Mimesis across Empires by Natasha Eaton

8/22/2019 Mimesis across Empires by Natasha Eaton

1/29


2/29

Obj/H:Cl A,

Ml Cl, R

series edited by Nicholas Thomas

bl w f

G F.


3/29

Mimesis across EmpiresArtworks and Networks

in India, 1765 1860

!@QW

Natasha Eaton

D u k e U n i v e r s i t y P r e ss | D u r h a m a n d L on d o n

2013


4/29

2013

All g

S f A -f

T G b Cl B S

b f Cg Clgg--bl

, , 1974

M : w w I, 17651860 /

.

g . (Obj/)

Il bblgl f x.

isn 978-0-8223-5466-6 (l : l. )

isn 978-0-8223-5480-2 (b. : l. )

1. A, I 19 . 2. A, I 18 .

3. A, B I. 4. A, Cll I. 5. A, Mgl

I. 6. Mgl Clz I.

I. Tl. II. S: Obj/.n7303.e28 2013

709.5409'033 23 2013010726

gfll wlg f

T l Mll C f S B A, w

f w bl f b.


5/29

For

Achim

and my parents


7/29

[ cknoedments ]

S b lg , lg wg I

f . F , ,

g I l gfl K W

l T, f Obj/H . T j bg

Ww f Ml Rl. I w l

lg w lg l l w

l w l b w f g. A WwI w f fllw l b G

K Rf. A g w ll wlg f I ll

I b l f g gg f wlg b

lg x l: C. A. Bl, Rb T, . J. Mll. I Cl- Alg G B, T G-T l I. G. K

wllgl g w, w gl g f

. O b ll l l g f q: B

M. W f , l, l

b wl b gl .

R f Mimesis across Empires b gl b B-

A, A H R B, w Wll Fllw-

, Fg, C, S Ab O- Sl w b

l T, v&a- T F, S Fllw

Sl S, M , F l Fllw A

Il A f Mg, l w b AS f g-C S Yl C f B A, b-

bl Cllg , l l z. A -l fllw M I w A

S, g C, S K g f f g

M b . w A Ab I w wfl

S Sgf S, wl A T, Alx , Jll


8/29

x* cknoedments

Aw H f A T Bb Mlf

Slg C f S A S g

b l. I f w Cllg f

, f bg bll l-g l

f ll f llg A H, w xg l b. I

l b b w f B C. l l g T G T Gb, w, f

, f l b bl l

l z, w bl l j. O

I b bl w w wfl UL w

b g b f f .

T ll ll fw l w l bw -

l l l g- - B

, w g I G Qll, S T,

b Agl, R , gl F f bg wllg ll b g x f lll

q. F f j f bgg, I b

B All, l. I fl gfl w

w b l lw f wg g.

lb : Cl,

V Ml, A S f Bgl, I M, A M-

, l b; , K B b; Ml Az

, Alg; I G C, w l; Sl Jg M,

Hb; S M, w; Hz l, Mb. I

S, w Wll b, Yl C f B A

Hg b, H vip , l Mll C-

, Rl b, M, Rl A S, -

l Gll. Al f g b B M

wg, l A b, v&a, Rl A, blR O, Cll w b. I ll gfl

K S, Sll Bj, J Hl Vl R b, f Mg, f w g , -fl g

S f g , wlg, wl w I w

F A b A Ab. O

l B b apac


9/29

cknoedments * x

Cll, w I ll ll I O. (I f f bl

w bl x l Blf, w l.) T j

g fg f l Mll C f B A f

H f B A w I wl b bl

l bfll g. I b f

Rb Hg f bg g lfl w g wfl l-l f . A , lzb Al z S ll

g g f g g. Wg w

b l j.

I wl l fl, fllw l, f w w w-

g w b f f b: I, A,

Mjlj, z, R; gl, l, J, G T, J-

, l, H, G T, Rf, J,

T, Tg l, Tgg ; A Ab, B, lw, B,

, M T T, Slb. M , , f-f l , w w b l b w.

A T j f

fw : b .


10/29

[ n troduction ]

!@QW

A g A g

Hw w x? I l b ,

f w f w

l w . T l f

f f , , , l, . T w I b lf, ll , I lbl -

f (g I.1). T gg w f w I

, w w bbl I f

, g , I bl, l b lg .

