Region:  India

Bibliography

Primary sources



Allde, E. The Hollanders Declaration of the Affaires of the East Indies. Amsterdam and London, 1622.

Baldaeus, Philippus. Naauwkeurige Beschryvinge Van Malabar En Choromandel, Derzelve Aangrenzende Ryken, En Het Machtige Eyland Ceylon. Amsterdam: Need publisher, 1672.

Bry, Theodor de. Collectiones Peregrinationum in Indiam Orientalem Et Indiam Occidentalem. Frankfurt: Need publisher, 1590-1634.

Burnell, Arthur Coke and P.A. Tiele, ed. The Voyage of John Huyghen Van Linschoten to the East Indies from the Old English Translation of 1598. New York: Burt Franklin.

Glanius, W. A Relation of an Unfortunate Voyage to the Kingdome of Bengala. London: Henry Bonwick, 1682.

Heiden, Frans Jansz van der. Vervarelyke Schip-Breuk Van't Oost-Indisch Jacht Ter Schelling, Onder Het Landt Van Bengale. Amsterdam: publisher, 1675.

Nieuhof, Johan. Gedenkwaerdige Zee En Lantreize Door De Voornaemste Landschappen Van West En Oostindien. Amsterdam: Widow of Jacob van Meurs, 1682.

Struys, Jan Janszoon, John Morrison, and David Butler. The Perillous and Most Unhappy Voyages of John Struys [Electronic Resource|Electronic Resource]. London: Samuel Smith, 1684.

Valentijn, François. Oud En Nieuw Oost-Indiën : Vervattende Een Naaukeurige En Uitvoerige Verhandelinge Van Nederlands Mogentheyd in Die Gewesten, Benevens Eene Wydluftige Beschryvinge Der Moluccos, Amboina, Banda, Timor En Solor, Java, En Alle De Eylanden Onder Dezelve Landbestieringen Behoorende : Het Nederlands Comptoir Op Suratte, En De Levens Der Groote Mogols : Als Ook Een Keurlyke Verhandeling Van 't Wezentlykste Dat Men Behoort Te Weten Van Choromandel, Pegu, Arracan, Bengale, Mocha, Persien, Malacca, Sumatra, Ceylon, Malabar, Celebes of Macassar, China, Japan, Tayouan of Formosa, Tonkin, Cambodia, Siam, Borneo, Bali, Kaap Der Goede Hoop En Van Mauritius : Te Zamen Dus Behelzende Niet Alleen Eene Zeer Nette Beschryving Van Alles, Wat Nederlands Oost-Indien Betreft, Maar Ook 't Voornaamste Dat Eenigzins Tot Eenige Andere Europeërs, in Die Gewesten, Betrekking Heeft. Franeker: Van Wijnen, 2002.

This book, written by François Valentijn, discusses the different countries that the Dutch East India Company traded with in the Far East. Valentijn spent sixteen years in the East Indies as a minister, and he lived in tropical locales such as Java and Ambon. This book contains more than a thousand illustrations, including the most up-to-date maps of the eighteenth century. [Tami Latta]

https://archive.org/details/gri_33125008243657 https://archive.org/details/gri_33125008243392

Van Reede tot Drakestein, Hendrik, et al. Hortus Indicus Malabaricus. Amsterdam: 1678-1703. [Annotation|1604724:Van Reede Hortus Malabaricus]

[http://www.biodiversitylibrary.org/bibliography/b11939795].

West-Indische Compagnie (Netherlands) and the United Provinces of Netherlands. Three Severall Treatises Concerning the Truce at this Present Propounded. London: Printed by Bernard Alsop and Thomas Fawcet for Nathaniel Butter, 1630.

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Secondary sources



Akveld, Leo and Els M. Jacobs, ed. _The Colourful World of the VOC: National Anniversary Book. Bussum, Netherlands: THOTH Publishers, 2002.

Behr, Johann von der. Reise Nach Java, Vorder-Indien, Persien Und Ceylon, 1641--50, edited by L'Honore Naber. The Hague, 1930.

Bes, Lennart. "The Setupatis, the Dutch, and Other Bandits in Eighteenth-Century Ramnad (South India)." Journal of the Economic and Social History of the Orient 44, no. 4 (2001): 540-574.

Bontekoe, W. Memorable Description of the East Indian Voyage, 1618--25, edited by P. Geyl. London: Need Publisher, 1929.

Boogaart, Ernst van den. Civil and Corrupt Asia. ChicagoL: University of Chicago Press, 2003.

This text collects the observations of Jan Huygen van Linschoten as he travelled to the “East,” exploring the new and unfamiliar cultures, religions, and political systems. Accompanied by these observations are illustrations that depict Linschoten’s impressions of the people he saw, their standing in society, as well as surrounding abundances or “trade-worthy” items. His observations read as a commentary on the social, political, and cultural life of the people. [Arjun Ahluwalia]

Bromley, J.S. and E.H. Kossman, ed. Britain and the Netherlands in Europe and Asia. New York: Macmillan, 1968.

