تبیین ماهیت فرهنگی زیورآلات شبه قاره هند در عصر استعمار بریتانیا بر مبنای نظریۀ «فضای سوم» هومی بابا

Britain capitalized on the collapse of the Mughal Empire to bring the entire Indian subcontinent under its control as a colony.Throughout the 19th century,British culture and art significantly influenced Indian culture and art. British artistic styles,which influenced Indian art, particularly jewelry,with a history as old as its civilization, prompting jewelers to imitate the elements of colonial culture. Therefore, this research aims to study the cultural elements influencing the formation of jewelry based on Homi Bhabha’s Third Space theory.We will examine the identity of colonial-era jewelry from the second half of the 19th century,exploring how the influence of indigenous Indian styles alongside Western cultural elements created a Third Space in the jewelry of the subcontinent.The goal is to read the cultural identity of the influencing elements in the formation process and achieve a third space at the boundary between the colonizer and the colonized.The findings was carried out using a descriptive-analytical method, based on Homi Baba's theory and library information collection indicate that although colonialism attempted to erase the cultural identity of India and impose elements of its own culture,compelling artisans to imitate it and adopt a superior identity, the Indian artist has been able,unconsciously,to incorporate traditional elements into their works.
 

Introduction

The Industrial Revolution in Europe led to the expansion of competition among European countries to reach the Eastern countries. Because, “one of the main consequences of the Industrial Revolution was the increase in production. European markets were quickly saturated with these products, so the owners of these industries, in order to find a market to sell their products and obtain raw materials, went to non-European countries” (Razavi Piranshahi, 2016: 29). In the meantime, the wealth of India called Europeans to itself (Schimmel, 2007: 11) and Britain; one of the most powerful colonial states in history, at the same time as the collapse of the Mughal Empire, seized the opportunity and, by prevailing over other competitors, was able to take control of the land of India. In such a way that, during the nineteenth century, the influence of British colonial culture completely affected Indian art and industries (Barnard, 2008: 72); The styles and methods that are considered to be a reflection of British cultural influences have had a significant impact on art, especially traditional Indian jewelry. Although Britain took fundamental steps “to change Indian society, culture, and [art]” (B. Chandra 1971: 114), it should be noted that since the second half of the nineteenth century, the effects of indigenous Indian styles have also been manifested in art, especially its jewelry (Barnard, 2008: 102). Therefore, this study will examine the nature of nineteenth-century jewelry based on the “third space” approach of Homi Bhabha (1949). The aim was to read the cultural identity of the influential components in the process of formation and formulation of jewelry and to achieve the third space with regard to the relationship between the colonizer and the colonized in the works. It also answers the question of how the influence of indigenous Indian styles, alongside elements of Western culture, has led to the creation of a third space in the subcontinent's jewelry.
 
2- Research Methodology
The present study, which was conducted using a descriptive-analytical method, based on Homi Bhabha's "Horse" or "Third Space" theory and library data collection, has identified the identity of the jewelry of the Indian subcontinent during the British colonial era. In this regard, the abundance of samples included 15 types of jewelry with modern designs, which were selected and analyzed based on purposeful sampling strategies due to the role and position of gold metal among Indians in the past, as well as having a different form than other cases, in order to investigate how the third space was created in shaping the identity of the jewelry of the subcontinent during the colonial era.
 
3- Discussion
With the arrival of Britain in India, the identity of indigenous and traditional Indian arts underwent changes. Because colonialism was “a powerful cultural front throughout the world that transformed the identity and culture of the colonized peoples in various forms” (Darabi, 2015: 140). This caused jewelers, like other artists in the colonial era, to be influenced by the Europeans (Barnard, 2008: 72). And therefore, jewelry, which was once considered a rich treasure in traditional Indian culture with its motifs and meanings, not only for its beauty, but also for its rich heritage, has now, in the colonial era, based on the components of British jewelry, become an ornamental element in accordance with the wishes and tastes of the colonial statesmen. Of course, it is worth noting that according to Homi Baba’s view, colonial identity and power cannot be fundamental and authentic, but rather, he believes in establishing a balance between the colonizer and the colonized in the third space. In fact, “each of the two sides, upon seeing the other, feels a difference, [brings] itself closer to the other to leave behind the traditional and old boundaries that exist between itself and the other” (Shirzadi, 2009: 169). In other words, a kind of imitation of the colonized by the colonizer that leads to mutual influence and influence; and ultimately this causes the destruction of the purity of the identity of both sides. With these interpretations, we can point out the components in the ornaments of the Indian subcontinent during the colonial era in which the cultures of the colonizer and the colonized were inclined towards each other and cultural interactions between the two cultures were formed.
 
