidentalism
Artistic Encounters between Europe and Asia at the Courts of India, 1580-1630
Series: - Studies in Persian Cultural History, Volume: 15
Author:
In Mughal Occidentalism, Mika Natif elucidates the meaningful and complex ways in which Mughal artists engaged with European art and techniques from the 1580s-1630s. Using visual and textual sources, this book argues that artists repurposed Christian and Renaissance visual idioms to embody themes from classical Persian literature and represent Mughal policy, ideology and dynastic history. A reevaluation of illustrated manuscripts and album paintings incorporating landscape scenery, portraiture, and European objects demonstrates that the appropriation of European elements was highly motivated by Mughal concerns. This book aims to establish a better understanding of cross-cultural exchange from the Mughal perspective by emphasizing the agency of local artists active in the workshops of Emperors Akbar and Jahangir.
Mika Natif Ph.D. (2006), New York University-IFA, is Assistant Professor in the Art History program, The George Washington University. A specialist in pre-Modern Islamic art, her publications addressed art book in the Persianate world and issues of image making.
Acknowledgments
List of Illustrations
Abbreviations and Conventions
Introduction
âBrief Historical Background
âDefining Mughal Occidentalism
âChristian and European Elements in Islamic Art
âOrganization of the Book
1 Mughal Tolerance and the Encounters with Europe
âReligious Tolerance under Akbar and Jahangir
âMughals and Europeans: The Encounters
âThe Challenge of Primary Sources
âDiplomatic Gifts and âSpecialâ Christian Articles
âThe Mughal Elite and Pictures of Mary and Jesus
2 Mughal Masters and European Art: Tradition and Innovation at the Royal Workshops
âCopying and Innovation at the Imperial Workshops
âRepurposing the European Masters
3 European Articles in Mughal Painting
âEuropean Prints in Mughal Albums
âVisualizing European Articles in Mughal Painting
âThe Organ: Plato Making Music
4 Landscape Painting as Mughal Allegory: Micro-Architecture, Perspective and ṣulḥ-i kull
âThe Mughal Interest in Topography
âChronology of Change in Landscape Representation
âImages of Urbanism and Agriculture: Diversity and Prosperity
âThe Virtuous City and the Circle of Justice
âEuropean Techniques: Sfumato and Atmospheric Perspective
5 Concepts of Portraiture under Akbar and Jahangir
âMughal Terminology and Praxis
âForm, Essence, and Physiognomy âThe Politics of Portraiture Epilogue
Bibliography
Index
List of Illustrations
Abbreviations and Conventions
Introduction
âBrief Historical Background
âDefining Mughal Occidentalism
âChristian and European Elements in Islamic Art
âOrganization of the Book
1 Mughal Tolerance and the Encounters with Europe
âReligious Tolerance under Akbar and Jahangir
âMughals and Europeans: The Encounters
âThe Challenge of Primary Sources
âDiplomatic Gifts and âSpecialâ Christian Articles
âThe Mughal Elite and Pictures of Mary and Jesus
2 Mughal Masters and European Art: Tradition and Innovation at the Royal Workshops
âCopying and Innovation at the Imperial Workshops
âRepurposing the European Masters
3 European Articles in Mughal Painting
âEuropean Prints in Mughal Albums
âVisualizing European Articles in Mughal Painting
âThe Organ: Plato Making Music
4 Landscape Painting as Mughal Allegory: Micro-Architecture, Perspective and ṣulḥ-i kull
âThe Mughal Interest in Topography
âChronology of Change in Landscape Representation
âImages of Urbanism and Agriculture: Diversity and Prosperity
âThe Virtuous City and the Circle of Justice
âEuropean Techniques: Sfumato and Atmospheric Perspective
5 Concepts of Portraiture under Akbar and Jahangir
âMughal Terminology and Praxis
âForm, Essence, and Physiognomy âThe Politics of Portraiture Epilogue
Bibliography
Index
All interested in cross-cultural interactions in the Muslim sphere; South Asian and European visual cultures; specialists in Persianate painting, Renaissance art, European prints; historians of India and Early-Modern period.