Chakrabarty, Phanindranath. Anglo-Mughal Commercial Relations 1583-1717. Kolkata, India: OPS Publishers Ltd, 1983.

Chaudhuri, K. N.. Trade and Civilization in the Indian Ocean: an Economic History from the Rise of Islam to 1750. New York: Cambridge University Press, 1985.

Courtright, Nicola. "Origins and Meanings of Rembrandt's Late Drawing Style." Art Bulletin 78, no. 3 (1996): 485-510.

Dalmia, Yashodara. “Amrite Sher-Gil: Transformation of the Pre-Modern to the Modern in Early Twentieth-Century Indian Art.” In Crossing Cultures: Conflict, Migration and Convergence, edited by Jaynie Anderson. City, Australia: Miegunyuh Press, 2009.

Filipczak, Zirka Z. "Rembrandt and the Body Language of Mughal Miniatures." In Body and Embodiment in Nertherlandish Art, edited by Lehmann, Ann-Sophie and Herman Roodenburg. Zwolle, Country: Waanders Publishers, 2008.

Galletti, A., ed. The Dutch in Malabar. Delhi: Usha Publications, 1984.

Glamann, Kristof. Dutch-Asiatic Trade 1620-1740. Den Haag: Uitgeverij Martinus Nijhoff, 1981.

Iyer, S. Krishna. Travancore Dutch Relations: 1729-1741. Trivandrum, India: CBH Publications, 1995.

Kruijtzer, Gijs. "Madanna, Akkanna and the Brahmin Revolution: A Study of Mentality, Group Behaviour and Personality in Seventeenth-Century India." Journal of the Economic and Social History of the Orient 45, no. 2 (2002): 231-267.

Kruijtzer explores the rise and fall of two brothers Madhava and Akkarasu Bhanuji (Madanna and Akkanna). As members of the Brahmin caste within the Hindu religious philosophy, Madanna and Akkanna gained significant political clout at the royal Muslim court in Golkonda (Hyderabad). Their authority gave them the means to appoint other Brahmins to the government and benefit the Hindu community from within the administration. Kruijtzer points to this as an exemplar of patriotic Hindus, representing “us” juxtaposed against the foreign Muslim kings, signifying “the Other.” Various VOC records are cited as evidence documenting historical events and illustrate the role the Dutch had in the affair. [Nathan Popp}

Leeuw, Ronald de. “Art in Transit: Give and Take in Dutch Art.” In Crossing Cultures: Conflict, Migration and Convergence, edited by Jaynie Anderson. City, Australia: Miegunyuh Press, 2009.

Mathur, Saloni. India by Design: Colonial History and Cultural Display. Berkeley : University of California Press, 2007.

Mathur uses the colonial history of the Indian subcontinent, especially as it relates to its British colonizers, to discuss design; both as the result of a conscious effort to control the visual display of culture and as a set of aesthetic traditions. Through a case study approach, she addresses the production and dissemination of visual media ranging from crafts to postcards to oil painting. Beginning with a discussing of the “cult of the craftsman,” Mathur depicts the British department store as a meeting ground for industrial society and the Indian craft tradition. Other key topics include the British Colonial and Indian Exhibition in 1886; the oil paintings of Rudolf Swoboda; an examination of the production, collection and circulation of colonial postcards; and a look into the process of repatriation, investigating issues of ownership, acquisition, and the manner in which European institutions collect and display the non-European world. Mathur brings her argument to a close with an epilogue detailing the contemporary status of the “design” of India on the international stage. [Lauren M. Freese]

Reviews available for consultation:

Codell, Julie F. Review of India by Design: Colonial History and Cultural Display, by Saloni Mathur. Victorian Studies 51, no. 1 (Autumn 2008): 143-145.

Cooke Jr., Edward S. Review of India by Design: Colonial History and Cultural Display, by Saloni Mathur. Winterhur Portfolio 43, no. 4 Winter 2009): 407-408.

Kriegel, Lara. India by Design: Colonial History and Cultural Display, by Saloni Mathur. American Historical Review 115, no. 1 (February 2010): 193-194.

Narain, Brij and Sri Ram Sharma, eds. A Contemporary Dutch Chronicle of Mughal India. Kolkata, India: Susil Gupta Ltd, 1957.

North, Michael, ed. Artistic and Cultural Exchanges between Europe and Asia, 1400-1900. Surrey, England and Burlington, Vermont: Ashgate Publishing Company, 2010.

