Modelling India. Unfired clay figurines and the East India Company's collections
From devotional icons to didactic displays
Bibliographic Data
| ID | 12561748 |
|---|---|
| Authors | Arthur Macgregor (Victoria and Albert Museum, corresponding author) |
| Year | 2023 |
| Volume | 33 |
| Issue | 3 |
| Pages | 769-786 |
| Publication date | 2023-03-16 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Journal of the Royal Asiatic Society (JOURNAL) |
| Journal identifiers | ISSN: 1356-1863 • E-ISSN: 1474-0591 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s1356186322000797 |
| OpenAlex | W4327592294 |
| Language | EN |
| Citations received | 1 |
| References cited | 10 |
A well-known series of miniature figures produced in India from unfired clay, appropriately clothed and in many instances represented carrying out their respective secular or ritual duties, enjoyed a period of particular popularity on the world stage in the nineteenth century when they were appropriated as illustrative devices in museum displays and international exhibitions. Over the previous half-century or more they had emerged as products of a dynamic industry that responded to changes in taste as well as religious and artistic practice within Indian society, before being taken up by the West to serve new colonial imperatives. There they received perhaps their most enthusiastic reception at the India Museum, established in the headquarters of the East India Company in London in the early 1800s, and surviving beyond the suppression of the Company itself until they were dispersed to a number of other institutions in 1879. From an early appearance at the Great Exhibition in 1851, the figures also became a regular feature of the international exhibitions of the latter part of the century. Initially they celebrated the traditional crafts and practices of India but gradually were recruited to communicate other messages of Western industrial dominance and perceived artistic and industrial superiority. Although comparatively few of these figures survive intact in Western collections, the history of their considerable impact on the European stage can be enlarged upon with the aid of the documentary record
Ancient history · Archaeology · Art · Art history · Colonialism · Dominance (genetics · Exhibition · Political science · Popularity · Taste · Visual arts · Colonial History and Postcolonial Studies · Global Maritime and Colonial Histories · History · Law
| Citations per year | 1 |
|---|---|
| Citation span | 2026 - 2026 (1) |
| Highly cited | No |