T I wl B wl g gl gl bw w , l,

f . T g I

l, x ll g bj

b lg b .

g w b , ll Tll Kl

f f fl B w I. Kl w l lg b

g w x, w xl g

fbl b, f , w- l ?

H f Kl l l l f l

bf . Kl f nawab (l) f I f Aw Sj -l l 1770: ll g-

zbl g. O l l g xg l l . Alg f Kl (w ll

lf- z l ) f wb, Sj -l

Af -l l bl w ll .

Kl w l q ql Aw , f w


11/29

2 * ntroduction

w f Mgl l. Ol g l l f,

Mgl . S w w b bl f g? W

B ll w qg f f Aw, g w l

, g b ll f l

g f . A l l w; l

lzg f w l g .

H ll l l bj; l b

bfl l f f -

: lg w. B b f ll lll b -

f nawabi glg. H bw l f l wb Af -l ( g) B- l S

Al K ( lf). Wl B ll f Aw , l f Mgl . B l

f g . T bl w f w ll-

g b flw b I l g

b g l--, fl j

iure n tro.1.A I, Shuja ud-

daula and His Sonswith a European

rtist possibly Tilly

Kettle, w,. 1815. Wl . v&a,. V Alb M,.


12/29

ntroduction * 3

w b . lw gzbl

Mgl l w l w ff-l ll. I g

f b b j xl w -

g l w lf l .

T l bj f g , I , B-I ggl

. I f q, bj, g, z, l, g l b q Mgl l l ll ll. T -

ll g l, fl, f g l

. Rl j l b g

g ll gl, l, gzbl. A f q f

fl, b gg g f l w b Tll

Kl. T f f , w, f-

f g b b

ll b w bl b l W

, a stream without a beginning and an end that undermines itsbanks and picks up speed in the middle. All f g b llw

w g l. T b l b f f l

gl, b w l l f

f l. T l ll g gl g l f w. All f bl g

g, , f I B l .

M w xbl g b x b

f l w f l f

l ll q f l l. I f

f l w the painting o the painter paintingw b I

l, , , w w b ll l

wf; bl w b fl l I

ll bz. Ag gl f bg lbl ,

w b z b b f l , g-

g f , f b f l ,

g f l l w w w

bg l f lzg l: f , bz, wb . H bw

b w; l f , l, b. T bj f f

l f l .


13/29

4 * ntroduction

g I.1 w bg, g, l, xg f

bj l f. w

w ll. Hw, w, w w l w. I b

f g l f f I g b l

bb Mgl, l Mgl, C Sl. S l x-

( lg) q f g -g x , l g. T g lgl j w W

l l g f f f w I bl b

imaginative analysis o mimetic possibilities. A llx bl

x.

M Flx

Flx: A f wg; x; ; f w; f; g f f g f g l l;

bl wg.Longman Dictionary (bg )

T b b l f B-I l g . S b f l f

, l, bl , l b l

f B ll l I. Tg w f

w gl Mgl B l f, I g

f f z . A f z f

llw xl j f xbl gg (

g) . W w b bg x, w

bg x , xl

w f w l l l, ,

, blg, .

Sll I g w B ll l , b-

w l f xz, l x,

lzl gg (l l f lz), w

lg b . I g w Mgl l w fqlz b f, x, fl. I xl w b f x, f f f Cl,

l f g B ll I ll g

w w g b . M , w f f ,


14/29

ntroduction * 5

gl lgll f w I bl b l

ll, l, glbl w f f. T -

b ; w w

llg f l f . T l f w bj

l g , lg l

l Agl-I , w l wg w l g f B .

M lgl l lx f

l g f ll x B S A. M -

q bg w f x f I

bf w I f ll

Cl, w l gw f xl f l f

(l) I. I w w l

f w l b g g w , w b

. M j w l () f q g x g: w g b l, ,

, l, l gl bl

b f l b l.

T l f j b b f j

ll : 1765, gl I C f

g l Bgl w Mgl w bg w bf, 1860, ll f C xl f Mgl

B II Rg f g, b Fl B

g w f w l. g l f bl-

g, B l b -

b gl w ll others, l l f

l Mgl I. I f wg g l q

fl g f f B lg (..,

l) S A, I fg f fl

B f g w w f Mgl g, ll,

. T Mgl , w , ll, f g l

l l , w glb. Alg B g lz I, gz l

bl f Mgl . A I l f g

I.1, x f g l w fg w b bg. I ll l b


15/29

6 * ntroduction

wll w f lg b bj f fl fll

l q. I l -ll f

ll ll l wll b f l l w

f l l ll .