4- Conclusion
It is worth mentioning that Britain, by dominating India and instilling European culture in this land, tried to destroy the culture and identity of the people of India in order to encourage them to imitate itself as a superior and absolute identity. However, despite all these cases, and the British domination of the subcontinent, which considered this land as a source of raw materials for industries and a market for its products; it can be said that Indian jewelers, with their intelligence, were able to overcome the monologue and absolute domination of the colonialists and create works in which the indigenous and traditional components of India, such as the dark color of emeralds and rubies, the peacock motif, and other things, were also manifested. And in this way, they created a balance and equilibrium between Britain as the dominant culture and India; the defeated culture. That is, the artist unconsciously managed to include the elements and style of his traditional ornaments in the creation of the works, despite the colonial domination, and indirectly questioned the purity of the colonialist's identity. Therefore, this has caused, in addition to the attention and tendency of the colonized to the colonizer; by imitating it, the colonizer's gaze is also drawn towards the colonized. Therefore, it can be said that the third space in the ornaments of the colonial era of India, in the first step, began with the imitation of Western elements by Indian ornament makers and finally, by referring to the traditional identity of India as well as their style of making, they created changes in the formation of ornaments. That is, according to Homi Baba, in a middle space called the third space, they were moving towards each other and from their movement towards each other, ornaments were formed that were neither what the colonizer presented in its entirety nor similar to the elements that the colonized unconsciously used in the formation of the work.
 

