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Is writing a world art history possible? Does the history of art as such even exist outside the Western tradition? Is it possible to consider the history of art in a way that is not fundamentally Eurocentric? In this highly readable and provocative book, David Carrier, a philosopher and art historian, does not attempt to write a world art history himself. Rather, he asks the question of how an art history of all cultures could be written—or whether it is even possible to do so. He also engages the political and moral issues raised by the idea of a multicultural art history. Focusing on a consideration of intersecting artistic traditions, Carrier negotiates the way meaning and understanding shift or are altered when a visual object from one culture, for example, is inserted into the visual tradition of another culture. A World Art History and Its Objects proposes the use of temporal narrative as a way to begin to understand a multicultural art history.
The book studies the evolution of the ancient drum mṛdaṅga into the pakhāvaj, crossing more than 2,000 years of history. While focusing on the Nathdwara school of pakhāvaj, the author joins ethnographic, historical, religious and iconographic perspectives to argue a multifaceted interpretation of the role and function of the pakhāvaj in royal courts, temples and contemporary stages. Furthermore, he offers the first analysis of the visual and narrative contents of its repertoire.
This magnificent, lavishly illustrated book by India’s most eminent and perceptive art historian, B.N. Goswamy, will open readers’ eyes to the wonders of Indian painting, and show them new ways of seeing and appreciating art. An illuminating introductory essay, ‘A Layered World’, explains the themes and emotions that inspired Indian painters, the values and influences that shaped their work, and the unique ways in which they depicted time and space. It describes, too, the characteristics of the different regional styles, the relationship between patrons and painters, the milieu in which they created their works, and the tools and techniques the painters used. The second part of this book consists of ‘Close Encounters with 101 Great Works’. Carefully selected by Prof. Goswamy and spanning nearly a thousand years, these works range from Jain manuscripts, and Rajasthani, Mughal, Pahari and Deccani miniatures, to Company School paintings. His description and analysis of these works unlock the treasures that lie within them and show us how to ‘read’ each painting, as he points out its finest features, explains its visual vocabulary and symbolism, and recounts the story, legend or event that inspired it. Combining deep scholarship with great storytelling, this is a book of enduring value that will both educate and delight the reader. It is destined to become a classic.
Takes us to the Nayika in the Indian tradition, one who is paradigm of mankind's perennial quest for a divine and transcendental love.
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 rulers of the Mughal Empire of India, who reigned from 1526 to 1858, spared no expense as patrons of the arts, particularly painting and music. They left as their legacy an extraordinarily rich body of commissioned artistic projects including illustrated manuscripts and miniature paintings that represent musical instruments, portraits of musicians, and the compositions of ensembles. These images from the basis of Bonnie C. Wade's study of how musicians of Hindustan encountered and Indianized music from the Persian cultural sphere. Combining ethnomusicological and art historical methods with history and lore, Wade has written a truly interdisciplinary study of cultural life on the Indian subcontinent. Wade focuses first on Akbar, showing how political and cultural agendas intertwined in the portrayal of Mughal court life. She then follows the depictions of music-making through paintings of Akbar's successors, Jahangir and Shah Jahan, to trace the gradual synthesis of Persian and Indian culture. Because music of the period was not notated but was transmitted orally, Wade relies on this wealth of visual evidence to reconstruct the musical life of the Mughals and its relation to the Mughal political agenda. As a major untapped resource, these images suggest new interpretations of the history of the Mughal Empire -- including original ideas about the role of patrons in the production of the arts and, importantly, the role of women in Mughal court life -- that are confirmed and complemented by the written sources of the period. Imaging Sound is a contribution to many fields in its unique combination of sources and methods: it is the study of musical change; of image-making in the pastand the methodological use of images as "texts" in the present; of the role of patronage in the Mughal Empire; and of the development of South Asian culture. In her synthesis of music, literature, art, and culture, Wade deepens our knowledge of the manner in which the orally transmitted tradition of Hindustani music came to be what it is today. The book is beautifully illustrated with more than 180 reproductions of Mughal paintings and manuscripts. These rare images are the basis for a study that is fully immersed both in current intellectual debates and in three centuries of Mughal cultural life.