With suitable examples, critically examine that Indo-Saracenic architecture was a tool of cultural appropriation.

Indo-Saracenic architecture, despite its aesthetic appeal and historical significance, has faced criticism for being a tool of cultural appropriation during the colonial era. This criticism stems from the selective borrowing and manipulation of Indian and Islamic architectural elements by British architects to suit their imperial agenda. Some of the examples are as follows:

• Victoria Terminus (Chhatrapati Shivaji Terminus) – Mumbai: While the Victoria Terminus is an iconic Indo-Saracenic building, it exemplifies the cultural appropriation critique. The fusion of Victorian Gothic architecture with traditional Indian architectural features can be seen as an attempt to create a sense of colonial power and control, projecting British influence in a familiar and acceptable form.
• Government Museum and Art Gallery – Chandigarh: This Indo-Saracenic building, designed by the British architect Le Corbusier, incorporates Indian architectural elements within a modernist framework. While it aims to showcase a fusion of cultures, critics argue that it exemplifies a form of cultural appropriation, as Le Corbusier selectively incorporated Indian motifs to create a superficial sense of cultural integration.
• Gateway of India – Mumbai: The Gateway of India, designed to commemorate the arrival of King George V and Queen Mary, is often criticized as an architectural symbol of British imperialism. While it incorporates elements from Indian and Islamic architectural traditions, the purpose of the structure was to reinforce British authority and dominance rather than genuinely celebrate Indian culture.
• Appropriation of Craftsmanship and Labor: The execution of Indo-Saracenic architecture relied heavily on the skills of Indian artisans and craftsmen. While their craftsmanship contributed to the beauty of these buildings, their labor was often exploited and undervalued by the British architects and administrators. This further highlights the power dynamics and cultural appropriation inherent in the construction of Indo-Saracenic buildings.

It is correctly argued that Indo-Saracenic architecture represents a form of cultural domination and colonial control, where British architects selectively borrowed elements from Indian and Islamic architectural traditions to suit their own agendas and reinforce their power. By manipulating and appropriating elements of Indian culture, the colonial architects not only shaped the physical landscape but also influenced perceptions of cultural superiority.