This article proposes a theory of the main patterns of artistic hybridization developed during the early protoglobalization period (the late fifteenth to the early seventeenth century). Many of the new intercontinental encounters of this period originated “hybrid” works of art—that is, objects that possess elements from two or more distinct artistic cultures, combined in an original manner. In assessing power relations between two parties confronted with each other’s alterity, this article identifies three main patterns of artistic hybridization: the minority culture pattern; the partnership pattern; and the controlled contact pattern. It also provides analysis of relevant, homogeneous, and sizable forms of artistic production for each pattern, including Hebrew illumination from Iberia and Yemen, Euro-African and Euro-Ceylonese ivory art, and Chinese porcelains and European faience.


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pp. 215-253
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