Baburid Era Court Painting Atelier and East India Company Painting Activities

Year 2023, Issue: 10, 870 - 893, 25.03.2023

Tolga Uzun , Kübra Yavuz

https://doi.org/10.51531/korkutataturkiyat.1257928

Abstract

On the foundations of the great cultural richness experienced in India during the Baburid era, the Central Asian and Iranian accumulations Baburids brought to the geography had a great impact along the ties they established with the local culture. This variety can be observed intensively in the court painting ateliers from the reign of the third emperor Akbar Shah (1556-1605), until the last emperor Bahadur Shah II (1837-1858). Especially during the reign of Akbar Shah, the art of painting moved to a different dimension with the introduction of western styles to the palace by European ambassadors and missionaries. As the East India Company, which was established by the British, increased its commercial activities in the geography, it started to become an effective power in other areas as well. Company officials have been involved in the construction of many significant buildings in terms of architecture and production in the field of art. The East India company, with its activities in the field of painting, has tried to introduce and spread the power it has in India to Europe through visual language. The company's interest in painting enabled local artists to produce paintings for commercial purposes under the patronage of company owners, managers, and employees since the second half of the 18th century. These paintings are productions that document the political issues of the period, which include social, cultural, and artistic transfer as well as scientific and commercial purposes. The paintings, known as company paintings, have led to the emergence of a new style whilst tending to the subjects in line with the wishes of the benefactors. While this study deals with the painting production in the Baburid court ateliers in terms of style and subject, on the other hand, it focuses on the interaction and distinction of the Company and Baburid paintings.

Keywords

Art history, Baburids, Baburid painting, East India Company, company painting.

Babürlüler Devri (1526-1858) Saray Resim Atölyesi ve Doğu Hindistan Şirketi Resim Etkinlikleri

Abstract

Babürlüler döneminde Hindistan’da yaşanan büyük kültürel zenginliğin temellerinde onların coğrafyaya getirdiği Orta Asya ve İran birikimlerinin yanı sıra yerel kültür ile kurdukları bağların da etkisi büyük olmuştur. Bu çeşitlilik üçüncü hükümdar Ekber Şah’tan (1556-1605), son hükümdar II. Bahadır Şah (1837-1858) dönemine kadar saray resim atölyesinde yoğun olarak izlenebilmektedir. Özellikle Ekber Şah döneminde Avrupalı elçi ve misyonerlerin batılı üslupları saraya tanıtmalarıyla birlikte resim sanatı farklı bir boyuta taşınmıştır. İngilizlerin kurduğu Doğu Hindistan Şirketi coğrafyada ticari olarak faaliyetlerini artırdıkça diğer alanlarda da etkin bir güç olmaya başlamıştı. Şirket yetkilileri mimari anlamda birçok önemli binanın inşasına, sanat alanında üretime müdahil olmuştur. Doğu Hindistan şirketi, resim alanındaki faaliyetleriyle Hindistan’da sahip olduğu gücü Avrupa’ya görsel dille tanıtma ve yayma yoluna gitmiştir. Şirketin resim sanatına gösterdiği ilgi, 18. yüzyılın ikinci yarısından itibaren yerli sanatçıların şirket sahipleri, yönetici ve çalışanlarının hamiliğinde resim üretmelerine olanak sağlamıştır. Bu resimler, bilimsel ve ticari amaçlarla hazırlandığı kadar, sosyal, kültürel ve sanatsal aktarımı da içinde barındıran, dönemin siyasi meselelerini belgeler nitelikte üretimlerdir. Şirket resimleri olarak bilinen bu resimler, hamilerin istekleri doğrultusunda konulara yönelirken, yeni bir üslubun doğmasına da neden olmuştur. Bu çalışma, Babür saray atölyelerindeki resim üretimini üslup ve konu bakımından ele alırken diğer taraftan Şirket resimlerinin Babür resmiyle etkileşimi ve ayrımı üzerine odaklanmıştır.

