Subscribe for Newsletters and Discounts
Be the first to receive our thoughtfully written
religious articles and product discounts.
Your interests (Optional)
This will help us make recommendations and send discounts and sale information at times.
By registering, you may receive account related information, our email newsletters and product updates, no more than twice a month. Please read our Privacy Policy for details.
.
By subscribing, you will receive our email newsletters and product updates, no more than twice a month. All emails will be sent by Exotic India using the email address info@exoticindia.com.

Please read our Privacy Policy for details.
|6
Your Cart (0)
Share our website with your friends.
Email this page to a friend
Books > Art and Architecture > Interpreting Mughal Painting
Displaying 891 of 1595         Previous  |  NextSubscribe to our newsletter and discounts
Interpreting Mughal Painting
Interpreting Mughal Painting
Description

About the Book

 

Lucid, detailed, and original, these essays on Mughal painting survey this art form as well as provide an introduction to the Mughal art of book-illustration, portraiture, and genre pictures. They showcase the Mughal artists’ concern for both aesthetic appeal and intellectual message.

 

What sets this book apart from the rest in the genre is the rich detail and intensive research characterized in discussions on distinctions between assignments, signatures, and later attributions in inscriptions on paintings; meticulous study of painting technique; and the use of painting as a historical source for the reconstruction of social life and technological advancements. Using diverse sources-Persian, Central Asian, European, and Indian-the author presents a rigorous yet stimulating account of Mughal painting.

 

Focusing on the origin and development of Mughal painting, S.P. Verma analyses key aspects like artists’ signatures, namesakes and their identity, and the evidence on self portrait painting in Indian art. He highlights the impact of Persian influence and Renaissance humanism on Mughal painting. Using pictorial evidence, the author also investigates areas like technology and firearms, flora and fauna, and ordinary day-to-day life during

the Mughal period.

 

About the Author

Som Prakash Verma retired as professor of History, Aligarh Muslim University in 2004. As a practicing artist, he has received awards from Indian Academy of Fine Arts, Amritsar (1981) and the Academy of Fine Arts, Calcutta (1982).

 

Introduction

 

Scholarly interest in Mughal painting dates back to the early sixteenth century and since then art historians and critics have studied Indian and Islamic art with a special focus on illuminated manuscripts generally illustrated with pictures, and albums (muraqqa’s) containing portraits and genre pictures. The heritage of Islamic art in India that originated with the fusion of Indian and Islamic trends of art, has a distinct place in the realm of painting. Havell is the first significant figure to interpret Indian art in his book Indian Sculpture and Painting (1908). His book seriously urges that Indian art is in the main native rather than imported. In the section on Mughal painting he observes that Akbar’s liberal mind overrode Muslim religious scrupules against painting, and a most interesting school of portrait painting resulted that was curiously opposite to the Ajanta school. The study was followed by other scholarly works, notably Smith [(1), 1911]; Marteau and Vever [(1), 1912]; Martin [(1),1912]; Arnold and Binyon [(1), 1921]; Kuhnel [(2), 1922; (3), n.d.; (4), n.d.]; Kuhnel and Goetz [(1), 1923, English tr. 1926]; Brown [(1), 1924]; Gluck [(1), 1923; (2) 1925]; Stchoukine [(1), 1929]; and Blochet [(2), 1929, English translation by Binyon]. It must be mentiond that Mughal painting has quite often been equated to Islamic art. (For which see Martin [(1), 1912]; Blochet [(2), 1929], Binyon, Wilkinson and Gray [(1), 1933]; Godard and Gray [(1)], 1956 and Robinson [(3), 1976]). Rogers [(1), 1993] writes that Mughal painting could be described as a variety of Islamic painting practised in India, principally in the sixteenth and seventeenth centuries. In his opinion the Mughal school of painting, by welding a very diverse mixture of cultural, religious and artistic traditions is one of the richest and most productive schools in the whole history ofIslamic painting (ibid., p. 8).

