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Title
Ashk Narsa Mery
Author
Muhammad Ali
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119
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Portrait of Shír Muhammad the singer with smaller portraits of Khan `Azm and Jahangir
from an album, “Portraits of Hindu Princes and Chiefs”, 1640 –50
Formerly attributed to Muhammad Nádir Al-Samarkandí
Ink, opaque watercolour and gold on paper
According to an eighteenth-century inscription, these miniatures were part of an album that was particularly admired by Reynolds. His esteem demonstrates that, alongside British imperialism and violent expropriation in India, there was also appreciation for the artistic traditions of the places Britain sought to control.
Reynolds likely admired the sophistication and precision of these closely observed portrait representations of finely dressed Indian luminaries.*
Tradition and Appropriation
In this gallery, connections between artists who never met, active in disparate countries at different times, are explored through the borrowing of motifs. For example, Robert Houle has repeatedly returned to Benjamin West’s ‘The Death of General Wolfe’, reworking elements of its composition.
In 1772 Edward Penny, the Royal Academy’s first Professor of Painting, exhibited a work commissioned by the East India Company, a corporation with its own armed forces that ruled British territories in South Asia. Penny’s painting is influenced by Mughal miniature paintings admired by artists including Joshua Reynolds.
In the late eighteenth century, as the abolition movement gathered pace in Britain, the question of “freedom” was debated in contexts of religious choice, equal rights and self governance. Thomas Banks was a leading neoclassical sculptor. His political radicalism and expressions of support for oppressed people are at odds with the commissions he undertook for the East India Company. Banks never visited India. The information gleaned from his patrons was among the sources that informed his independent, personal works inspired by Indian mythology such as ‘The Hindu Deity Camadeva with his Mistress on a Crocodile’ (c. 1794).
Shahzia Sikander synthesises artistic traditions in her sculpture ‘Promiscuous Intimacies’ (2020), raising questions about notions of cultural authenticity. In their “Slaves of Fashion” series (2018) The Singh Twins draw on Indian miniatures, eighteenth-century British satirists, and medieval Persian and European manuscripts to explore the complex global histories of fabric.*
From the exhibition
Entangled Pasts, 1768–now: Art, Colonialism and Change
(February - April 2024)
‘Entangled Pasts’ explores connections between art associated with the Royal Academy of Arts and Britain’s colonial histories. At its founding by artists in 1768, under King George III, the institution’s first President, Joshua Reynolds, called the RA an ‘ornament’ to Britain’s empire. For over 250 years, artists and architects active in Britain have experienced and expressed divergent relationships to imperial histories. Individually, through families and via patrons, the links are innumerable and entwined. Today, the legacies of colonial histories continue to form part of the fabric of everyday life, physically and emotionally, across social, economic, cultural and political fields both national and global.
Works of art have always been agents of change, flashpoints of debate and producers of fluctuating meanings. A painting, sculpture, drawing, print, film or poem can act as a powerful lens through which complex situations can be viewed and nuanced understandings of them can emerge. ‘Entangled Pasts’ brings together 100 artworks to explore the role of art in shaping narratives of empire, colonialism, enslavement, resistance, abolition and indenture. An exhibition on this vast and complex subject is necessarily a partial, fragmentary view. Moments of history are refracted through the eyes of artists, especially contemporary British artists of the African, Caribbean and South Asian diasporas.
These artworks can represent only a fraction of the institution’s colonial links and the unfolding legacies of British colonialism around the world. Yet, in the visual and conceptual resonances between them, there exists a space for contemplation, inquiry, acknowledgement, reflection, imagination and ongoing conversations..
[*Royal Academy]
Taken at the Royal Academy
A photo of Muhammad Abdukadir Sani from Uganda. Learn more at cure.org/curekids/uganda/2012/12/muhammad_abdukadir_sani/
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