Aesthetic Hybridity in Mughal Painting, 1526-1658

Nonfiction, Art & Architecture, General Art, Art History
Cover of the book Aesthetic Hybridity in Mughal Painting, 1526-1658 by Valerie Gonzalez, Taylor and Francis
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Valerie Gonzalez ISBN: 9781317184867
Publisher: Taylor and Francis Publication: March 3, 2016
Imprint: Routledge Language: English
Author: Valerie Gonzalez
ISBN: 9781317184867
Publisher: Taylor and Francis
Publication: March 3, 2016
Imprint: Routledge
Language: English

The first specialized critical-aesthetic study to be published on the concept of hybridity in early Mughal painting, this book investigates the workings of the diverse creative forces that led to the formation of a unique Mughal pictorial language. Mughal pictoriality distinguishes itself from the Persianate models through the rationalization of the picture’s conceptual structure and other visual modes of expression involving the aesthetic concept of mimesis. If the stylistic and iconographic results of this transformational process have been well identified and evidenced, their hermeneutic interpretation greatly suffers from the neglect of a methodologically updated investigation of the images’ conceptual underpinning. Valerie Gonzalez addresses this lacuna by exploring the operations of cross-fertilization at the level of imagistic conceptualization resulting from the multifaceted encounter between the local legacy of Indo-Persianate book art, the freshly imported Persian models to Mughal India after 1555 and the influx of European art at the Mughal court in the sixteenth and seventeenth centuries. The author's close examination of the visuality, metaphysical order and aesthetic language of Mughal imagery and portraiture sheds new light on this particular aspect of its aesthetic hybridity, which is usually approached monolithically as a historical phenomenon of cross-cultural interaction. That approach fails to consider specific parameters and features inherent to the artistic practice, such as the differences between doxis and praxis, conceptualization and realization, intentionality and what lies beyond it. By studying the distinct phases and principles of hybridization between the variegated pictorial sources at work in the Mughal creative process at the successive levels of the project/intention, the practice/realization and the result/product, the author deciphers the modalities of appropriation and manipulation of the heterogeneous elements. Her unique

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

The first specialized critical-aesthetic study to be published on the concept of hybridity in early Mughal painting, this book investigates the workings of the diverse creative forces that led to the formation of a unique Mughal pictorial language. Mughal pictoriality distinguishes itself from the Persianate models through the rationalization of the picture’s conceptual structure and other visual modes of expression involving the aesthetic concept of mimesis. If the stylistic and iconographic results of this transformational process have been well identified and evidenced, their hermeneutic interpretation greatly suffers from the neglect of a methodologically updated investigation of the images’ conceptual underpinning. Valerie Gonzalez addresses this lacuna by exploring the operations of cross-fertilization at the level of imagistic conceptualization resulting from the multifaceted encounter between the local legacy of Indo-Persianate book art, the freshly imported Persian models to Mughal India after 1555 and the influx of European art at the Mughal court in the sixteenth and seventeenth centuries. The author's close examination of the visuality, metaphysical order and aesthetic language of Mughal imagery and portraiture sheds new light on this particular aspect of its aesthetic hybridity, which is usually approached monolithically as a historical phenomenon of cross-cultural interaction. That approach fails to consider specific parameters and features inherent to the artistic practice, such as the differences between doxis and praxis, conceptualization and realization, intentionality and what lies beyond it. By studying the distinct phases and principles of hybridization between the variegated pictorial sources at work in the Mughal creative process at the successive levels of the project/intention, the practice/realization and the result/product, the author deciphers the modalities of appropriation and manipulation of the heterogeneous elements. Her unique

More books from Taylor and Francis

Cover of the book The Multisensory Handbook by Valerie Gonzalez
Cover of the book Interfaces of Performance by Valerie Gonzalez
Cover of the book Youth Cultures and Subcultures by Valerie Gonzalez
Cover of the book The Nuclear Non-proliferation Treaty by Valerie Gonzalez
Cover of the book The Trouble with Human Nature by Valerie Gonzalez
Cover of the book Literacy Practices and Perceptions of Agency by Valerie Gonzalez
Cover of the book Community Re-Entry by Valerie Gonzalez
Cover of the book Ramchandra Gandhi by Valerie Gonzalez
Cover of the book Developments in the Baltic Maritime Marketplace by Valerie Gonzalez
Cover of the book The Marshall Plan by Valerie Gonzalez
Cover of the book Handbook of Educational Ideas and Practices (Routledge Revivals) by Valerie Gonzalez
Cover of the book The Cradle of Culture and What Children Know About Writing and Numbers Before Being by Valerie Gonzalez
Cover of the book Digital Archetypes by Valerie Gonzalez
Cover of the book Building Theories of Organization by Valerie Gonzalez
Cover of the book Statistics for Business by Valerie Gonzalez
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy