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Mughal Painters and Their Work by Som Prakash Verma Pdf
An invaluable reference work, this catalogue offers the first critical documentation of the 300-odd miniature painters who worked in the Mughal style over the period 1550-1707, spanning the reigns of the Mughal emperors Humayun to Aurangzeb. Biographical sketches precede each entry, which is listed alphabetically. A unique feature is the scholarly transliteration and translation of all Persian inscriptions on the paintings on the basis of which attributions have been made, sometimes mistakenly. The catalogue is preceded by an introduction which gives the social, historical, and artistic context within which the painters worked.
Illustrations: Numerous B/w & Colour Illustrations Description: The present work is based on an extensive and critical study of the original Mughal paintings supported by contemporary historical literature and provides fresh perspective for the interpretation and analysis of the painter's art under the Mughals. After a brief discussion on painting in Islam the author goes on to expound the nature and role of pre-Mughal indigenous traditions in the making of Mughal style. Thereafter, the study turns towards the origin and development of Mughal painting from Humayun to Aurangzeb. Finally, the various influences--Persian, Chinese and European--have been examined. The author concludes that Mughal painting reflecte a non-mechanical fusion of the different cultures of Asia and Europe. It had never been a colonial expression of Persian painting. Despite the presence of a number of elements borrowed from foreign sources, it remained truly Indian from the very beginning. This richly illustrated volume carries finest treasures of Mughal court paintings.
Mug̲h̲al Painter of Flora and Fauna Ustād Manṣūr by Som Prakash Verma Pdf
This volume follows Mughal Painters and their Work-A Biographical Survey and Comprehensive Catalogue (Oxford University Press, New Delhi, 1994), the first comprehensive book of reference on the work of nearly 200 Mughal painters; and has been conceived to provide readers much information on the Mughal painting through the contribution of individual master painters. Need not say ample information is available about the artists of the Mughal atelier (sixteenth-seventeenth centuries). Yet, to date, except for some articles on a few painters, no book has been published on individual artist. Ustad Mansur, a keen observer of nature endowed with almost Euclidean intellect, deserved a more detailed study to re-evaluate his merit as an artist whose achievement in naturalistic portraiture of a large number of species from the world of flora and fauna has remained unsurpassed till today. Our attempt is to enter into the very creative process of this great Mughal painter; to relive in his times and environment, in order to discover real Mansur. The whole panorama of Mansur’s portraits of birds, animals and flowers set in marvellously and uniquely laid background represents, in his true spirit and characteristics, the very quintessence of nature’s endless variety of creation and beauty. Part I provides historical and artistic context in which Ustad Mansur worked. Information about him has been gleaned from original texts (principally Persian historical sources), supplemented by the evidence of artist’s own work. Part II comprises the plate section of representative eighteen miniatures that illustrate our painter’s style and his specialisation in painting. The appendix further enhances the value of this work since it provides correct rendering of contemporary inscriptions and determines genuine signatures and contemporary ascriptions. The volume is richly illustrated with a large number of black-and-white and colour illustrations. These illustrate the art and style of Ustad Mansur Nadir u’l ‘Asr (Unequalled of the Age), the most illustrious naturalist painter of India. It will naturally be of interest to students of art and natural history. It is also recommended to persons curious to know about the Mughal times. It is hoped that other volumes on individual Mughal painters will follow’ and monographs on their lives and work with a criticale valuation will be available.
Paintings from Mughal India by Andrew Topsfield Pdf
A unique style of painting developed in India during the reigns of the Mughal emperors (sixteenth-eighteenth century), which blended Indian, Persian and Islamic styles. Usually confined to book illustrations, these elegant works came to be known as Mughal miniatures. They reflect the splendour of the Mughal empire, depicting its art and architecture, from court scenes to legendary stories, in striking, vivid colours.This book reproduces some of the finest surviving examples of Mughal paintings drawn from a unique collection in the Bodleian Library, many of which have never been seen before in print. They include court paintings from the reign of Akbar to the fall of Shah Jehan (1560-1660), generally regarded as the most inspired century of Mughal painting, and images from the celebrated Bah§rist§n manuscript of 1595, which was prepared for the Emperor Akbar and illustrated by leading artists of the time.Each image is presented as a large-format colour plate on a single page with facing text describing its historical and cultural significance, while the introduction situates the works in the context of the period and its art generally.
Books have been treasured for centuries in the Islamic world, as precious objects worthy of royal admiration. This was especially true in Muslim India, where generations of Mughal emperors commissioned and collected volumes of richly illuminated manuscripts and lavishly illustrated folios. They assembled workshops of the leading artists and calligraphers to produce the books that filled their extensive libraries. Today, those works remain a vibrant part of India's cultural and artistic history in the sixteenth and seventeenth centuries. In this revised and expanded edition of his popular 1981 book, Dr Milo Beach presents the superb collection of Mughal painting in the Freer Gallery of Art. He adds many of the outstanding works that entered the collection with the opening of the Arthur M. Sackler Gallery in 1987. Together, the Freer and Sackler Galleries, the Smithsonian's museums of Asian art, have the distinction of being one of the world's leading repositories of Mughal art. An introductory essay examines the Mughal art of the book and traces the contributions of a succession of rulers in Muslim India. Brief artist biographies and an extensive bibliography complete this updated volume.