 

At the same time, numerous art exhibitions held at Delhi [1911: Loan Exhibition]; London [1922: Marriot (1)], Philadelphia [1923: Levis (1); 1924: Paintings and Drawings]; Wembly [1925: Binyon (3)]; Calcutta [1925: Brown (2)]; New York [1933-4: Dimand (3)]; Bombay [1939: Catalogue of the Loan Section]; Boston [1940: Ashton (2)]; Cleveland [1944: Hollis (1)]; London [1947-8: Ashton (1)]; and Delhi [1948: Agarwal (1)] further popularized the Indian miniatures. Descriptive catalogues of various prestigious art collections published by Manuk [(1), 1913]; Clarke [(1), 1921; (2) 1922]; Gupta [(1), 1922]; Stchoukine [(2), 1929]; Coomaraswamy [(7), 1930]; Arnold and Wilkinson [(1), 1936]; Godard [(1), 1936; (2), 1937]; Bahrami [(1), 1949]; and Godard and Gray [(1), 1956] additionally deepened the interest of scholars in Mughal painting. Other notable catalogues published later are by Hajek [(1),1960]; Gangoly [(3),1961]; Badri Atabai [(1), Shamsi 1353]; Grube [(1); (3),1962]; Robinsop [(2), 1976]; Titley [(1),1977]; Falk and Archer [(1),1981]; Welch, Schimmel, Swietochowski and Thackston [(1), 1987], and Pal [(3), 1973; (6),1993].

 

Amongst the several art exhibitions held during the later half of the twentieth century, the most important are: Portland [1962: Persian and Indian Miniatures]; New York [1963: Welch (6); 1973: Welch (7), 1986: Welch (11)]; and London [1976: Robinson (4); Princely Paintings; 1982: Losty (1); 1983: Leach (1)]. An exhibition of the Padshahnama miniatures from the Royal Library, Windsor held at National Museum, Delhi in 1997 deserves special mention [Beach, Koch, and Thackston (1), 1997]. Such exhibitions accompanied with illustrated catalogues evoked a genuine interest in miniature painting.

 

Additionally, distinct works (not mentioned above) on Mughal art include Smith, V.A. [(1), 1911]; Arnold and Binyon [(1), 1921]; Brown [(1), 1924]; Mehta [(3), 1926]; Gluck [(2), 1925]; Moti Chandra [(2), 1946]; Wilkinson [(6), 1948]; Krishnadasa and Kabir [(1),1955]; Rawson [(1), 1961]; Barrett and Gray [(1), 1963]; Bussagli [(1), 1969, and Shivaramamurti (2), n.d.]; Shanti Swarup [(2), 1968; (3), 1983)]; Chaitanya [(1), 1979]; Niharranjan Ray [(1), 1975]; Asok, K. Das [(5), 1978; (6), 1982]; Beach [(3), 1978; (5) 1981; (6) 1987; (7); 1992]; and Verma [(8),1978; (18),1994; (32), 2005].

 

A study of an individual painter’s style and work too fascinated art historians, and some illustrious Mughal painters were extensively studied: Miskin [Staude (7), 1929]; Farrukh Beg [Skelton (1), 1957; Ahmad, N. (2),1961; Verma (5),1978]; Khwaja Abdu-s Samad [Staude (1),1931; Ettinghausen (1),1960; Dickson and Welch (1),1981; Verma (15),1987]; Basawan [Staude (2), 1960; Lal [Verma (20), 1998]; Welch (4),1963]; Daswant [Staude (8), 1960]; Mir Sayyid Ali [Chaghatai (5), 1954; Scerrato (1),1960; Dickson and Welch (1),1981]; Farrukh Chela [Anand Krishna (2), 1971; Verma (2), 1977-8]; Bishandas [Das (2), 1971], and Abu’l Hasan [Beach (1),1965; (4), 1980]. In this context, the work of Amina Okada [(1), n.d.]. and the two volumes of the Marg Publications [Pratapaditya Pal (5), 1991; and Das (7), 1998] devoted to the study of the master painters further contribute to our knowledge. Here a reference to the volume Mughal Painters and Their Work: A Biographical Survey and Descriptive Catalogue (Delhi, 1994) by the present author [Verma (18), 1994] will not be out of place. Another work [Verma (24), 1999], a monograph on the most prolific Mughal painter: Ustad Mansur ‘Nadir ul’Asr’ is a move to call forth such monographic study of the Mughal masters.

