A history of the rediscovery of India's history... Through the eighteenth and nineteenth centuries, the Western world had very little knowledge - or an extremely distorted view - of the glorious and fascinating history of the Indian subcontinent. In fact, with little of the region's 3000-year-old heritage formally preserved and documented, it was widely believed that the country's history had begun with the reign of the Mughals. When the British gained control over the subcontinent, the scholars, explorers and Indophiles among them discovered things and areas of great historical wonder but found few answers. Armed with great intellectual curiosity, they set out to uncover things no one had given a thought to earlier. From William Jones who identified Chandragupta Maurya as 'Sandrocottus' mentioned in Greek sources and set the first chronological point of reference for recorded Indian history to Charles Wilkins who designed the first typeface of the Bengali script; from Henry Colebrooke who shone light on the wonders of ancient Indian scientific knowledge to Alexander Cunningham, the father of Indian archaeology, who led the first excavation of the Harappa site in the Punjab - Forgotten Civilizations brings together the intriguing stories of fifteen intrepid Englishmen who dedicated their lives to rediscovering India's ancient heritage and redefining the significance of its pluralistic and sophisticated culture to the rest of the world.
While the connected, international character of today's art world is well known, the eighteenth century too had a global art world. Eighteenth-Century Art Worlds is the first book to attempt a map of the global art world of the eighteenth century. Fourteen essays from a distinguished group of scholars explore both cross-cultural connections and local specificities of art production and consumption in Africa, the Americas, Asia, and Europe. The result is an account of a series of interconnected and asymmetrical art worlds that were well developed in the eighteenth century. Capturing the full material diversity of eighteenth-century art, this book considers painting and sculpture alongside far more numerous prints and decorative objects. Analyzing the role of place in the history of eighteenth-century art, it bridges the disciplines of art history and cultural geography, and draws attention away from any one place as a privileged art-historical site, while highlighting places such as Manila, Beijing, Mexico City, and London as significant points on globalized map of the eighteenth-century art world. Eighteenth-Century Art Worlds combines a broad global perspective on the history of art with careful attention to how global artistic concerns intersect with local ones, offering a framework for future studies in global art history.
Religious icons have been a contested terrain across the world. Their implications and understanding travel further than the artistic or the aesthetic and inform contemporary preoccupations.This book traces the lives of religious sculptures beyond the moment of their creation. It lays bare their purpose and evolution by contextualising them in their original architectural or ritual setting while also following their displacement. The work examines how these images may have moved during different spates of temple renovation and acquired new identities by being relocated either within sacred precincts or in private collections and museums, art markets or even desecrated and lost. The book highlights contentious issues in Indian archaeology such as renegotiating identities of religious images, reuse and sharing of sacred space by adherents of different faiths, rebuilding of temples and consequent reinvention of these sites. The author also engages with postcolonial debates surrounding history writing and knowledge creation in British India and how colonial archaeology, archival practices, official surveys and institutionalisation of museums has influenced the current understanding of religion, sacred space and religious icons. In doing so it bridges the historiographical divide between the ancient and the modern as well as socio-religious practices and their institutional memory and preservation. Drawn from a wide-ranging and interdisciplinary study of religious sculptures, classical texts, colonial archival records, British travelogues, official correspondences and fieldwork, the book will interest scholars and researchers of history, archaeology, religion, art history, museums studies, South Asian studies and Buddhist studies.
Indian Renaissance: British Romantic Art and the Prospect of India is the first comprehensive examination of British artists whose first-hand impressions and prospects of the Indian subcontinent became a stimulus for the Romantic Movement in England; it is also a survey of the transformation of the images brought home by these artists into the cultural imperatives of imperial, Victorian Britain. The book proposes a second - Indian - Renaissance for British (and European) art and culture and an undeniable connection between English Romanticism and British Imperialism. Artists treated in-depth include James Forbes, James Wales, Tilly Kettle, William Hodges, Johann Zoffany, Francesco Renaldi, Thomas and William Daniell, Robert Home, Thomas Hickey, Arthur William Devis, R. H. Colebrooke, Alexander Allan, Henry Salt, James Baillie Fraser, Charles Gold, James Moffat, Charles D'Oyly, William Blake, J. M. W. Turner and George Chinnery.
Majismo, a cultural phenomenon that embodied the popular aesthetic in Spain from the second half of the eighteenth century, served as a vehicle to “regain” Spanish heritage. As expressed in visual representations of popular types participating in traditional customs and wearing garments viewed as historically Spanish, majismo conferred on Spanish “citizens” the pictorial ideal of a shared national character. In Framing Majismo, Tara Zanardi explores nobles’ fascination with and appropriation of the practices and types associated with majismo, as well as how this connection cultivated the formation of an elite Spanish identity in the late 1700s and aided the Bourbons’ objective to fashion themselves as the legitimate rulers of Spain. In particular, the book considers artistic and literary representations of the majo and the maja, purportedly native types who embodied and performed uniquely Spanish characteristics. Such visual examples of majismo emerge as critical and contentious sites for navigating eighteenth-century conceptions of gender, national character, and noble identity. Zanardi also examines how these bodies were contrasted with those regarded as “foreign,” finding that “foreign” and “national” bodies were frequently described and depicted in similar ways. She isolates and uncovers the nuances of bodily representation, ultimately showing how the body and the emergent nation were mutually constructed at a critical historical moment for both.