Vikramditya (1843 CE)

The illustration titled Vikramaditya from Thunot Duvotenay’s 1843 atlas, Vues de l’Inde, is an example of 19th-century European orientalism. This artwork portrays the legendary Indian king Vikramaditya, a figure celebrated in Indian folklore for his wisdom, justice, and valor. Rendered in a romanticized style, the illustration invites viewers into a world where myth and history intertwine, offering a glimpse into the European fascination with the “exotic” East during the colonial era. This evocative depiction, with its intricate details and symbolic grandeur, serves as both an artistic creation and a cultural artifact.

The artwork originates from Thunot Duvotenay’s atlas, published in Paris in 1843, as part of the Vues de l’Inde section, which comprises over 84 illustrations celebrating India’s mythology, history, architecture, and daily life. Duvotenay (1796–1875), a French geographer and cartographer, collaborated with figures like A.H. Dufour to produce this work, likely as part of the broader Atlas de géographie ancienne et moderne. The atlas was created during a period of heightened European interest in India, fueled by colonial ambitions and the romantic allure of the Orient. The depiction of Vikramaditya reflects this context, blending historical reverence with imaginative embellishment. The king, a semi-mythical figure associated with Ujjain around the 1st century BCE, is celebrated for defeating the Shaka invaders and establishing the Vikram Samvat calendar (57 BCE), still used in India and Nepal.

The atlas was produced during the height of the British-French colonial rivalry, particularly after the Opium Wars (1839–1842), when European powers sought to deepen their understanding of colonized regions. The Vues de l’Inde section was designed to educate and entertain European audiences, blending factual elements, such as maps and architectural sketches, with fantastical depictions, like the cosmic tortoise carrying Mount Meru. This mix reflects the European tendency to romanticize India as a land of mysticism and ancient grandeur. The illustration of Vikramaditya, as plate number 41, was likely crafted to evoke the majesty of a legendary ruler, appealing to an audience eager for tales of exotic heroism.

The illustration holds significant cultural and artistic value as an example of 19th-century European orientalism, a movement critiqued by scholar Edward Said for its idealized and often stereotypical portrayal of the East. The artwork portrays Vikramaditya not as a historical figure but as a symbol of Indian royalty, wisdom, and mysticism, aligning with European fantasies of a “timeless” India. Within its Indian context, Vikramaditya is a cultural icon, central to stories like Vetala Panchavimshati (25 tales of a vetala testing his wisdom) and Singhasan Battisi (32 tales of his throne), which emphasize his ethical leadership and intellectual prowess. The Vikram Samvat calendar, attributed to him, remains Nepal’s official calendar, underscoring his enduring legacy. The illustration’s placement in the atlas, between depictions of ancient temples and Mughal rulers, highlights a European narrative of India as a “fallen civilization” awaiting rediscovery through colonial exploration.

The illustration, captioned Vikramaditya, is a steel engraving, a technique prized in the 19th century for its precision and durability. The image measures approximately 23 × 18 cm (9 × 7 inches) for the artwork itself, on a page of about 26 × 20 cm (10.2 × 7.9 inches). The medium is printed paper, with some copies possibly hand-colored, though the standard version is black-and-white. The style is characteristic of romantic orientalism, featuring a dramatic pose, ornate attire, and intricate detailing that emphasizes the king’s majesty over historical accuracy.

The illustration is part of Duvotenay’s 1843 atlas, published in Paris. Original prints are collectible, with individual plates valued at 50–200 EUR at auctions.