North’s article which appeared in the 2010 anthology Artistic and Cultural Exchanges between Europe and Asia, 1400-1900 (which he also edited) discusses the transculturation of Dutch visual production in Asia. North address a vast swath of material from Dutch imagery produced in the Netherlands and brought by the Dutch to the various trading posts, factories and colonies of the Dutch East India Company, to Dutch artists working in Asia, and even a few examples of Asian artists who were familiar with European artistic techniques. The introduction to the anthology written by North and Thomas DaCosta Kaufmann notes that Post-Colonial theory has challenged the notion that these exchanges were one way, rather they stress the importance of seeing these as examples the hybridization of visual production. North and Kaufmann also note how artistic objects changed over time. One fine example of the shifting meaning and reception of objects is the Sayfoedin-Sultan of Tidore produced by an anonymous Dutch or indigenous artist in the 17th century. The image was originally likely used as political bargaining chip to solidify Molucca's assistance in the war against Macassar. However, a century later the image appeared on the Amsterdam art market and sold to a Polish noble, who installed it in a gallery of revolutionary leaders. In this way the symbolic importance of the image changed over time; first as a commissioned gift, then a commodity, and finally as a representation of freedom. This example and Bakhta Udaipur's Maharana Air Singh in Durbar, which shows the Indian artist's effort to reproduce Chinese Porcelain and Dutch imitations as well as his familiarity with Western Art, specifically genre scenes, are undoubtedly among the strongest examples of North's argument. However North’s larger claims suffer from a lack of evidence due to the lack of description in his main primary source: ‘probate inventories,’ taken of the mobile possessions of the recently deceased. Nonetheless, North is able to present a compelling if incomplete view of the artistic interchange between Dutch and Asian artists during the Dutch Golden Age. North also discusses later British colonial interchanges in India. [Tyler Ostergaard]

Oostindie, Gert, ed. Dutch Colonialism, Migration and Cultural Heritage. Leiden: KITLV Press, 2008.

Panikkar, K.M. Malabar and the Dutch. Bombay: D.B. Taraporevala Sons and Co, 1931.

Prakash, Om. The Dutch East India Company and the Economy of Bengal, 1630-1720. Princeton, NJ: Princeton University Press, 1985.

---------. The Dutch Factories in India. Delhi: Manohar Publishers, 2007.

---------. Precious Metals and Commerce. Hampshire, Great Britain: Variorum, 1994.

Scallen, Catherine. “The Global Rembrandt.” In Crossing Cultures: Conflict, Migration and Convergence, edited by Jaynie Anderson. City, Australia: Miegunyuh Press, 2009.

In the article the Global Rembrandt by Catherine B Scallen, given a brief description of Rembrandt and how he is interact with Global art though global trade. Rembrandt grown up in Leiden, a college town where a lot of foreigner lived. However, he spent most of his career at Amsterdam. Even through, he never travel to those places, but there are evidences that he got foreign objects from various sources. One of the first evidence is using oak panel which imported from Baltic. He also has a client, Abraham Wilmerdenx, who was the Director of Dutch West Indian Company. Another evidence is Rembrandt has painting feature skull, ginger jar and an ivory bowl suggested those object origin from China. The object in this article related to India is the conus marmoreus, the shell origin from Indian Ocean and it was illustrated on one of his etched. [Shu Wun Chan]

Silver, Larry. “Cultures and Curiosity.” In Crossing Cultures: Conflict, Migration and Convergence, edited by Jaynie Anderson. City, Australia: Miegunyuh Press, 2009.

Slatkes, Leonard J. Rembrandt and Persia. New York: Abaris Books, Inc, 1983.

Limited to two short chapters that serve as case studies in the investigation of Rembrandt’s source materials for his paintings, Leonard J. Slatkes’s Rembrandt and Persia focuses specifically upon Samson Posing the Riddle to the Wedding Guests (1638) and The “Polish” Rider (c. 1655). Slatkes primarily uses the visual details from Persian and Mongolian miniatures and manuscripts to argue that Rembrandt looked to Eastern motifs and the borrowing of specific costume details to portray his subjects with a degree of historical accuracy in terms of dress, gesture, and pose. While this book emphasizes the historical tracing of forms in order to make a case for Rembrandt’s historical veracity in his representations of the East, Slatkes largely neglects a critical assessment of the Persian and Central Asian imagery that he deems “accurate.” [Amanda Strasik]

Veenendaal, Jan. Furniture from Indonesia, Sri Lanka and India during the Dutch Period. Delft: Foundation Volkenkundig Museum Nusantara, 1985.

Vink, Markus. "The World's Oldest Trade: Dutch Slavery and Slave Trade in the Indian Ocean in the Seventeenth Century." Journal of World History 14, no. 2 (2003): 131.Vink full-text online

Wiarda, Howard J. The Dutch Diaspora. Lanham, MD: Lexington Books, 2007.