 

Likewise, an exclusive study of a particular illustrated manuscript or an album (muraqqa’), for example, Diwan-i Hafiz [Stchoukine (3), 1931; Welch 0), 1958; Verma (7), 1978-9]; Hamzanama [Gluck (2), 1925; Egger (1), 1982]; Bostan of Sa’di [Stchoukine (3), 1937]; Akbarnama [Staude (6), 1928-9; Arnold and Wilkinson (2), 1937; Sen (3), 1984; Verma (8), 1980; (16), 1993]; Harivansha [Skelton (5), 1970]; Anwar-i Suhaili [Verma (3) 1977; Seyller (2), 1985]; Tutinama [Pramod Chandra and Ehnbom (1), 1973; Simsar (1), 1978]; Baburnama [Tyulayev (3), 1960; Suleiman (1), 1970; Randhawa (3), 1983]; Diwan of Anwari [Welch and Schimmel (1), 1983]; Padshahnama [Verma (14), 1986; Beach, Koch, and Thackston 0), 1997] further enrich the material on Mughal painting. These provide excellent descriptions of miniatures.

 

Let us recall here Goetz who has rightly observed in respect of modern research on Mughal painting:

 

It is perhaps one of the most serious defects in the organization of modern scientific study that the fundamental information on research is rarely to be found systematically arranged in one place. All earnest research scholars must waste much initial time in gathering together the working materials from every side whither chance or special circumstances have scettered them. For this reason it is always of value to have a complete survey in any field of study-a resume of everything related to this field of study that is to be found in any private collection or museum, in any town or city, in any country.

 

Needless to say that the above-mentioned modern works fill this lacuna in respect of Mughal painting and make the material scattered all over the world, substantially available to scholars, critics, and art connoisseurs.

 

It is notable that ornithologists and lovers of wildlife, too, have shown a keen interest in Mughal painting. Mention may be made of the Twelfth International Ornithological Congress at Helsinki, Finland in 1958 where a Mughal miniature containing the likeness of a bird dodo (Raphus cucullatus L.), now extinct, aroused in general, a curiosity to explore further the paintings of Mughal school to construct a picture of the wildlife in past. Even earlier to that, Salim Ali [(1), 1927], a pioneer ornithologist of India had already initiated the scientific study of oriental pictures of birds. This work inspired Alvi and Rahman [(1), 1968] to study wildlife and they made extensive use of seventeenth century Mughal miniatures. Some other studies, however, are general in nature: Saraswati [(1), 1948]; Hasan [(1), 1963]; and Shanti Swarup [(3), 1983]. A volume of Marg publications devoted to the study of flora and fauna in Mughal art is equally important [Verma (22) 1999].

 

Lastly, historians concerned with the socio-cultural history of India, too, have extensively surveyed Mughal miniatures for information on science and technology, architecture, life and conditions of ordinary people, gender history, and a variety of themes in material culture. Irfan Habib [(2), 1980; (3), 1986; (4), 2000] has deeply probed the Mughal miniatures to substantiate his findings on science and technology. Other related works are by Qaisar [(2), 1988; (3) 1992]; Verma [(9), 1983; (10), 1985; (13), 1986]; Sarma [(1), 2002]; and Ishrat Alam [(2), 1986]. The present author’s volume Art and Material Culture in the Paintings of Akbar’s Court (1978) is an important link in this particular aspect of study.

 

Wellesz [(3), 1952] finds in Mughal paintings an expression of Mughal patron’s religious thought: and for W. Smith [(1), 1981] and Moosvi [(2), 1994; (3), 2003; (4) 2004] Mughal paintings are of considerable importance in their essays on gender study and ordinary people [see also Verma (29), 2002]. Thus, the school of Mughal painting engages a variety of scholars and its recognition in various disciplines of study, that is, art, architecture, history, religion, science and technology, and the like, is widespread.

 

 

Contents

 

 

List of Illustrations

viii

 

Acknowledgements

ix

 

List of Abbreviations

xi

 

Introduction

1

1.

Artists’ Signatures in Miniatures of the Mughal School

28

2.

The Tulip (ea 1621): A Study by Mansur

44

 

Problem of Namesakes and Their Identity:

3.

Parrukh, Farrukh Kalan, Farrukh Khwurd, Farrukh Chela and Farrukh Beg

51

4.

Aspects of Paintings in the British Museum Manuscript of the Akbarnama

69

5.

Evidence on Self-Portrait Painting in Indian Art

84

6.

Humanism in Mughal Painting

92

7.

Persian and Mughal Painting: The Fundamental Relationship

121

8.

Technology in Mughal India: Evidence of Mughal Painting

137

9.

Firearms in Sixteenth Century India: A Study based on Mughal Paintings of Akbar’s Period

149

10.

