Abstract
AbstractThis article seeks to extend the prevailing art histories of later eighteenth‐century portrait miniatures beyond the dominant narratives of authorship and affect. It does so by considering the social role of these diminutive objects in affirming life and liveliness by mapping consanguineal relations between sojourning Scots in colonial India and their absent mothers and sisters back home in Scotland. This gendered axis – in which the portraits are commissioned by young, unmarried men for the possession and display on the bodies of their dislocated female family members – is complemented by equivalent geographical and temporal axes.
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