The V&A’s “Great Mughals” exhibition, running until May 5, presents Mughal art but risks reinforcing colonial narratives. Critics argue it focuses on opulence, sidelining the era’s complex political and cultural contexts. The exhibition’s traditional framing marginalises vital perspectives and lacks meaningful engagement with decolonial discourse.
The Victoria and Albert Museum’s exhibition, “The Great Mughals: Art, Architecture and Opulence,” continues until May 5. It showcases the Mughal Empire’s artistic achievements, yet it also runs the risk of reinforcing colonial narratives. Critics argue that focusing on opulence alone overlooks the intricate political and religious contexts of the era, perpetuating the same perspectives museums claim to challenge.
The title itself hints at a nostalgic return to historical narratives that celebrate aesthetic indulgence. Such strategies can echo British colonial scholarship, which often portrayed the Mughal court as both magnificent and politically weak, emphasising a sense of decadence. By failing to engage critically with this frame, the exhibition overlooks a meaningful re-examination of Mughal art in light of contemporary debates around decolonial practices in museums.
Organisationally, the exhibition emphasises the well-known figures of Akbar, Jahangir, and Shah Jahan, thereby adhering to a traditional narrative that marginalises other artistic influences and regional perspectives. This approach risks presenting a simplified view of the Mughal dynasty and its artistic diversity, omitting significant contributions from less dominant regions or artists.
Additionally, the exhibition offers a limited geographical perspective. While it includes a section on Gujarat to note its role in trade and cultural exchange, it fails to link this to a wider understanding of Mughal visual culture; the result feels more like a convenient choice than a carefully curated decision.
As for the design, it leans towards a visually appealing setup but lacks intellectual engagement. The linear arrangement and inconsistent lighting create an experience that feels superficial rather than deeply reflective. Objects on display are undeniably impressive but there’s a tendency to let their beauty speak for itself without robust curatorial context.
The exhibition also misses out on crucial works from collections in Iran and Russia that could have added depth and nuance, reflecting Mughal connections beyond a strictly national narrative. This absence not only diminishes the scholarship but also raises questions about the exhibition’s completeness.
To audiences from the Global North, this presentation may appear to be an enticing glimpse into South Asian history. However, for scholars attuned to the complexities of cultural representation, the omissions are glaring. In an era where decolonial discourse is gaining traction, displaying these treasures without interrogating the colonial mindsets that shaped them feels insufficient.
Archishman Sarker, an art historian at Ashoka University, highlights the importance of not just celebrating aesthetic achievements but also questioning the frameworks that underpin them. As museums navigate the sensitive task of decolonisation, it becomes imperative to move beyond surface-level adjustments and engage in a more profound inquiry of historical narratives.
The exhibition, “The Great Mughals,” at the V&A Museum highlights the artistic splendour of the Mughal Empire but risks perpetuating outdated colonial perspectives. By focusing predominantly on opulence and traditional narratives, it overlooks the political and cultural complexities of the era. For a more comprehensive understanding, it’s crucial for museums to engage with decolonial strategies and challenge existing historical framing rather than merely celebrate aesthetic achievements.
Original Source: scroll.in