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From the seventeenth to nineteenth centuries the patronage of the Rajput rulers of Rajasthan gave rise to a rich profusion of distinctive painting styles, devoted both to the illustration of poetical and religious themes and to royal portraiture and the depiction of court life. The contributors to this book explore various topics of recent research which throw light on the major (and some minor) Rajastahani schools of painting and their social, historical, and religious background. The articles are based on material from a multitute of public and private collections in India and throughout the world, and wall-paintings in situ. Besides chapters on less familiar aspects of local painting styles, essays on individual illustrated manuscripts, and on artists, their families, and patrons are included.
The genre of Rajput painting flourished between the 16th and 19th centuries in the kingdoms that ruled what is now the Indian state of Rajasthan (place of rajas). Rajput paintings depicted the nobility and court spectacle as well as scenes from Krishna’s life, the Hindu epics, and court poetry. Many Rajput kingdoms developed distinct styles, though they shared common conventions. This important book surveys the overall tradition of Indian Rajput painting, while developing new methods to ask unprecedented questions about meaning. Through a series of in-depth studies, Aitken shows how traditional formal devices served as vital components of narrative meaning, expressions of social unity, and rich sources of intellectual play. Supported by beautiful full-color illustrations of rare and often inaccessible paintings, Aitken’s study spans five centuries, providing a comprehensive and innovative look at the Rajasthan’s court painting traditions and their continued relevance to contemporary art.
A catalogue to accompany an exhibit held at the museum from March to July 1997. Color reproductions of 83 paintings are presented chronologically rather than in the usual separate sections on Mughal, Deccani, Rijput, and Pahari traditions. Kossak, associate curator of Asian art at the museum, offers an introductory essay. Distributed in the US by Harry N. Abrams. Annotation copyrighted by Book News, Inc., Portland, OR
Court Painting at Udaipur
About the Book : - The Rathore clan of Rajputs who ruled Marwar (Jodhpur) developed a strikingly individual style of painting that was interpreted in a host of different ways by local artists in the many small fiefdoms of the Rathore nobility. Artists trained at Mughal courts brought sophisticated concepts of portraiture and composition to Jodhpur in the 17th and 18th centuries; these ideas were combined with distinctive local styles and bold colour to form a uniquely lively school of painting. The first to feature a wide range of vibrant Marwar paintings in full colour, this book provides a complete survey of the development of this little-known school of Rajasthani painting. About the Author : - Rosemary Crill is Senior Curator in the Asian Department at the Victoria & Albert Museum, London.
As one of the finest holdings of Indian art in the West, the Kronos Collections are particularly distinguished for paintings made between the sixteenth and early nineteenth centuries for the Indian royal courts in Rajasthan and the Punjab Hills. These outstanding works, many of which are published and illustrated here for the first time, are characterized by their brilliant colors and vivid, powerful depictions of scenes from Hindu epics, mystical legends, and courtly life. They also present a new way of seeking the divine through a form of personal devotion—known as bhakti—that had permeated India’s Hindu community. While explaining the gods, demons, lovers, fantastical creatures, and mystical symbols that are central to literature and worship, this publication celebrates the diverse styles and traditions of Indian painting. Divine Pleasures features an informative entry for each work and two essays by scholar Terence McInerney that together outline the history of Indian painting and the Rajput courts, providing fresh insights and interpretations. Also included are a personal essay by expert and collector Steven M. Kossak and an examination of Hindu epic and myth in Mughal painting, which lays important foundations for Rajput painting, by curator Navina Najat Haidar. Through their research and observations, the authors deepen our understanding and underscore the significance of Indian painting. Divine Pleasures presents a nuanced view of a way of life intimately tied to the seasons, the arts, and the divine.
The royal fort at Bundi, an isolated town in the Indian state of Rajasthan, is home to elaborately decorated palaces that are among India's most beautiful buildings. That several of the palaces have been closed to visitors until recently has kept their painted walls hidden from public view, but it has also helped their preservation. This unprecedented volume celebrates the survival of the wall-paintings at Bundi by presenting a stunning photographic survey of these long-hidden treasures, most published here for the first time, and including both abundant details and many small-scale scenes that are not visible without magnification. The paintings depict daily life at the Bundi court from the early 17th to the late 19th centuries, as well as scenes from traditional literary and religious texts. The illustrations together reveal the rich cultural inter-relationships that gave these paintings their unique power and importance. The only substantial publication devoted specifically to wall-paintings in the Bundi royal palaces, this richly illustrated book pays long-overdue tribute to some of India's greatest painted rooms. Distributed for Mercatorfonds
Festivals at the Royal Court of Jaipur is a lavishly illustrated book with over 60 photographs of miniature paintings, ritual objects and ceremonies.
Published in conjunction with an exhibition held at the Metropolitan Museum of Art, New York, Sept. 28, 2011-Jan. 8, 2012.
One of the most remarkable artistic achievements of the Mughal Empire was the emergence in the early seventeenth century of portraits of identifiable individuals, unprecedented in both South Asia and the Islamic world. Appearing at a time of increasing contact between Europe and Asia, portraits from the reigns of the great Mughal emperor-patrons Akbar, Jahangir and Shah Jahan are among the best-known paintings produced in South Asia. In the following centuries portraiture became more widespread in the visual culture of South Asia, especially in the rich and varied traditions of painting, but also in sculpture and later prints and photography. This collection seeks to understand the intended purpose of a range of portrait traditions in South Asia and how their style, setting and representation may have advanced a range of aesthetic, social and political functions. The chapters range across a wide historical period, exploring ideals of portraiture in Sanskrit and Persian literature, the emergence and political symbolism of Mughal portraiture, through to the paintings of the Rajput courts, sculpture in Tamil temples and the transformation of portraiture in colonial north India and post-independence Pakistan. This specially commissioned collection of studies from a strong list of established scholars and rising stars makes a significant contribution to South Asian history, art and visual culture.