One of the minor miracles of art history is the extraordinary flowering of Indian painting that began in the mid-sixteenth century under the early Mughal emperors of Indian, notably Akbar the Great. Only in recent decades has the consummate artistry of early Mughal painting come to be widely appreciated in the West. Scholars have noted the innovations--departures from both Islamic and native Indian tradition--of the new, highly distinctive school of painting, among them natural history studies, a concern for portraiture, and the documentation of contemporary court events. Milo Beach traces, with an abundance of captivating illustrations, the evolution of the Mughal style. While acknowledging the influence of Akbar's interests and changing tastes (related in turn to historical and biographical circumstances), he shows that many of the new tendencies were evident during the short reign of Akbar's father, the Emperor Humayun, whose role as patron of the arts is thereby reassessed. Beach also stresses the traditionalism of the individual painters, who only gradually changed their concepts and compositions in response to foreign influences and to imperial taste. Mughal art, he affirms, can no longer be regarded as simply a reflection of its imperial patrons. The book takes account of recently discovered material and reproduces for the first time important paintings from unpublished manuscripts and albums. It will appeal to the general reader as well as the scholar.
Painting for the Mughal Emperor by Susan Stronge Pdf
A unique blend of Indian, Persian, and Islamic styles, Mughal painting reached its golden age during the reigns of the emperors Akbar, Jahangir, and Shah Jahan in the 16th and 17th centuries. This gloriously illustrated book is the first to examine the Victoria and Albert Museum's remarkable collection of Mughal paintings, one of the finest in the world. Richly detailed battle scenes, scenes of court life, and lively depictions of the hunt were commissioned by the royal courts, along with a remarkable series of portraits, studies of wildlife, and decorative borders. The authoritative text contains much new research, and the beautifully reproduced color illustrations give this stunning volume wide appeal.
Portraiture in South Asia Since the Mughals by Crispin Branfoot Pdf
Deriving from Persian artistic techniques, Mughal portraiture reached its apogee during the reigns of the great Mughal emperor-patrons Akbar, Shah Jahan and Jahangir. Much of the art produced in this period was commissioned for political reasons, and art was one method of ensuring power, increasing prestige and sending messages to the kingdom and rival dynasties. Western portraiture has become an incredibly important source of historical study because of what it can tell us about the tastes, rules, dress, politics and identity of periods and rulers. One of the reasons this hasn't quite happened for Mughal painting is that we often think of these paintings as authorless, but of course the great Mughal artists were in demand, and were able to bring unique skills to their work--the Emperor Jahangir claimed to be able to instantly recognize an artist's work by sight. This collection seeks to enrich our understanding of Mughal culture through its portraiture, examining the artistic conventions and cultural norms from the Persianate early works through to the Europeanization of South Asian traditions in the 19th century and the continuation of the tradition today. A specially commissioned collection of studies from an exceptionally strong list of established scholars and rising stars on both sides of the Atlantic; this marks a major breakthrough in South Asian history.
Real Birds in Imagined Gardens by Kavita Singh Pdf
Accounts of paintings produced during the Mughal dynasty (1526–1857) tend to trace a linear, “evolutionary” path and assert that, as European Renaissance prints reached and influenced Mughal artists, these artists abandoned a Persianate style in favor of a European one. Kavita Singh counters these accounts by demonstrating that Mughal painting did not follow a single arc of stylistic evolution. Instead, during the reigns of the emperors Akbar and Jahangir, Mughal painting underwent repeated cycles of adoption, rejection, and revival of both Persian and European styles. Singh’s subtle and original analysis suggests that the adoption and rejection of these styles was motivated as much by aesthetic interest as by court politics. She contends that Mughal painters were purposely selective in their use of European elements. Stylistic influences from Europe informed some aspects of the paintings, including the depiction of clothing and faces, but the symbolism, allusive practices, and overall composition remained inspired by Persian poetic and painterly conventions. Closely examining magnificent paintings from the period, Singh unravels this entangled history of politics and style and proposes new ways to understand the significance of naturalism and stylization in Mughal art.
The Court Painters of the Grand Moguls (1921) by Laurence Binyon Pdf
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
Rembrandt and the Inspiration of India by Stephanie Schrader Pdf
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.
Aspects of Mughal Painting by Som Prakash Verma Pdf
Present collection of essays researched and analyzed by S.P. Verma, since 1973, provides the readers an introduction to the Mughal painting. The sixteen studies in this volume offer afresh interpretation of the Mughal miniatures. These relate to the aesthetic values, art-forms, signs and symbols, and the social and cultural history. Most importantly, Akbar`s attempt to liberale painting from the straitjacket of sectarian ideology is the theme of Chapter 1.2. The `artists signatures` (Chapter 1.4) and `self-portraits` (Chapter 3.4) are the new features introduced with the rise of Mughal school. The volume draws on diverse textual sources to delve into the social history of dominant themes, motifs and styles. Verma presents a vivid account of the sixteenth century narrative art (Chapter 2.1), and major illustrated manuscripts (Chapters 2.2-3.4, and 7). Chapter 1.1 provides insights into the life and times of patrons and artists. Verma also touches parallel art tradilions. His approach to the subject features the Mughal painting as an historical source.
In Mughal Occidentalism, Mika Natif elucidates the meaningful and complex ways in which Mughal artists repurposed Christian and Renaissance visual idioms to embody themes from classical Persian literature and represent Mughal policy, ideology and dynastic history from the 1580s-1630s