Ordinary Life in Mughal India: A Survey of Mughal Painting

157

 

Glossary

174

 

Bibliography

177

 

Index

195

 

Interpreting Mughal Painting

Item Code:
NAG648
Cover:
Hardcover
Edition:
2011
ISBN:
9780195692570
Language:
English
Size:
9 inch X 5.5 inch
Pages:
220 (7 color Illustrations)
Other Details:
Weight of the Book: 375 gms
Price:
$30.00   Shipping Free
Add to Wishlist
Send as e-card
Send as free online greeting card
Interpreting Mughal Painting

Verify the characters on the left

From:
Edit     
You will be informed as and when your card is viewed. Please note that your card will be active in the system for 30 days.

Viewed 2903 times since 21st Oct, 2014

About the Book

 

Lucid, detailed, and original, these essays on Mughal painting survey this art form as well as provide an introduction to the Mughal art of book-illustration, portraiture, and genre pictures. They showcase the Mughal artists’ concern for both aesthetic appeal and intellectual message.

 

What sets this book apart from the rest in the genre is the rich detail and intensive research characterized in discussions on distinctions between assignments, signatures, and later attributions in inscriptions on paintings; meticulous study of painting technique; and the use of painting as a historical source for the reconstruction of social life and technological advancements. Using diverse sources-Persian, Central Asian, European, and Indian-the author presents a rigorous yet stimulating account of Mughal painting.

 

Focusing on the origin and development of Mughal painting, S.P. Verma analyses key aspects like artists’ signatures, namesakes and their identity, and the evidence on self portrait painting in Indian art. He highlights the impact of Persian influence and Renaissance humanism on Mughal painting. Using pictorial evidence, the author also investigates areas like technology and firearms, flora and fauna, and ordinary day-to-day life during

the Mughal period.

 

About the Author

Som Prakash Verma retired as professor of History, Aligarh Muslim University in 2004. As a practicing artist, he has received awards from Indian Academy of Fine Arts, Amritsar (1981) and the Academy of Fine Arts, Calcutta (1982).

 

Introduction

 

Scholarly interest in Mughal painting dates back to the early sixteenth century and since then art historians and critics have studied Indian and Islamic art with a special focus on illuminated manuscripts generally illustrated with pictures, and albums (muraqqa’s) containing portraits and genre pictures. The heritage of Islamic art in India that originated with the fusion of Indian and Islamic trends of art, has a distinct place in the realm of painting. Havell is the first significant figure to interpret Indian art in his book Indian Sculpture and Painting (1908). His book seriously urges that Indian art is in the main native rather than imported. In the section on Mughal painting he observes that Akbar’s liberal mind overrode Muslim religious scrupules against painting, and a most interesting school of portrait painting resulted that was curiously opposite to the Ajanta school. The study was followed by other scholarly works, notably Smith [(1), 1911]; Marteau and Vever [(1), 1912]; Martin [(1),1912]; Arnold and Binyon [(1), 1921]; Kuhnel [(2), 1922; (3), n.d.; (4), n.d.]; Kuhnel and Goetz [(1), 1923, English tr. 1926]; Brown [(1), 1924]; Gluck [(1), 1923; (2) 1925]; Stchoukine [(1), 1929]; and Blochet [(2), 1929, English translation by Binyon]. It must be mentiond that Mughal painting has quite often been equated to Islamic art. (For which see Martin [(1), 1912]; Blochet [(2), 1929], Binyon, Wilkinson and Gray [(1), 1933]; Godard and Gray [(1)], 1956 and Robinson [(3), 1976]). Rogers [(1), 1993] writes that Mughal painting could be described as a variety of Islamic painting practised in India, principally in the sixteenth and seventeenth centuries. In his opinion the Mughal school of painting, by welding a very diverse mixture of cultural, religious and artistic traditions is one of the richest and most productive schools in the whole history ofIslamic painting (ibid., p. 8).

