Lauren Cannady and Jennifer Ferng are the editors of Crafting Enlightenment: Artisanal Histories and Transnational Networks, the June volume in the Oxford University Studies in the Enlightenment series. Interdisciplinary studies of artisans located in four continents, this volume brings together scholarship from the fields of architecture, art history, history, science studies, and history of technology and integrates close studies of original art objects and visual artifacts. In this blog post, the editors consider how artisanal objects, and those who crafted them, provide another window through which to investigate the long eighteenth-century.
Scholars today are rewriting histories of the eighteenth century to be more ambitious in scale and inclusive in scope. As a discipline whose foundations have traditionally been located in the European Enlightenment, art history has long defined itself through exclusive canons of “artists” and “art” that have valorised certain individuals and objects at the expense of others. Recent directives to decolonize art history, as well as architectural history, demonstrate that these disciplines seek to credit those who labour as part of art- and knowledge-making processes.
Artisanal objects represent the material and archival evidence of someone’s work and, accordingly, histories of art and architecture double as histories of labour. Our volume Crafting Enlightenment: Artisanal Histories and Transnational Networks recognizes artisan-labourers and contextualizes their identities in order to acknowledge distinct processes of facture—be that artisanal labour standardized, precarious, oppressed, or coerced—and the working conditions under which eighteenth-century artisans operated. Our volume captures the diversity of artisans from a range of occupations—sculptors, manuscript illuminators, ornamental carvers, desk– and chair-makers, clockmakers, garden designers, ceramicists, architects, and jewellers—working in Europe, the Ottoman Empire, colonial America, viceregal Mexico, to Mughal India, Qing dynasty China, and colonial Australia. The dialogues between historians of art, architecture, material culture, sociology, and technology featured in our book demonstrate how contested histories of colonialism, imperialism, and Enlightenment are also fundamentally artisanal histories.
The contributions in Crafting Enlightenment all argue for artisanal participation within the pluralities of Enlightenment thought, along multiple narratives of Enlightenment that existed across the eighteenth-century world. Instead of focusing exclusively on the Enlightenment’s European intellectual origins, we consider how artisans from the long eighteenth-century and the products of their labour responded to a multifaceted Enlightenment that meant very different things in different places, as historian Sebastian Conrad has argued. Our version of this transnational Enlightenment extends well beyond the eighteenth century, from seventeenth-century projects of state building to nineteenth-century consequences of imperialism and cross-cultural encounters. We hope our volume encourages readers to delve more deeply into the intertwined narratives between art objects and labour—like the artisans discussed, the objects themselves also represent critical moments of transnational exchange.
Crafting Enlightenment offers a timely reminder that artisans employed craftsmanship and labour to assert their own creativity across the eighteenth-century world. These important queries around pluralism and inclusive practices continue to resonate throughout the academy and governments via policy. In addition to identifying historical eighteenth-century actors who have been marginalized by history, scholars might further chart ambitious intellectual territory by tracking how the exploitation of labour and extraction of natural resources today continue to advance the problematic agenda of colonialism around the world. Public attention is now increasingly trained on the ways that local materials, outsourced labour, and working conditions determine our habits of consumption. Such ecologies of natural resources and labour, identified as such in the long eighteenth century, have allowed us to explore how transnational networks highlight discrepancies between certain privileged artisans who had access to imperial commissions and others who did not and remain uncredited for their work. These issues are as relevant today as they were in the long eighteenth century. Artisanal craftsmanship remains at the heart of social critique, demonstrating how the objects we make and use reflect our personal biases. The practices of contemporary craft—hand-woven textiles being one example—demonstrate how feminized labour, materiality, gender, and race have pulled these techniques towards ideological ends. Ethical questions prompted by artisanal production inflect ongoing debates in art and architecture, signalling how the structural limitations of Enlightenment thought have persisted in determining the production and reception of craft.
— Lauren R. Cannady (University of Maryland, College Park) and Jennifer Ferng (University of Sydney)
Crafting Enlightenment: Artisanal Histories and Transnational Networks is part of the Oxford University Studies in the Enlightenment series, published in collaboration with the Voltaire Foundation, University of Oxford.