Keywords

Sanat tarihi, Babürlüler, Babür resim sanatı, Doğu Hindistan Şirketi, şirket resmi.

References

• Akün, Ö. F. (1991). Babürname. TDV İslam Ansiklopedisi, 4, 404-408.
• Ansari, B. A. S. (1996). Gülbeden Begüm. TDV İslam Ansiklopedisi, 14, 235.
• Archer, M. (1992). Company Paintings: Indian Paintings of the British Period. Mapin Publishing Pvt. Ltd. Ahmedabad.
• Avcı, C. (2007). Nizameddin Ahmed Herevi. TDV İslam Ansiklopedisi, 33, 178-179.
• Aydın, A. (2021). İslam Medeniyetinin Büyük Havzası: Yavana, Hint. İstanbul: Ketebe Yayınları.
• Bailey, G. A. (1998). The Jesuits and the Gran Mogul: Renaissance Art at the Imperial Court of India: 1580-1630 Occasional Papers Vol. II. Freer Gallery of Art, Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C.
• Beach, M. C. (1987). Early Mughal Painting. USA: Harvard University Press.
• Brown, P. (1924). Indian Painting Under Mughals. London. Oxford University Press.
• Canby, S. R. (1998). Princes Poets & Paladins: Islamic and Indian Paintings from the Collection of Prince and Princes Sadruddin Aga Khan. British Museum Press.
• Coomaraswamy, A. K. (1910). Originality in Mughal Painting. Journal of the Royal Asiatic Society of Great Britain and Ireland, 874-81.
• Çağman, F. (1992). Bihzad. TDV İslam Ansiklopedisi, 6, 147-149.
• Dalrymple, W. & Sharma, Y. (2012). Princes and Painters in Mughal Delhi: 1707-1857. Yale University Press. Falk, T. (1988). The Fraser Company Drawings. RSA Journal, 137(5389), 27-37.
• Fisher, M. H. (2021). Babürlüler: Hindistan’da Bir Türk İmparatorluğu. İstanbul: Kronik Kitap.
• Goswamy, B. N. (2011). Masters of the ‘Company’ Portraits. Artibus Asiae Supplementum, 48, 769-78.
• Hodges, W. (1794). Travels in India During the Years 1780, 1781, 1782 and 1783. London.
• Jasanoff, M. (2004). Collectors of Empire: Objects, Conquests and İmperial Self-Fashioning. Past & Present, (184), 109–35.
• Jaykrushna, D. (2020). Portraits and Figurative Paintings of Jahangir’s Era. UGC-Human Resource Development Centre, 12(5), 392-412.
• Karagözoğlu, B. (2017). Babürlü Sarayında Farsça Çalışmaları. Akademik Tarih ve Düşünce Dergisi, 4(12), 15-25.
• Koch, E. (2012). The Symbolic Possession of the World: European Cartography in Mughal Allegory and History Painting. Journal of the Economic and Social History of the Orient, 55(2/3), 547-80.
• Koch, E. (2017). Visual Strategies of Imperial Self-Representation: The Windsor Padshahnama Revisited. The Art Bulletin, 99(3), 93-124.
• Konukçu, E. (1991). Babürler. TDV İslam Ansiklopedisi, 4, 400-404.
• Konukçu, E. (1994). Ebu’l Fazl el Allami. TDV İslam Ansiklopedisi, 10, 313-314.
• Kossak, S. (1997). Indian Court Painting: 16th-19th Century. New York: The Metropolitan Museum of Art.
• Kulke, H. & Rothermund, D. (2001). Hindistan Tarihi. (Müfit Günay, Çev.). Ankara: İmge Kitabevi.
• Kumari, S. (2016). Art and Politics: British Patronage in Delhi (1803-1857). (Dorota Kaminska Jones & Agnieszka Staszczyk, Ed.), Polish Institute of World Art Studies, 5, 218-229.