 

At the same time, numerous art exhibitions held at Delhi [1911: Loan Exhibition]; London [1922: Marriot (1)], Philadelphia [1923: Levis (1); 1924: Paintings and Drawings]; Wembly [1925: Binyon (3)]; Calcutta [1925: Brown (2)]; New York [1933-4: Dimand (3)]; Bombay [1939: Catalogue of the Loan Section]; Boston [1940: Ashton (2)]; Cleveland [1944: Hollis (1)]; London [1947-8: Ashton (1)]; and Delhi [1948: Agarwal (1)] further popularized the Indian miniatures. Descriptive catalogues of various prestigious art collections published by Manuk [(1), 1913]; Clarke [(1), 1921; (2) 1922]; Gupta [(1), 1922]; Stchoukine [(2), 1929]; Coomaraswamy [(7), 1930]; Arnold and Wilkinson [(1), 1936]; Godard [(1), 1936; (2), 1937]; Bahrami [(1), 1949]; and Godard and Gray [(1), 1956] additionally deepened the interest of scholars in Mughal painting. Other notable catalogues published later are by Hajek [(1),1960]; Gangoly [(3),1961]; Badri Atabai [(1), Shamsi 1353]; Grube [(1); (3),1962]; Robinsop [(2), 1976]; Titley [(1),1977]; Falk and Archer [(1),1981]; Welch, Schimmel, Swietochowski and Thackston [(1), 1987], and Pal [(3), 1973; (6),1993].

 

Amongst the several art exhibitions held during the later half of the twentieth century, the most important are: Portland [1962: Persian and Indian Miniatures]; New York [1963: Welch (6); 1973: Welch (7), 1986: Welch (11)]; and London [1976: Robinson (4); Princely Paintings; 1982: Losty (1); 1983: Leach (1)]. An exhibition of the Padshahnama miniatures from the Royal Library, Windsor held at National Museum, Delhi in 1997 deserves special mention [Beach, Koch, and Thackston (1), 1997]. Such exhibitions accompanied with illustrated catalogues evoked a genuine interest in miniature painting.

 

Additionally, distinct works (not mentioned above) on Mughal art include Smith, V.A. [(1), 1911]; Arnold and Binyon [(1), 1921]; Brown [(1), 1924]; Mehta [(3), 1926]; Gluck [(2), 1925]; Moti Chandra [(2), 1946]; Wilkinson [(6), 1948]; Krishnadasa and Kabir [(1),1955]; Rawson [(1), 1961]; Barrett and Gray [(1), 1963]; Bussagli [(1), 1969, and Shivaramamurti (2), n.d.]; Shanti Swarup [(2), 1968; (3), 1983)]; Chaitanya [(1), 1979]; Niharranjan Ray [(1), 1975]; Asok, K. Das [(5), 1978; (6), 1982]; Beach [(3), 1978; (5) 1981; (6) 1987; (7); 1992]; and Verma [(8),1978; (18),1994; (32), 2005].

 

A study of an individual painter’s style and work too fascinated art historians, and some illustrious Mughal painters were extensively studied: Miskin [Staude (7), 1929]; Farrukh Beg [Skelton (1), 1957; Ahmad, N. (2),1961; Verma (5),1978]; Khwaja Abdu-s Samad [Staude (1),1931; Ettinghausen (1),1960; Dickson and Welch (1),1981; Verma (15),1987]; Basawan [Staude (2), 1960; Lal [Verma (20), 1998]; Welch (4),1963]; Daswant [Staude (8), 1960]; Mir Sayyid Ali [Chaghatai (5), 1954; Scerrato (1),1960; Dickson and Welch (1),1981]; Farrukh Chela [Anand Krishna (2), 1971; Verma (2), 1977-8]; Bishandas [Das (2), 1971], and Abu’l Hasan [Beach (1),1965; (4), 1980]. In this context, the work of Amina Okada [(1), n.d.]. and the two volumes of the Marg Publications [Pratapaditya Pal (5), 1991; and Das (7), 1998] devoted to the study of the master painters further contribute to our knowledge. Here a reference to the volume Mughal Painters and Their Work: A Biographical Survey and Descriptive Catalogue (Delhi, 1994) by the present author [Verma (18), 1994] will not be out of place. Another work [Verma (24), 1999], a monograph on the most prolific Mughal painter: Ustad Mansur ‘Nadir ul’Asr’ is a move to call forth such monographic study of the Mughal masters.

