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• W2753998077 abstract "58 A&Q Madhuri Desai From the Imperial Atelier to the Global Display: The Past, Present, and Futures of Mughal Collections The history of collecting in Asia as well as the history of “collecting Asia” closely follow the incorporation of Asia itself as a negotiable category within circuits of global modernity. Objects and their shifting narratives remained at the center of various efforts associated with expanding empires or projects of colonialism and national modernization. Moreover, in a contemporary environment of postcolonial scholarship and global tourism (of the academic as well as nonacademic varieties), many of these collections have acquired new meanings and symbolisms. They remain at the heart of debates over shifting identities, structures of political and cultural power, and knowledge making. Mughal art is one such field, charged at once with questions of ownership, conservation, and scholarly interpretations. In recent years, exhibitions at the Metropolitan Museum of Art, New York (Guy and Britschgi 2011), as well as at the Asia Society, New York (Dalrymple and Sharma 2012), and the British Library, London, have addressed new concerns and audiences. Each exhibition brought together works that are scattered among several archives, museums, and libraries across the world. In each case, curators worked to showcase extensive collections of paintings and objects through new perspectives, including those focusing on the individual artist or showcasing lesser-known works such as the magnificent cityscapes of their capital, Delhi, during the twilight decades of the Mughals. In this context , the initiative of the British Library was unique, because it showcased the entire span of Mughal patronage for more than three centuries. This exhibition was closely followed by facsimiles of the display being A & Q 59 mounted in Kabul and New Delhi. This A&Q is primarily concerned with the three exhibitions mounted at three different sites as well as with the experiences of the curators involved in their conceptualization, planning , and execution. The works on display at the Euston Road galleries in London included manuscripts, paintings, and three-dimensional objects as wide-ranging as crowns, jewelry, and firearms. High-quality digital reproductions were displayed at the Gardens of Babur in Kabul and the Indira Gandhi National Centre for the Arts in New Delhi.1 Each occasion provided an opportunity for taking a closer look at the ways in which the Mughals created and framed an image for themselves through patronage and the ways in which they cultivated techniques of self-representation. Furthermore , each venue created a place for these objects at the intersection of tenacious colonial legacies and the politics of nationalism and diaspora. Malini Roy, the visual arts curator of Asian and African studies at the British Library as well as lead curator for the London exhibition, shared her experiences with Verge. Roy’s ambitious plan is reflected in the catalog that she coauthored with J. P. Losty (Losty and Roy 2012). My discussion with Roy from February 12, 2014, conducted on the sidelines of the College Art Association meeting in Chicago, follows an overview of the collection. 6 Roots, Aspirations, and Imperial Politics The years 1526 and 1857 are officially considered the dates marking the beginning and end of the Mughal Dynasty. Mughal emperors ruled much of South Asia for more than three hundred years, and their family name is synonymous with excessive wealth and its display. The material artifacts produced under Mughal patronage were guided by the eclectic and very individual tastes of each emperor and were well known to their contemporaries in the early modern world. They continue to elicit admiration from modern-day visitors to museums and exhibitions. The Mughal story begins in the early sixteenth century with a recapitulation of the first Mughal ruler Babur’s raids into northern India. Babur died at a relatively early age, and his son Humayun steadily tried to garner Safavid assistance in regaining his inheritance. He also struggled against his own brother Kamran, who was ensconced in Kabul, as against the ambitious Afghan ruler, Sher Shah Sur, who had taken control of much of northern India within a short span of time. Losty and Roy take readers through these early years of Mughal patronage. Although ethnically Turkic (from present-day Uzbekistan), the Mughals saw themselves as active participants in a Persian..." @default.
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• W2753998077 date "2015-01-01" @default.
• W2753998077 modified "2023-10-17" @default.
• W2753998077 title "From the Imperial Atelier to the Global Display: The Past, Present, and Futures of Mughal Collections" @default.
• W2753998077 doi "https://doi.org/10.5749/vergstudglobasia.1.2.0058" @default.
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