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People of Color in European Art History

@medievalpoc / medievalpoc.tumblr.com

Because you wouldn't want to be historically inaccurate.
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The Metropolitan Museum of Art (February 10, 2016-January 2, 2017)

This exhibition features a selection of more than three dozen historical examples of Islamic arms and armor, which represent the breadth and depth of The Met's renowned holdings in this area. Focusing primarily on the courts of the Mamluk and Ottoman sultans, shahs of Iran, and Mughal emperors of India, the exhibition celebrates the publication of Islamic Arms and Armor in The Metropolitan Museum of Art, the Museum's first scholarly volume on the subject.
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Anonymous Mughal Artist, after de Bry, after White

A Hunter and his Wife

India (c. 1620)

What you’re looking at is a painting by an Indian artist, for an Indian audience, of a Native American couple. The curators postulate that the image is based off prints made from John White’s original watercolors of the people living in what is now North Carolina in the late 1500s, but it reflects Indian aesthetics and imagination of what those people would have looked like.

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Adoration of the Christ Child, ca. 1630

Persian Islamic Court Style adapted by the Mughal Rulers of India.

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medievalpoc

So, I really wanted to reblog this, but it bothers me to post an artwork (or reblog one) without a link back to some kind of record. It took a surprising amount of flexing my finding muscles, because a lot of stuff was leading back to an error page at the Freer Sackler website. I figured, wait a second, I bet that there’s more to this image, and changed my parameters a bit. Turns out I was right:

Source: asia.si.edu
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reblogged

Unknown Mughal artist Christ the Saviour India (ca. 1630-40) Museum Rietberg, Zurich [Source]

Christian motifs are very much the exception in Indian painting. This makes them all the more striking as evidence of Indo-European exchange. The Jesuit delegation that journeyed to the court of Emperor Akbar in 1580 presented the Mughal ruler with an illustrated Bible. Following the usual trade routes, European prints and paintings also found their way to India and there met with great interest among local artists.  

More examples at the link!

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reblogged
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mughalshit

European Woman in Mughal Dress

India, possibly Mughal, 19th century

Gouache

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bobthemole

The text surrounding the portrait is in Urdu and refers to an incident which, if factual, would have occurred some time between 1748 and 1753. My translation follows:

Special Portrait

Mubarak Begum, First Wife of King Ahmad Shah

Brief Account

When Ahmad Shah sat upon the throne of the Mughal Empire, he too indulged in decadence like his late father Muhammad Shah Rangeelay. One day Mian Safdarjung, the Wazir of the realm, invited Ahmad Shah to a feast in honor of his sons’ circumcision. The provisions were lavish. Servant-girls stood by respectfully. The king declined to dine among the public and instead feasted within the harem where the hostess was Safdarjang’s lady-wife. When the adorned servant-girls stood facing the king in rows, the dining king’s glance fell upon the servant-girl Mubarak and he immediately became enamored. Soon after, Ahmad Shah queried Safdarjung’s lady-wife, “This servant-girl is very beautiful, how did you come by her?” As this servant-girl was a favorite of Safdarjung, Lady Safdar felt it was prudent to remain silent but the repeated questions of the king obliged her to respond.

Thus the lady called the servant-girl and said, “The Lord King, the Shadow of God’s Grace, desires to speak to thee. Come forth respectfully and answer.”

Hence Mubarak came forward in a composed manner and sat by and answered Ahmad Shah’s question thus, “Lord, my name is Mubarak and I am from Koh-e-Qaaf.”

Ahmad Shah startled and said, “Koh-e-Qaf is where fairies live, how would man survive there?”

Mubarak responded, “Lord, men live there too.”

The king said, “I have doubts about your humanity.”

Lady Safdar said, “Even I will attest that Mubarak is human and not some demon or fairy.”

Ahmad Shah spoke with her and his infatuation increased. But Lady Safdar, apprehensive of her husband, remained completely silent.

