19th Century Impact On Islamic Art
Since the mid 19th Century, Indian art has undergone a major transformation due to globalization, advancement of technology, and the spread of various pictorial techniques deriving from europe. This paper will aim to explain how the 19th century mechanically reproduced calendar and bazaar prints, can be understood in reference to religious, economical and contemporary cultural dimensions. In this case, ‘The Print of Mecca’ will be observed and analysed, through the lens of anti-colonial nationalism.
New pictorial forms were being introduced religiously; from Illustrated calendars, to various printed mass produced goods depicting images of hindu deities, mythological creatures, and sacred landscapes (aimed at indian consumers). The sacred beliefs were tied with political representation, depicting hindu nationalism from the times of Emperor Ashoka. However, in this case, the print of mecca depicted the sacred space of muslims, were reproduced for the mass muslim communities. From the use of high color-saturated photos to the motifs and elements, hindu and muslim artists both took influence from one another. This is significant as the re-emergence of the hindu nationalist political party, turned to visual idioms and deities for propaganda; using the most popular religion in India - Hinduism - as a tool to take control of the secular public. Hence, the ‘Mecca Print’ is a depiction of a stereotypical image of a muslim space, unlike the muslim niche market- where calligraphy is used vigoursously, along with the name of god; ‘Allah’ being mentioned sophistically, this print does not borrow from the mughal/ Islamic art, but rather incorporates more indigenous rajput nationalist art, in order to create a more ‘indian style’ of art, hence capitalist expansion has depended on the commercial realm with the help of the mass produced prints.
Artist Ravi Verma, and his artwork became synonymous with ‘Indian’ style, as it reflected a cultural identity, and became renowned in the commercial arena. His artworks cultivated a fine art, depicting visual idioms, mythological creatures, and deities. The town of Sivakasi became well known for its printing industries. Travelers and touring agents would place orders on the number of prints to be made, based on the population of hindu’s and muslims in the community. The adoption of new technology had also helped advance the amount of prints created, along with spreading globalization of cultural identities.
Lastly, the art developed during the 19th Century was created depicting the mass culture, with less representational motifs integrated into the prints, and understood in contemporary cultural dimensions. This is evident in the print of mecca, as it integrated multiple perspectives, motifs, along with cultural influence- from the hindu/rajput style of art- with the vibrant reds, yellows, oranges, and greens, integrated with the european style border- as if appearing to look through the window, into a serene sacred space.
Overall, ‘The Print of Mecca’ can be understood from a religious, economical and cultural dimension, providing us insight of the 19th Century mechanically reproduced prints in the bazaar. ‘The Print of Mecca’ depicts the average stereotypical image of a mosque, which was created for the muslims of the time period.