 

Likewise, an exclusive study of a particular illustrated manuscript or an album (muraqqa’), for example, Diwan-i Hafiz [Stchoukine (3), 1931; Welch 0), 1958; Verma (7), 1978-9]; Hamzanama [Gluck (2), 1925; Egger (1), 1982]; Bostan of Sa’di [Stchoukine (3), 1937]; Akbarnama [Staude (6), 1928-9; Arnold and Wilkinson (2), 1937; Sen (3), 1984; Verma (8), 1980; (16), 1993]; Harivansha [Skelton (5), 1970]; Anwar-i Suhaili [Verma (3) 1977; Seyller (2), 1985]; Tutinama [Pramod Chandra and Ehnbom (1), 1973; Simsar (1), 1978]; Baburnama [Tyulayev (3), 1960; Suleiman (1), 1970; Randhawa (3), 1983]; Diwan of Anwari [Welch and Schimmel (1), 1983]; Padshahnama [Verma (14), 1986; Beach, Koch, and Thackston 0), 1997] further enrich the material on Mughal painting. These provide excellent descriptions of miniatures.

 

Let us recall here Goetz who has rightly observed in respect of modern research on Mughal painting:

 

It is perhaps one of the most serious defects in the organization of modern scientific study that the fundamental information on research is rarely to be found systematically arranged in one place. All earnest research scholars must waste much initial time in gathering together the working materials from every side whither chance or special circumstances have scettered them. For this reason it is always of value to have a complete survey in any field of study-a resume of everything related to this field of study that is to be found in any private collection or museum, in any town or city, in any country.

 

Needless to say that the above-mentioned modern works fill this lacuna in respect of Mughal painting and make the material scattered all over the world, substantially available to scholars, critics, and art connoisseurs.

 

It is notable that ornithologists and lovers of wildlife, too, have shown a keen interest in Mughal painting. Mention may be made of the Twelfth International Ornithological Congress at Helsinki, Finland in 1958 where a Mughal miniature containing the likeness of a bird dodo (Raphus cucullatus L.), now extinct, aroused in general, a curiosity to explore further the paintings of Mughal school to construct a picture of the wildlife in past. Even earlier to that, Salim Ali [(1), 1927], a pioneer ornithologist of India had already initiated the scientific study of oriental pictures of birds. This work inspired Alvi and Rahman [(1), 1968] to study wildlife and they made extensive use of seventeenth century Mughal miniatures. Some other studies, however, are general in nature: Saraswati [(1), 1948]; Hasan [(1), 1963]; and Shanti Swarup [(3), 1983]. A volume of Marg publications devoted to the study of flora and fauna in Mughal art is equally important [Verma (22) 1999].

 

Lastly, historians concerned with the socio-cultural history of India, too, have extensively surveyed Mughal miniatures for information on science and technology, architecture, life and conditions of ordinary people, gender history, and a variety of themes in material culture. Irfan Habib [(2), 1980; (3), 1986; (4), 2000] has deeply probed the Mughal miniatures to substantiate his findings on science and technology. Other related works are by Qaisar [(2), 1988; (3) 1992]; Verma [(9), 1983; (10), 1985; (13), 1986]; Sarma [(1), 2002]; and Ishrat Alam [(2), 1986]. The present author’s volume Art and Material Culture in the Paintings of Akbar’s Court (1978) is an important link in this particular aspect of study.

 

Wellesz [(3), 1952] finds in Mughal paintings an expression of Mughal patron’s religious thought: and for W. Smith [(1), 1981] and Moosvi [(2), 1994; (3), 2003; (4) 2004] Mughal paintings are of considerable importance in their essays on gender study and ordinary people [see also Verma (29), 2002]. Thus, the school of Mughal painting engages a variety of scholars and its recognition in various disciplines of study, that is, art, architecture, history, religion, science and technology, and the like, is widespread.

 

 

Contents

 

 

List of Illustrations

viii

 

Acknowledgements

ix

 

List of Abbreviations

xi

 

Introduction

1

1.

Artists’ Signatures in Miniatures of the Mughal School

28

2.

The Tulip (ea 1621): A Study by Mansur

44

 

Problem of Namesakes and Their Identity:

3.

Parrukh, Farrukh Kalan, Farrukh Khwurd, Farrukh Chela and Farrukh Beg

51

4.

Aspects of Paintings in the British Museum Manuscript of the Akbarnama

69

5.

Evidence on Self-Portrait Painting in Indian Art

84

6.

Humanism in Mughal Painting

92

7.

Persian and Mughal Painting: The Fundamental Relationship

121

8.

Technology in Mughal India: Evidence of Mughal Painting

137

9.

Firearms in Sixteenth Century India: A Study based on Mughal Paintings of Akbar’s Period

149

10.

