Renaissance Painting and Expressions of Male Intimacy in a Seventeenth-Century Illustration from Mughal India
This article explores the artistic relationship between Western European Renaissance art and Mughal painting ca. 1630s at the ateliers in North India. A central theme is the employment of European painterly modes in the Mughal visual tradition that expressed male-male intimacy, carnal desire, and em...
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| Medienart: | Elektronisch Aufsatz |
| Sprache: | Englisch |
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Iter Press
[2015]
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| In: |
Renaissance and reformation
Jahr: 2015, Band: 38, Heft: 4, Seiten: 41-64 |
| RelBib Classification: | AG Religiöses Leben; materielle Religion BJ Islam KBM Asien NCF Sexualethik TE Mittelalter TJ Neuzeit |
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| 520 | |a This article explores the artistic relationship between Western European Renaissance art and Mughal painting ca. 1630s at the ateliers in North India. A central theme is the employment of European painterly modes in the Mughal visual tradition that expressed male-male intimacy, carnal desire, and emotional attachment. In particular, the article focuses on the work of the Mughal painter Govardhan, who illustrated the opening scene of Sadī's Gulistan (Rose Garden). Govardhan built upon sixteenth-century European compositional elements and the themes of Noli me tangere and the Doubting Thomas to form subtle yet unmistakable allusions to male-male sexuality. | ||
| 520 | |a Cet article explore les relations artistiques entre l'art de la Renaissance européenne et la peinture moghole des années 1630 dans les ateliers du nord de l'Inde. On y traite de l'utilisation de motifs de la peinture européenne dans la tradition visuelle moghole exprimant l'intimité masculine, le désir charnel et l'attachement affectif. Cet article se penche en particulier sur l'œuvre du peintre mogol Govardhan qui a illustré la scène d'ouverture du Gulistan (Rose Garden) de Sadī. Govardhan y a construit son illustration à l'aide l'élément de composition de l'Europe du XVIe siècle, ainsi que sur les thèmes Noli me tangere et du Thomas incrédule, afin de créer une évocation subtile mais univoque de la sexualité homosexuelle masculine. | ||
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