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Catalogue produced to accompany the exhibition SHAHZIA SIKANDER: NEMESIS held at the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York, from January 24 - April 11, 2004; and at the Aldrich Contemporary Art Museum, Ridgefield, Connecticut, from September 19, 2004 - January 2, 2005.
A stunning catalog of Persian miniature paintings and manuscripts from The al-Sabah Collection, placed in their historical and artistic context
Fifty leaves that form the sumptuous Kevorkian Album, one of the world's greatest assemblages of Mughal art. -- Metropolitan Museum of Art website.
This sumptuously illustrated volume examines the impact of Indian art and culture on Rembrandt (1606–1669) in the late 1650s. By pairing Rembrandt’s twenty-two extant drawings of Shah Jahan, Jahangir, Dara Shikoh, and other Mughal courtiers with Mughal paintings of similar compositions, the book critiques the prevailing notion that Rembrandt “brought life” to the static Mughal art. Written by scholars of both Dutch and Indian art, the essays in this volume instead demonstrate how Rembrandt’s contact with Mughal painting inspired him to draw in an entirely new, refined style on Asian paper—an approach that was shaped by the Dutch trade in Asia and prompted by the curiosity of a foreign culture. Seen in this light, Rembrandt’s engagement with India enriches our understanding of collecting in seventeenth-century Amsterdam, the Dutch global economy, and Rembrandt’s artistic self-fashioning. A close examination of the Mughal imperial workshop provides new insights into how Indian paintings came to Europe as well as how Dutch prints were incorporated into Mughal compositions.
Most of the miniatures reproduced and described in this catalogue are the work of the Mughal court painters from the 16th century onwards.
In the seventeenth century, the Persian city of Isfahan was a crossroads of international trade and diplomacy. Manuscript paintings produced within the city’s various cultural, religious, and ethnic groups reveal the vibrant artistic legacy of the Safavid Empire. Published to coincide with an exhibition at the Getty Museum, Book Arts of Isfahan offers a fascinating account of the ways in which the artists of Isfahan used their art to record the life around them and at the same time define their own identities within a complex society.
Is it possible to speak of a contemporary art with an Islamic difference? This question is the subject of an exhibition that brings together artists who come from the Islamic world. Tapping into certain aesthetic, political, and spiritual notions, this book seeks to highlight the nuanced reactions of each individual artist.