Ordinary Life in Mughal India: A Survey of Mughal Painting

157

 

Glossary

174

 

Bibliography

177

 

Index

195

 

Post a Comment
 
Post Review
Post a Query
For privacy concerns, please view our Privacy Policy

Related Items

Ordinary Life in Mughal India: The Evidence from Painting
by S.P. Verma
Hardcover (Edition: 2012)
Aryan Books International
Item Code: NAE352
$55.00
Add to Cart
Buy Now
Birds And Animals In Mughal Miniature Paintings
Deal 12% Off
by Zaheda Khanam
Hardcover (Edition: 2009)
D.K Printworld Pvt. Ltd
Item Code: IHK063
$60.00$52.80
You save: $7.20 (12%)
Add to Cart
Buy Now
Mughal Painting (Oxford India Short Introductions)
by Som prakash Verma
Paperback (Edition: 2014)
Oxford University Press
Item Code: NAK004
$20.00
Add to Cart
Buy Now
Biblical Themes in Mughal Painting – Crossing Cultural Frontiers
by S.P. Verma
Hardcover (Edition: 2011)
Aryan Books International
Item Code: NAB762
$75.00
Add to Cart
Buy Now
Ustad Mansur: Mughal Painter of Flora And Fauna
by Som Prakash Verma
Hardcover (Edition: 1999)
Abhinav Publications
Item Code: IDJ975
$50.00
Add to Cart
Buy Now
Princes and Painters in Mughal Delhi, 1707 - 1857
Item Code: NAK591
$85.00
Add to Cart
Buy Now
Mysteries and Marvels of Mughal Architecture
by R. Nath
Hardcover (Edition: 2009)
Shubhi Publications
Item Code: IHJ057
$95.00
Add to Cart
Buy Now
Art and Culture – Painting and Perspective
Deal 15% Off
by A. Jan QaisarS.P. Verma
Hardcover (Edition: 2002)
Abhinav Publications
Item Code: IHL035
$65.00$55.25
You save: $9.75 (15%)
Add to Cart
Buy Now
Paintings of The Razmnama (The Book of War)
by Ashok Kumar Das
Hardcover (Edition: 2005)
Mapin Publishing Pvt. Ltd.
Item Code: NAK992
$75.00
Add to Cart
Buy Now
Wall Paintings of Rajasthan (A Big Book)
by Mira Seth
Hardcover (Edition: 2003)
National Museum
Item Code: NAD896
$125.00
Add to Cart
Buy Now
Ragachitra: Deccani Ragamala Paintings
by Dr. Daljeet
Hardcover (Edition: 2014)
Niyogi Books
Item Code: NAJ663
$75.00
Add to Cart
Buy Now

Testimonials

The Lakshmi statue arrived today and it is beautiful. Thank you so much for all of your help. I am thrilled and she is an amazing statue for my living room.
Susanna, West Hollywood, CA.
I received my ordered items in good condition. I appreciate your excellent service that includes a very good collection of items and prompt delivery service arrangements upon receiving the order.
Ram, USA
Adishankaracharya arrived safely in Munich. You all did a great job. The packaging was extraordinary well done. Thanks to all of you. I´m very happy...
Hermann, Germany
We had placed the order on your site and we received it today. We had tried a lot for finding that book but we couldn't. Thanks for the book.This was what we wanted.
Harkaran
I received my items in good condition. Packing was excellent. I appreciate your excellent service that includes a very good array of items you offer, various good shipping options, and prompt response upon receiving the order.
Ram
I received the necklace today. It is absolutely beautiful -so amazing. And the beautiful box it came in. Thank you so much for this amazing art. Very best regards.
Clare, Ireland
I received a dupatta with a Warli print. It is so beautiful! Great price.
Marie, USA
I just got the package delivered. The books look in good condition from outside. Thanks again. It is always a pleasure doing business with you.
Shambhu, Brooklyn
I wanted to let you know that the books arrived yesterday in excellent condition. Many, many thanks for the very rapid response. My husband had purchased many years ago a Kâshî Sanskrit Series edition of Nâgesha’s work that lacked the second volume. Delighted to have found the entire work — and in the original edition.
Cheryl, Portland.
I received a sterling silver cuff and ring. Both are more beautiful than I imagined. They came in a beautiful box; I will treasure them. The items here are made by artists.. and the shipping was faster than I expected.
Marie, USA
TRUSTe
Language:
Currency:
All rights reserved. Copyright 2017 © Exotic India