Aesthetic Hybridity in Mughal Painting, 1526-1658

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Read online or download

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ISBN-13:
9781317184867

Publisher:

Taylor Francis

Date of publication:
03/03/2016

sold:
E-Book PDF

Format:
PDF

Pages:
336

File size:
9 MB

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Read or download the e-book in PDF format aesthetic hybridity in Mughal painting, 1526-1658 -

The first specialized critical and aesthetic studies will be published on the hybrid concept in the early Mughal painting, this book explores the workings of various creative forces that led to the formation of a unique Mughal pictorial language. pictoriality different from Mughal Persianate models by streamlining the image # 226; # 8364; # 8482; s conceptual framework and other visual means of expression with the aesthetic concept of mimesis. If stylistic and iconographic results of this process of transformation are well defined and indicates their hermeneutic interpretation suffers greatly from neglect methodologically updated imaging studies # 226; # 8364; # 8482; conceptual background. Valerie Gonzalez addresses this gap by examining the cross-fertilization of operations at the level of figurative conceptualization as a result of the multifaceted encounter between the local legacy of the Indo-Persianate book art, Freshly imported Persian model to Mughal India after 1555, and the influx of European art at the court of the Mughals in the sixteenth and seventeenth centuries. A careful study of the visual author of the metaphysical order and the aesthetic language of the Mughal portrait images and sheds new light on this particular aspect of his aesthetic hybridity, which tend to approximate integral as a historical phenomenon of cross-cultural interaction. This approach does not take into account the specific features and characteristics inherent in artistic practice, for example, the differences between Doxis and praxis, conceptualization and implementation, and intentionality that lies beyond. By studying the different phases and principles of hybridization between the colorful pictorial sources at work in Mughal creative process at subsequent levels of the project / intentions, practice / implementation and the result / product, the author recovers conditions of appropriation and manipulation of heterogeneous elements. Its unique use of primary sources in combination with the modern aesthetic-philosophical critical material, in particular, phenomenology, supports it re-determination of the Mughal painting # 226; # 8364; # 8482; s ontology, cognitivity and semantics.

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