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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.
A stereotypical view of the nineteenth-century British in India, which might be characterised as one of deliberate isolation and segregation from their surroundings, has recently been complemented by one evoking a high degree of integration and closer co-existence in the eighteenth century. Focusing on a period which straddles this apparent shift, this book explores a variety of ways in which British residents in India represented their lives through visual material, and reveals a more nuanced position. Consideration of these images, which have often been overlooked in the scholarly literature, opens up questions of identity facing the British population in India at this time and facing colonial societies more generally, and issues about the role of visual culture in negotiating them. It also underlines the fragile and contested nature of identity: the colonists’ self-fashioning encompassed not only expressions of difference from their Indian setting, but also what distinguished them from their compatriots back in Britain, as well as engaging with metropolitan attitudes towards, and prejudices about, them.
This unique work is an annotated collection and collation of Western writing on Indian dance from the period of Marco Polo’s travels to India to the formulation of the anti-devadasi bill in 1930, and a little beyond. The book reproduces more than 250 extracts from important texts, which provide examples of how dance in India was perceived as an art, as well its position in the broader cultural, religious, social, and ethical environment. Though some excerpts from these texts are cited in other writings on Indian dance history, there is no other available work that reproduces such a large number of historical writings on Indian dance and places them in a fluid historical context.