• Losty, J. (2012). Depicting Delhi: Mazhar Ali Khan, Thomas Metcalfe, and the Topographical School of Delhi Artists. (William Dalrymple & Yuthika Sharma, Ed.). Princes and Painters of Mughal Delhi:1707-1857 içinde (53-59). Yale University Press.
• Losty, J. (2014). Painting at Murshidabad 1750-1820. (Neeta Das & Rosie Llewellyn-Jones, Ed.). Murshidabad: Forgotten Capital of Bengal içinde (82-105). Mumbai: Marg Foundation.
• Lyons, T. (2011). Indian Painting from 1825 to 1900. Artibus Asiae Supplementum, 48, 753–58.
• Masterson, J. R. (1949). The Embassy of Sir Thomas Roe to India (1615-1619). Montana State University.
• McAleer, J. (2017). Picturing India: People, Places and the World of the East India Company. British Library. Nizami, H. A. (1996). Firişte. TDV İslam Ansiklopedisi, 13, 133-134.
• Okada, Amina. (1992). Imperial Mughal Painters: Indian Miniatures from the 16th and 17th Centuries. (Deke Dusinberre, Çev.). Flammarion.
• Özel, T. İ. (2004). İngiliz Doğu Hindistan Şirketi. İstanbul: Vadi Yayınları.
• Parodi, L. E. (2018). Tracing the Rise of Mughal Portraiture: The Kabul Corpus, c.1545-55. (Crispin Branfoot, Ed.). Portraiture in South Asia Since the Mughals: Art, Representation and History içinde (49-71). I. B. Tauris.
• Patel, A. (2015). The Photographic Albums of Abbas Ali as Continuations of the Mughal Muraqqa Tradition. Getty Research Journal, (7), 35–52.
• Quilley, G. (2020). British Art and The East Indian Company. The Boydell Press.
• Richards, J. F. (2021). Babür Türk imparatorluğu: Tarih, kültür, teşkilat. (Yasin Tekin, Çev.). İstanbul: Selenge Yayınları.
• Sharma, S. (2012). James Skinner and Poetic Climate of Late Mughal Delhi. (William Dalrymple & Yuthika Sharma, Ed.). Princes and Painters of Mughal Delhi:1707-1857 içinde (33-39). Yale University Press.
• Sharma, Y. (2013). Art in Between Empires: Visual Culture & Artistic Knowledge in Late Mughal Delhi 1748-1857. [Yayımlanmamış doktora tezi]. Columbia University.
• Singh, A. K. (2018). The European İnfluence on Mughal Art. International Journal of Research, 5(9), 338-341.
• Stronge, S. (2002). Painting for the Mughal Emperor: The Art of the Book, 1560-1660. Victoria and Albert Publications.
• Soucek, P. P. (1987). Persian Artists in Mughal India: Influences and Transformations. Muqarnas, 4, 166–81.
• Streusand, D. E. (2011). Islamic Gunpowder Empires: Ottomans, Safavids, and Mughals. Routledge.
• Şahinoğlu, N. (1989). Ahlak-ı Muhsini. TDV İslam Ansiklopedisi, 2, 17.
• Truschke, A. (2017). The Life and Legacy of India’s Most Controversial King. Stanford University Press.
• Verma, S. P. (2000). Mughal painting, patrons and painters. Proceedings of the Indian History Congress, 61, 510-26.
• Welch, S. C. (1963). Art of Mughal India: Painting and Precious Objects. Japan: Asia House Gallery Publication.
• Welch, S. C. (1978a). Imperial Mughal Painting. New York: George Braziller.
• Welch, S. C. (1978b). Room for Wonder: Indian Painting During British Period, 1760-1880. New York: American Federation of Arts.
• Wickens, G. M. Aḵlāq-e Jalālī. Encyclopaedia Iranica, I(7), 724.