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The Mughal school of miniature painting flourished in northern India in the sixteenth and seventeenth centuries, chiefly under the patronage of the emperors Akbar, Jahangir and Shah Jahan. Rooted in a diversity of cultural, religious and artistic traditions, it became one of the richest and most productive schools in the whole history of Islamic art. In this beautifully illustrated book the author surveys the development of Mughal painting, from its early beginnings to the masterpieces created by the court studios for the books and albums of their demanding imperial patrons. He describes the historical setting in which the Mughal artists worked and the materials and techniques they used to create their brilliant effects. The paintings reproduced here cover the whole range of Mughal miniature art, from manuscript illustrations of biographical, historical or mythological works to courtly portrait albums, with both human and animal subject.
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.
In Mughal Occidentalism, Mika Natif elucidates the meaningful and complex ways in which Mughal artists engaged with European art and techniques from the 1580s-1630s. Using visual and textual sources, this book argues that artists repurposed Christian and Renaissance visual idioms to embody themes from classical Persian literature and represent Mughal policy, ideology and dynastic history. A reevaluation of illustrated manuscripts and album paintings incorporating landscape scenery, portraiture, and European objects demonstrates that the appropriation of European elements was highly motivated by Mughal concerns. This book aims to establish a better understanding of cross-cultural exchange from the Mughal perspective by emphasizing the agency of local artists active in the workshops of Emperors Akbar and Jahangir.
The first critical study to be published on Mughal pictorial hybridity, this book investigates the workings of the diverse creative forces that underpinned the formation of the Mughal painting. Valerie Gonzalez here explores - with the updated methodology of art criticism - the processes of cross-fertilization between the Indo-Persianate legacy, the Persian models imported after 1555 and the influx of European art that have brought about a unique Indo-Islamic pictorial metaphysics characterized by a positivist mimetic order distinct from the idealistic Persian pictoriality.
The Mughals - descendants of Timur and Genghiz Khan with strong cultural ties to the Persian world - seized political power in north India in 1526 and became the most important artistically active Muslim dynasty on the subcontinent. In this richly illustrated book, Dr Milo Beach shows how, between 1555 and 1630 in particular, Mughal patronage of the arts was incessant and radically innovative for the Indian context.
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.