Abstract
Arriving at the Maratha court of Poona in the 1790s, British artists struggled to integrate metropolitan aesthetics into the business of imperial expansion. "Costume" lay at the heart of this conflict, pitting an aesthetic concept against an early ethnographic tool of the East India Company. By focusing on British representations of the Maratha durbar, this essay argues that "costume" tested the ideological limits of Western aesthetics and imperial representation at the turn of the century.
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