Wonder of the Age : Master Painter of India: 1100-1900
Contents: Director’s foreword/Thomas P. Campbell. Preface/John Guy and Jorrit Britschgi. Acknowledgements. Lenders to the exhibition. 1. From Palm-leaf to paper: Manuscript painting 1100-1500. 2. Early Hindu-sultanate Painting: 1500-1575. 3. The Golden age of Mughal Painting: 1575-1650. 4. Late Mughal Painting and the renaissance of the Hindu courts: 1650-1730. 5. Mughal afterglow and the later court styles in the pahari region and Rajasthan: 1730-1825. 6. Late Indian court painting, “Company Painting,” and the coming of photography: 1825-1900. Glossary of literary sources. Notes. Bibliography. Index. Photography credits.
This vividly illustrated publication features 110 works by many of the most eminent painters in the history of Indian art. These remarkable paintings, dating from 110 to 1900, were selected according to identifiable artists, and they refute the long-held view of anonymous authorship in Indian art.
Traditionally, Indian paintings have been classified by regional styles or dynastic periods, with an emphasis on subject matter. Stressing the combined tools of connoisseurship and inscriptional evidence, the pioneering research reflected in this book has identified 40 individual artists and their oeuvres through the analysis of style.
The introductory essay outlines the origins of early Indian painting of the first millennium, which set the scene for the development of the art of the book. The sections that follow examine manuscript painting -- palm-leaf to paper -- the emergence of traditional painting as an independent art form, and its demise with the coming of photography. Biographies of the artists and a glossary of their major literary sources provide valuable context.
This vividly illustrated publication features 110 works by many of the most eminent painters in the history of Indian art. These remarkable paintings, dating from 110 to 1900, were selected according to identifiable artists, and they refute the long-held view of anonymous authorship in Indian art.
Traditionally, Indian paintings have been classified by regional styles or dynastic periods, with an emphasis on subject matter. Stressing the combined tools of connoisseurship and inscriptional evidence, the pioneering research reflected in this book has identified 40 individual artists and their oeuvres through the analysis of style.
The introductory essay outlines the origins of early Indian painting of the first millennium, which set the scene for the development of the art of the book. The sections that follow examine manuscript painting -- palm-leaf to paper -- the emergence of traditional painting as an independent art form, and its demise with the coming of photography. Biographies of the artists and a glossary of their major literary sources provide valuable context.
