Mimesis across Empires: Artworks and Networks in India, 17651860 (Objects/Histories)

Uncover the intricate and often surprising artistic dialogue between the Mughal and British Empires in Natasha Eaton's groundbreaking study, *Mimesis Across Empires: Artworks and Networks in India, 17651860*. This meticulously researched book, part of the acclaimed Objects/Histories series from Duke University Press, delves deep into the formative period of British imperial rule in India to reveal how visual culture became a crucial arena for negotiation, adaptation, and resistance. Eaton transcends a simple narrative of colonial influence. Instead, she masterfully demonstrates a complex, two-way exchange where Mughal aesthetics profoundly impacted British art and perceptions, even as European artistic styles offered Indian painters innovative ways to express their own cultural identity and critique the burgeoning colonial power. *Mimesis Across Empires* is more than just an art history book; it's a captivating exploration of cultural encounter during a pivotal moment in history. Eaton meticulously traces the movement of objects and ideas across cultural boundaries, examining the relationships between Mughal artists and British collectors, British artists and their Indian subjects, and the interactions between Indian elites and British artists. Through detailed case studies and insightful analysis, she unveils how Mughal artistic traditions shaped British understandings of their empire and themselves. The book illuminates the surprising ways that Mughal artistic conventions infiltrated British artistic practices, impacting everything from portraiture to landscape painting. But the influence wasn't one-sided. Eaton skillfully shows how exposure to European art provided Indian painters with a new visual vocabulary, enabling them to subtly challenge colonial power dynamics and express their own perspectives on the changing social and political landscape. She analyzes how Indian artists adopted and adapted European techniques, imbuing them with local meanings and using them to create powerful commentaries on the colonial condition. Eaton doesn't limit her analysis to the purely aesthetic realm. She skillfully interweaves the study of visual culture with other forms of cultural encounter, including ethnographic studies, legislative actions, and diplomatic negotiations. By examining these interconnected spheres, she exposes the deeper intimacies and hostilities that characterized the relationship between colonizer and colonized, demonstrating how artistic mimesis was intrinsically linked to the broader colonial project in India. Drawing upon a wealth of primary sources, including paintings, drawings, prints, and archival documents, Eaton crafts a rich and nuanced account of the artistic and cultural exchanges that shaped the Mughal and British Empires. The book is beautifully illustrated, bringing to life the artworks discussed and allowing readers to fully appreciate the visual dimensions of this complex historical narrative. *Mimesis Across Empires* is essential reading for anyone interested in art history, colonial studies, South Asian history, or the complex dynamics of cultural exchange. It offers a fresh and compelling perspective on the relationship between art, power, and identity in the context of empire, revealing the surprising ways that artistic practices can both reflect and shape the course of history. Natasha Eaton's work provides a crucial contribution to the understanding of the British Raj, and to the understanding of how artistic and cultural traditions influence each other. This book will be relevant for those studying the East India Company, as it offers a fresh and well-researched perspective.