T f b w w b w g

x. M l b q f l, , Ol. Alg fg f , gI.1 l, ll lgl ll f l

l . T I l bl bw

gl g f Mgl g f I g.

g- l - I lgl b g -

f ll ll l b

w f ll bl gl g f

l Mgl l . B G K C

x f l - I , gl, ll g wll l f ll f l-

. Rl b blg q lll

l f w l x. I w l.

C f f g bl f w l, ll l l w f l

x-l, l l w f ll w. T -

l bw l l g bl g bl.

M f w w f Mgl I

w l l f g b wf ll l.

f g I.1 bg x w g f l, ,

bj w wl b b w f

l g f x b ll ll lz.

I l B , fg f -

wg bw gl g f G T (. 1700. 1830)

wll-w x f g Af Ml lgl b gl. A f I ,

b bl bw f l g- llg g wl f f f ll

l l. Wg gl

l l, l f B g w flg

w l . T bgg x x f


16/29

ntroduction * 7

w B W I, f l

g g, f l . I-

l, g j f B l l.

l w ll g; w l

l f f l lz

f . Wl g lbl, I w g wll l- . T fw w g- B I

l w f l Ml A, , ll,

l. A ll C Sl g gl

, b l j b x-

l f q.

T gl ( ) x bl g f

A lIndia and British Portraiture g f -

ll g w l l f Rj l-

g. Vwg I g l f Ol f f l g ll j only bg -

fl. W , I gg x

f l l l f -W f fB , , . B g f w -

lz B , R B , x

l.

Fg llg lz f B

I, l l fg fg xl f

l. I l f g b

- ll w I g

l b gl b

f f . M w g

b f l fcolonial . I

j wll l ll l l I l b wll l

bg g l f f lll

l . Fg 1765 1860, I w w

bg. A x f lx x llw l w w gzbl

l.

F f l g l w, l l xl f

f f l lbl g. I l f l-


17/29

8 * ntroduction

f l I w bg l f l

bl fl l f g, , bj-

. Ig w f wlg Mx , wb g

ll l l w q ( f); bj

b l l. M g g

wl l g ; l -lf l b f f g, b, bl, l lbl g. Tg l f W. J. T. Mll bg

w l l f g, I w w bj

w g wlg l, g f, wg

f f glb . l l f l

l f g g lx j l g f

g f l x, f f l bj

?

Tg g I g lll l f lg l l f g f q -

q f l. M

b f bj, b l

g bl f g f w -

, l, ql. F lb l f -l -g- w ll g

-- I, Mgl l wl f B

l. I w lg g, w b

lg f w wlg, wb lz b

f gg, I glg ll g

. B wg x w bg g

f , f f ll l w b

f f w w , w w

w gl. B bl W g w

l b l , bl llgl lg f g- - S A g ( w lg

, .) ll l fll .Wl I l f g f g -

l f gbl, I l lb ll w I

b . M wfl lgl

b b g x f R G, Ml Tg,


18/29

ntroduction * 9

H Bb, I w w lz l-

f . Wl l f , I bl

ll ( l ll) g

f xlg -ll l. I llw

b bl f g bl . I w

l lf b .M b f gl f

g f G, Tg, Bb, w, w g, w

j w ll ( l) b. B wg w

w I w, l f g f g

(w w lg w Mgl, ll, b ), b

w-w . T l I l, -

q , b f , bl f ,

bl . T f f x q

f bq exchange co-histories l l. T -l lgl f xg - l

l, , g f -ll gl.

T l R G g g gl xg w lg bl f g.

F G, w bl b x f ,

ggl f g, f g. I lbl b-

f gg f

w l b b l g f f g-

. R g b (q, bl

l), G g l: b f g-

. Il q, f mimetic desire f G

fql l bj f w Hgl f

g. M f w I B ggl

w, I G f q

ll . A l xll w , I w

f q l l

f ll x. Wl f l b l , g , I w f w ll l l. A

l b g l .

T xl lg w : bl,


19/29

10 * ntroduction

. I f lf. T f -

bl g , I g, b ll l

f l. T l bw l l

l l f l ;

bl , bg l, x l l b l -

. T ll b x ll gl b ll H Bb f zzlg . A g l I wll w, I

l f w x, ll l

Cl f W b I

. I l f Bb w gg f b f bl-

bl ll bl w

g g ll x. Hw, wl

f fl w l w, w b bl l

l, I gg w, x, w l B wl b xb b f x ll

l.

