A Deep Dive into the Art of The Next Prince Episode Seven~ Colonialism and Social-Gender Non-Conformity
I have spent my free time today researching and considering these two paintings that had their own shots in The Next Prince episode 7.
The first is The Triumphal Entry of Henry IV into Paris by Ruebens. This painting is shown above the sofa in Khanin's sitting room.
This 1627 painting depicts Henry IV returning to Paris as king, which ended years of warring between Catholics and Protestants. Henry IV was raised Protestant, but converted to Catholicism in order to become king and end religious violence. However, after he was assassinated by a catholic citizen just over 15 years later, violence between the Catholics and Protestants began again.
This painting is set in Paris, but shows the influence of the much older colonizers, the Roman Empire. The pillar-ed building in the background, the golden chariot, and the manner of dress all harken back to a time and culture viewed through rosy retrospection--the idea that the past was more positive than it actually was in reality.
Many scenes have taken place under this piece of art, and many more to come, I'm sure. What messaging can we glean from one prince, Khanin, sitting under a depiction of another royal returning to power ?
Firstly, Henry IV had to give up his childhood convictions in order make it there-- something that is also being asked of Khanin, even if it's not as clear-cut as converting from one religion to another. Khanin doesn't care about the class structure which is so integral to Emmalian life. He wants to interact with everyone as equals, he wants to have fun, and he wants to love who he loves. In order to gain power, he is already being asked to give all that up--and he may be faced with the idea of breaking apart a long standing tradition that "stabalizes the empire" if he doesn't offer himself up for power and control remaining in his bloodline. The question is--will he? Would it even be worth it, considering that Henry IV's sacrifice of foundational values was meaningless once he died and religious violence began despite his efforts to appease both sides during his life.
I also find this painting important when considering the theme of colonialism in this series. Henry IV's rise to power is portrayed as an extension of Roman rule over Europe--showing how Rome still influenced the power structures of the 1600s. By showing this painting so prominently in the series, I believe there is also a statement being made about how European influences are still very present in modern Emmalian (and therefore Southeast asia, where this fantasy land is located) life and rule. If Khanin is triumphant in winning the "war" and bringing himself and his family into further power, he will be continuing the traditions directly influenced by European invasion and rule.
The second painting is The Horse Fair by Rosa Bonhuer. This painting is above Khanin's bed.
in this painting was completed in 1855 and depicts horses being sold on a street in Paris. In the background, the asylum of Salpêtrière--a place for insane or impoverished women--can be seen. The artist stated the depiction was inspired by the sculptures of ancient Greek artists.
Earlier in her painting career, Bonhuer went to study drawing animals at a slaughterhouse, as was the practice at the time. She experienced such harrassment at this time that she applied for special permission from the police to dress as a man when she visited this street for a year and a half while making this painting--and quickly adapted to wearing pants during other pursuits as well.
Because of Bonhuer's experiences while making this painting, the depiction of these creatures be controlled is strongly tied to ideas about bodies acting and interacting in ways society seems unfit, how people in those bodies evade harrassment, and the looming threat of what may happen to your body if you go too far out of line.
However, even with the simmering threat of your body being controlled there is such vibrant life in this painting. The horses, though being sold, tower over the men holding them. And Bonhuer, who lived in a time when women commonly had no money or property, was able to be financially independent through her art.
The very creation of this painting is proof that you can succeed when going against cultural and gender norms. This speaks of hope in Charan, Khanin, Ava, and Ramil (and associates) succeeding when going against cultural norms--in gender roles concerning romance and leadership, hopefully (wink wink, somehow make Ava queen).
While I still think the use of a second french-associated painting that uses influences of older colonizer cultures points largly to the presence of colonization in The Next Prince/Emmaly/Southeast Asia, it's interesting to still be able to find links to other themes and character emotions.
But maybe I'm just reading too much into it. Maybe it's as simple as horse paintings-->Charan kept in horse stables--> shirtless Charan likes horses/horse stables.
Although, there was also this picture of a military official on a horse featured behind Ramil.
And while it is not a specifically known painting, it is a painting that was produced through a 19th century Spanish art trend, where soldiers on horseback were commonly depicted to exude military strength and leadership--as well as the general importance of the military in historic events. While I doubt they will deploy military force in this series, I feel the inclusion of this painting simply depicts further the violent and twisted influence of colonization in this culture.
