Evans, Jennifer Farrell, Mia Fineman, Alice Cooney Frelinghuysen, Amanda B. Carpenter, Stephanie D’Alessandro, Clare Davies, Jayson Kerr Dobney, Ashley Dunn, Adam Eaker, Maryam Ekhtiar, Helen C. Bambach, Kelly Baum, Alexis Belis, Monika Bincsik, John Byck, Iria Candela, John T. Achi, Denise Allen, Niv Allon, Ian Alteveer, Carmen C. The rich, remarkable court paintings of India are splendidly offered to the reader's eye and mind in this book, which also includes a map, enlarged detail photographs, and a selected bibliography.Ĭontributions by Andrea M. The author vividly describes the vicissitudes of political power, royal personality, and the movement of artists from place to place that constituted the historical and social context in which each regional court evolved its distinctive artistic vocabulary. Interrelations between the various court traditions are explored in the essay, a lucid and comprehensive overview of the development of Indian painting. Each is accompanied by a paragraph explaining the subject illustrated and pointing out particular qualities of style. Eighty-three exceptionally fine paintings are reproduced in full color. While works of art originating in Mughal and Rajput courts are often treated separately, in this book paintings made in the major Mughal, Deccani, Rajput, and Pahari workshops are presented together, chronologically. From the cross-fertilization of these two traditions, a multiplicity of highly original painting styles blossomed and flourished. The entirely different art of the Islamic Mughal invaders, subtle and naturalistic, mainly presented elegant scenes of court life and history. The indigenous Rajput culture produced exuberant, vibrantly colored, boldly patterned illustrations of Hindu myths and epics. In India, two artistic traditions converged. Paintings of extraordinary beauty and variety were made for the many royal courts of India during a golden age that unfolded in the sixteenth century and lasted well into the British period.
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