A I g 1, l g- w l ( f ) f l, w l lg

l f ll f. T f l,

l, l g f

lg l Mgl I. T w

ll l Bb xl. Cll b w

l. F Bb, ll wlg b ll l l,

b l l; l f , g l ll

g b , g w craquelure. H

f ll f lz l l

w, wl l wbl bl, f g .

Rbl l; lg gg bl , g,

g bl.

A l fa painter painting a painter paintingl, b

lbl f g b g f I l l ll b B. f g, , l f,

-bj ll l wlg f f ,

wg, [] f f f f . T f f

fg w f w l g bw


20/29

ntroduction * 11

. W f f ,

f w f wl g l bw -

wl l bw bl . If f f

b gg f , l b

g .

B w l f b l l f ? T l b; l g l f . M g. I w b b b

l, l lf w. I f

w lg Ml Tg gl f l

g g, f w I j w l f

f q, w ll lll -

f gg ll . F Tg, f f bg f

f g l f g g, the b f wlg f ll

. Fllwg Wl Bj, l w : bl wl g l

f w-f f x. T wll -

. Tg z f : b w -W l B b l B g ll

j bw g. I bl b , bl

g w w llw

f ll ll f . W bg

lf, w ll ll.

Tg f C lw W f -

lg b b bl f W wlg.

Tg bMimesis and lterity f -

l, l l W l

ll . T g g f

l f Bb f I . I bll x

C g, Tg w l f w l

ll w b bj ll x x b-

w f ll. T indigenous mimesis w l w. W ll g w l x

g w gl g gl bj bl f g g .

w lbl g l l w j. A-

w w l bj f l; l g ll


21/29

12 * ntroduction

bl x : l b gl. ll

f I l w ll f W l b bj f w. B

I l 5, ll l l

ll l wfll bl. I f f ggg

g w l l b lz f f l . Cl-

l l g l f w I lg l , l l w fgl . Kwlg, bl, fql ll

l l b l f f f

w l lb w x.

Rg Tg g l ( vernacularizing) -

ll j ll f f wl-

g, I w l b b glg f f l

Mgl I. A ll Hllw g, g f

l x f lg. I b I f l b w f w l f l b l

I-Il f . I I-Il l

f l g fl f f (mutakhayyila),w bl l f b l f

. T l l surat, l wl f ,

mani,G l wl. Surat, w l g g,

lgll l Ab I- f , tasvir,w

w f . O bl g S

S g I f-

f bg (lf-) l g (lf-g) :

T f Vl g f C. . . . T T

lf-wlg g G w lf-.

T l b . T l, , l-

bw . T ll g

wl l j f f ll.

Tg b I g l j w I B

g w fg ,, b l. T hetero-images b b lzg -

l. T l, w l ,

bl l g . f

l f w w g


22/29

ntroduction * 13

l -ll l. I g g

bj, bj l. Rl b f

g f w bj: bj b l

, w bj bl f fg g l

f bg. C gg b g; bj

lg . A .Mimesis across Empires b bb, , f b g w l l .

C 1 f w bq wll b g

l b. T f w w fll

w W l b l f f, w ll ,

w b q fl j l. C 1 w

l bw ll l-w g. V S

w w bl b g f l g

fg f l lf-w w x l b g f f f . O l I

w B fg jl x l

balter-aware. T I f l l -g l l w f ll

w bl l l. g l

wlg l f I f

f l . A ll ll f

Mgl , lg proessional l I,

bl l l f I-Il g

wl g l g l .

T lf f lg- w I w l

I C f l -

l g. T ll f f l

f f f B w

S f A Rl A. Cl

b w C w g f . T C

try to appeargl lg f l f w. l , f S A, bl

1856 g l f G xb f 1851 w

lg j B-I g f bg-

lg f g g f zg


23/29

14 * ntroduction

l , C ll b w w .

I l f ll lg l

ll w g b.

C 2 xl l f w l f Cl g

x f f . lg l

l l l . lg f w lw l. B b l j- f l g f l . Sll

g f l b b fbll wl bb,

, g lf , w -

l l, gl f B . I gg f B

w ll g l. O f g- l f

g l, ll g ggl lg, wl

lg- w f g, l, g, l

l f g. g, l, bb, B l z b

f , w l bl, b f .