After dining the king left for his palace and Ahmad Shah made many efforts to make Mubarak his wife but his Wazir Safdarjung would not be convinced. Eventually the king insisted so much that Safdarjung was persuaded and turned Mubarak over to Ahmad Shah.

The day Mubarak came to Ahmad Shah’s palace, Ahmad Shah was so delighted it was as if he had won seven realms. But by his ill-fortune, the lady fell ill with epilepsy the same day, a condition of which Safdarjung had not been aware. A few days after the wedding an epileptic attack occurred and Mubarak fell to the ground. When Ahmad Shah became aware of this, he immediately returned to the palace. On seeing Mubarak’s state he became frightened. Under the advice of the head eunuch he became convinced that she was under the shade of some fairy, and from then onward he began to hate the sight of the innocent invalid.

After the recent Tumblr conversations (especially via @medievalpoc) on western narratives about people of color, I thought it would be interesting to share this non-European narrative about a woman of possible European origin.

Note that if this portrait is indeed from the 19th century, it cannot be a live portrait of Mubarak. That raises interesting questions about who the sitter is and who commissioned it.

Thank you so much for your translation!

Not sure if she really is European, given the commentary. But still:

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medievalpoc

This is awesome!!

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Johann Zoffany or Francesco Renaldi

Major William Palmer with His Second Wife, the Mughal Princess Bibi Faiz Bakhsh 

England (1785)

Oil on canvas, 101.5 x 127 cm.

Purchased by the India Office Library in 1924, this striking group portrait features Major William Palmer, Bengal Artillery (1740-1816), with his wife, Bibi Faiz Bakhsh ‘Faiz-un-Nisa’ Begum (died 1828), on his right and her sister Nur Begum on his left. His children in order of age are William (baptised 20 March 1782), Mary (b. 1783), Hastings (baptised 27 December 1785). Three women attendants complete the group. Major Palmer wears a red military coat and yellow waistcoat and the women and children are wearing cream dresses. They are seated on a red carpet in a courtyard with palm and plantain trees.
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reblogged

Unknown Mughal artist Portrait of a European India (c. 1590) Victoria & Albert Museum [Source]

Wikimedia says:

Europeans first came to the Mughal empire in the late 1570s. By the early 1600s, there was regular contact between the Mughal court and Portuguese Goa, and merchants and adventurers came overland or by sea from Europe. A few of them took up residence at court. Their presence led to the occasional appearance of European figures in Mughal paintings or on the border decoration of manuscripts. This painting, which on stylistic grounds dates to about 1610, is unlikely to be a contemporary portrait of a 17th-century European visitor to the Mughal court, however. Details of his dress (the pinked boots and the open-fronted ruff) are seen in European portraits of the 1580s, while the hilt of the rapier may date from as early as the 1560s, suggesting that the Mughal artist used a painting as his model.
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reblogged

Willem Schellinks

Parade of the Sons of Shah Jahan on Composite Horses and Elephants Netherlands (late 1600s) [Source]

Shah Jahan and His Four Sons Netherlands (late 1600s) [Source]

These paintings are pretty weird. They’re by an artist of the Dutch Golden Age who never left Europe, so they’re based on miniatures. And then there’s all these paintings within paintings and curtains and tapestries… and then the animals they’re riding on are jigsaws of other animals.

The V&A says:

The subject is equally mysterious. Although previously identified as the sons of the Mughal emperor Shah Jahan in procession, this is not certain. That they are Mughal princes or rulers is clear from their costume and emblems of royalty, but their precise identification remains to be confirmed. One is carried on a palanquin composed of female figures; the other three ride animals that are also composed of entwined human figures, though the legs of the composite camel at right are composites of animals. Above the potentate whose royalty is indicated by the shade held by a servant behind him, two figures hover in clouds: they may be identified as Shah Jahan’s father, Jahangir, on the left, and his grandfather Akbar on the right. It is possible that the figure in white holding a hawk is intended to be Shah Jahan. No plausible identification has been made for the orange-robed figure holding a large shield and carried on a camel inside a howdah.
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