References

Ahsan Bilal, Muhammad , Nasir Khan, Sonia (2021), Mughal men’s head ornaments with an emphasize on Turban ornaments and their connection with European Aigrette, Perennial journal of history (PJH), 11(1): 1- 15.
Ali Sayed, Nafisa (2015), Mughal jewellery; A sneak peek of jewellery under Mughals, India: partridge.
Bala Krishnan, Usha Ramamrutham (2001), Jewels of the Nizams, New Delhi: department of culture, government of India.
Bala Krishnan, Usha Ramamrutham, Kumar, Meera Sushil (2001), Indian jewellery, Dance of the peacock, India: India book house limited.
Barnard, Nick (2008), Indian jewellery; The V&A collection, New Delhi: Timeless books.
Bhabha, Homi K (1994), The  location of culture, London and New York: Routledge.
Bhandari, Nagendra Bahadur (2022), Homi k. Bhabha's third space theory and cultural identity today: a critical review, center for research & innovation Prithvi academic journal, Tribhuvan university, Nepal, (5): 171- 181.
Bhushan, Jamila Brij (1964), Indian jewellery, ornaments and decorative design, D. B. taraporevala sons.
Byrne, Eleanor (2009), Homi K. Bhabha, Hamshire and NewYork: Palgrave.
Carvalho, Pedro Moura (2010), Gems and jewels of Mughal India, London: The nour foundation.
Chandra, Bipan (1971), Modern India, New Delhi: National council of educational research and training.
Chandra, Rai Govind (1979), Indo- Greek jewellery, Abhinar publications: New Delhi. https://paperhub.ir/ (1400/ 10/ 25).
Dadvar, A., Mansori, E, (2011), An introduction to the ancient Persian and Indian mythology and symbols, Tehran: Kalhor and Alzahra university. [in Persian]
Darabi, H. (2014). Approaches and models in art criticism: a survey in educational meta- criticism, Ph.D dissertation, Faculty of applied arts, University of art, Tehran. [in Persian]
Delzendeh, S. (2017).Visual Transformations of Iranian Art: A Critical Examination, Tehran: Nazarpub. [in Persian]
Ebrahimi, M. (2022). Av Analysis the Role of British Colonialism in India and the Separation of Baluchistan, Journal of subcontinent researches, 14(43): 25- 40. [in Persian]
Farahmandfar, M. (2014). The liminal space of culture: Homi Bhabha and Postcolonial theory, Critical literary studies, (1): 17- 34. [in Persian]
Haidar Nattaj, V., Maghsoudy, M. (2019). Impression of Plant Motifs Common Contents of Iran’s Pre-Islamic Architecture on Islamic Architecture Schemes (Respect to Umayyad and abbasid periods), Bagh- E Nazar, 16(71): 35- 50. [in Persian]
Jalali, A. (2010). Islamic Heritage of India, Mishkat, 29(1): 117- 133. [in Persian]
Khalid, Kanwal (2015), Gems & jewels of India (socio political study within historical), JRSP, 52(1): 27- 55.
Mehdipour M, Z., Shokrpour, Sh. (2024). The Cultural Evolution Of Indian Jewelry From Ancient Times To The Colonial Era, Glory of art (Jelve- y- honar), 16(2): 116- 129. [in Persian]
Mehdipour M, Z., Shokrpour, Sh., Rezazadeh, T. (2023). Components of Bakhtinian Dialogism in Contemporary Indian Jewellery with Animal Motif, Negarineh Islamic art, 10(25): 174- 190.       [in Persian]
Mojtabai, F. (2010). Hindu Muslim cultural relations, translated by Abolfazl Mahmudi, Tehran: Iranian Research Institute of Philosophy[in Persian]
Niazee, Sh., Aaraji, F. (2020). Representation of the Third Space in al-Hafid al-Americiyah Novel by Inaam Kachachi, Journal of Arabic language and literature, 11(2): 74- 85. [in Persian]
Nigam, M L (1999), Indian jewellery, New Delhi: Roli books.
Peers, Douglas M (2013), India under colonial rule 1700- 1885, London and New Delhi: Routledge.
Pourmokhtar, S. (2021). Analysis of Third Space Possibility in Iranian Contemporary Painting Based on the Homi K. Bhabha `s Post-Colonial Thoughts, Negareh Journal, 15(56): 109- 119. [in Persian]
Razavi, S. H. (2009). An Examination of the Background to British Entry into the Indian Subcontinent, Sokhanetarikh, (6): 32- 48. [in Persian]
Razavi P, S. A. (2016). The Colonial Consequences of Europeans in the Orient and Iran, History of Islamic Iran, 4(2):27- 48. [in Persian]
Schimmel, A. (2007). Im Reich der Großmoguln(German), translated by Samiee, Tehran: Amir Kabir. [in Persian]
Shirzadi, R (2009). Postcolonial Studies: A Critique and Evaluation of the Perspectives of Frantz Fanon, Edward Said, and Homi Bhabha, Political studies, 2(5): 149- 174. [in Persian]
Stronge, Susan, Smith, Nima, Harle, James C (1988), A golden treasury: Jewellery from the Indian subcontinent, New York: Rizzoli international publications in association with the Victoria and Albert museum and Grantha corporation.
Tabaeian, S. M., Habib, F. (2009). Plant architecture and order , Journal of environmental sciences and technology, 11(4):  317- 326. [in Persian]
Tharoor, Shashi (2016), An era of darkness: the British empire in India, New Delhi: Aleph book company.
Yaghoubi, A. (2016). The Role of Colonialism in the Divergence of Ethnic Identities in the Islamic World, Journal of Islamic human sciences research, 3(6): 1- 48. [in Persian]
Yothers, Wendy, Gangadharan, Resmi (2020), Narration on ethnic jewellery of Kerala- focusing on design, inspiration and morphology of motifs, 6(6): 267- 274.
Zekrgoo, A. H. (2009). Symbolism in oriental arts 1; Elephant in Hindu and Buddhist iconography, Tehtan: Matn. [in Persian]
URL1:https://www.rct.uk/collection/search#/25/collection/11493/brooch (1400/ 11/ 30).
URL2: https://www.rct.uk/collection/11497/brooch (1400/ 11/ 30).
URL3:https://www.christies.com/lot/an-enamel-and-gold-hunting-case-minute-6211743/?intObjectID=6211743&lid=1