Ag ll wl l l

f , w w l bl fll g.

C 3 blz g f -

l q g - f . A

I l, q f bq bl

l f wg lg b . T f b l l

b f x w j w g l w

w l ll fllg . T , w, f

g f x. Fg f l g, I l-

l f B I-Il g

I l w f Wll Hg w

f S A lzg . B g I

gl ll lg g. l

g C Sl f w z ll. Wg ll bz lg ll

I ( Tj Ml, l Ql, l), l w

f l l , wl bg b


24/29

ntroduction * 15

l f , ll l f -

l q.

g g f, 4 x l

g bw ll l I . A C f-

g l x x f w, A, ,

Hb, l bw gg l l, f- g bf g bj. lg -

, B l gl z Mgl

g f jwl, l g, w w g f lbl b

l . H lbl ( l l

C l) b g Il wb g -

g f H w fdarsn w b. I

ll g, wb l l

l f l - Mgl ,

wl ll b g l fKunst undwunder kammern. B I l , l l-

zg w ll f w I l

ll ll w g l g . T l-l l-w g b g lf.

C 5 x w l f :

f l g. T bw I-Il

g f l bfrsa (l, S g) ll -

w g f . l ,

5 I ll x ( l) w

g b gl . A l f llw g

bw S, S, Mgl, H, ll f l-

wg ll ll l f lf . I 1830

f bl bw b l ll f lg-

f. g f fl ll I

b w ll ll, f C Sl -

, wg f l , , f,

bl, ll , l, blg, ll fg b bll l bl b ll

.

T f z b ll bl gz


25/29

16 * ntroduction

I bj lg f ll . M g w l

b xg glg f . I bgg f

f l w l w l lg

l - w- llg

f, w j glg xl

Mimesis across Empires l fl. T C w Mgl - (f l f C Sl w

f w ) l bl f ll l j

I lf f g wl f. B

l b b I , w A bb

bg-, w x- b . T

w w Mgl l g f ll ll.

T l ll lg f I

g, f , f I w B (-

l bg g) l f ll , fPadshahnama l 1947 l M w

l b .

I B w I bl : Sl

b f unesco l , , f l

w l w, l b l ? bl lllg, wl gl q l-

l f Rj lg. A f l

f gg l: I f bb? I f l -

f j f ll-

ll, q : Hw w g bl f

g -- ()ll bj g g f l? Hw

ll bj l l bg g b

g l wfl bl f ?

If g f lzg l, l ll .

I l g x b g .

B x l b g ; b

b f l l. T f x ww ll f : l fl, -

, l , f, x, gl

g. I xbl fg f

g l , l bl . A w j


26/29

ntroduction * 17

bgg l gl , f b g-

l gl b l I f g

balll , j ll. bx,

f g . B l H g -

g ll wlw w w w b .

M z f gg lf f w w w g b w lg l- bw g. I g fllw l w

g l w xl j w b l

g f bg x.


27/29

[ Notes ]

I

1. A Pl, Company Paintings,45.

2. Ry, T Bz; Yg,Bazaar India.

3. J, Gods in the Bazaar, 3, 4.

4. T m wly by . Provincial Mughalf by

Mgl f Mgl ; Company Schoolg g mm-

by f B.

5. F lm b xlly mlly m, A, Company Draw-

ings; A, India and British Portraiture; Alm Gl, Indian Renaissance;

Rg Pl,Indian Lie and Landscape.

6. Smz,Aer the Great Mughals.

7. K, When Was Modernism,45.

8. Py, Photos o the Gods,56.

9. Py, Photos o the Gods,56.

10. Skl, Mb Pg; Cj, From the Karkhna to the Studio, 2.

Cmy g ly fllw g, mg ml fm

fll vly ll l. Ag A, Company Drawings, 12, W

mk x, Cmy g k m m fm vy .

T fv bj w m, , , m f fvl

w , m, H ml. S bj, g , -

v f l lf I w g yl S,

ml E, -B m

x vm w Cmy lv.

11. Exmly f llm l xl B HImage

o the Black in Western Art;W,Blind Memory;Qlly Kz,An Economy o Colour.

A g bblgy f lfg l vvw f b f

Bg, Qlly, Fm,Art and the British Empire,35761.

12. Kz, Slavery, Sugar and Refnement;Bm, The Image o the Black in Western Art;B-

m, Ape to Apollo.13. Fm,British Art and the Seven Years War.

14. Ml A w xvly I B . T ky wk w I f

yIndia and British Portraiture. H , w l f

m fg ml, w k v f I O Lby


28/29

24 8 * Notes to i ntroduction

L, w w g f wg; k

w f b, W. G. A (A P, M E 236). T wl mk

lly y mlv. T l w v A b f

w gm l B Fwk Tb,Picturing Imperial Power;D Alm

Gl,Indian Renaissance.

15. Dk, Colonialism and Culture, 2. T wy f g A gm

f x bl kg f vl w gg m byT G-Tk. I m gfl f lgg v. W w

f A wk (w b f wll-

l w by ll l bl ly w-y f

jlBengal Past and Present) w fl f ll , m bvly

Oz Hmy.

16. Ckby,Provincializing Europe;B, Ilg E.

17. S G-Tk, The Making o a New Indian Art; Glv, Making Lahore Modern;

M,India by Design; D, The Bureaucracy o Beauty. Ug xll P.D. -

b, Dl Dw ly gzg j l Cg

Kwlg: Cll A Sl S A. 18. Gm, Ways o Worldmaking.

19. Mll, Em Obj, 145.

20. A, The Social Lie o Things;Tm,Entangled Objects; S,

Egl Obj; Mll, Em Obj, 146.

21. F fl vvw f mm, Gb Wlf,Mimesis.

22. Tg,Mimesis and Alterity,249.

23. G, Violence and Mimesis.

24. G, Violence and Mimesis, 201.

25. Gb Wlf,Mimesis, 306.

26. Bb,Location o Culture.27. Bb, Of Mmy M.

28. Bb, T O Q, 45.

29. Bb, Of Mmy M,91.

30. Hgg, (P)llm, Algy Mg f Mm, 94.

31. Hgg, (P)llm, Algy Mg f Mm, 97.





36. D,Dissemination,22.37. Hllw,Absolutely Postcolonial,.

38. Bgl, The Feather o Simurgh, 13858.

39. Cb, The Man o Light in Iranian Sufsm , 78.

40. G, Violence and Mimesis, 155.

41. L,Pandoras Hope; L, We Have Never Been Modern, 63.


29/29

42. T k fm S, Culture and Imperialism, 54.

43. C,Heart o Darkness, 5.

44. S, The Sel-Aware Image.

45. Gv , y I l ly w fl ll , ,

w mk lvg xlvly fm , kg f

mly m w l m my fm l f w-

l .46. D,Bureaucracy o Beauty, .

47. S D,Bureaucracy o Beauty;MGw, Craing the Nation.

48. H I f wll-kw f H g,Empire.

49. L,Pandoras Hope;L, We Have Never Been Modern.

50. My b L wk wll b v g my gm. S Lw H,

Actor Network Theory and Aer.

O. Clzg Ex

1. zm,Iskander nma, Sk, Mirrors o the Invisible World, 3437.2. Ib l-Hym,A Discourse on the Concave Spherical Mirror.

3. Rxbg,Preacing the Image, 186.

4. Ib l-Hym m b Treaty on the Form o the Eclipse. S

l,Kitab al-Manazir.

5. Of , Mgl ly fm f mg C; Avl, Turquerie,

f Om E.T l C m; I l

fw m l: P, The Chinese Taste in Eighteenth-Century England;Imy, Chi-

noiserie; L,Asia in the Making o Europe; S, The Chans Great Continent; Clk,

Oriental Enlightenment; Jk J,Encounters.

6. K, T Mgl f Mllzmm, 153.7. Py, Cl E, 12628.

8. S, Orientalism; P R,Exoticism in the Enlightenment; Kllwlf, T

Ex F f Iml Img.

9. O f fw B kwlg m f x

All, Tides o English Taste.

10.Nabob m B b E I Cmy l w m

f I w ly q wl b f nawabs (I

).

11. S, f , mm f S J Bk, I w blg m w fll

f I w, y f bb, q Dv, Lives o Indian Im-ages, 163.

12. S l D M V Mg, Igy, Pf, Pg f P.

13. P, M By.

14. D, T Fl Sbly, 45267.

15. Py, Cl E, 263.

Mimesis across Empires by Natasha Eaton

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