India and the World: Mumbai, Kolkata, Chennai New Arcs of Knowledge

Total Page:16

File Type:pdf, Size:1020Kb

India and the World: Mumbai, Kolkata, Chennai New Arcs of Knowledge Transregional Academy November 24–30, 2019 India and the World: Mumbai, Kolkata, Chennai New Arcs of Knowledge Program and Abstracts Impressum Claudia Pfitzner, MA (Art Histories and Aesthetic Practices ), Jule Ulbricht, BA (Art Histories and Aes- thetic Practices), Vrinda Agrawal, MA (Tagore National Scholar, Government Museum and Art Gallery, Chandigarh) Corporate Design: Plural | Severin Wucher, Berlin Image: Shakuntala Kulkarni, Photo Performance, B/6 Saraswat Co-Op Building, Gamdevi, 2010-12. (c) Shakuntala Kulkarni and Chemould Prescott Road, photograph by Shivani Gupta © 2019 Forum Transregionale Studien India and the World: New Arcs of Knowledge Transregional Academy November 24–30, 2019 Mumbai, Kolkata, Chennai Venues Chhatrapati Shivaji Maharaj Vastu Sangrahalaya 159-161, Mahatma Gandhi Road, Kala Ghoda, Fort, Mumbai 400023, Maharashtra, India [email protected] Jadunath Bhavan Museum and Resource Center/ Centre for Studies in Social Sciences, Calcutta 10 Lake Terrace Kolkata 700029, West Bengal, India [email protected] Dakshina Chitra Museum East Coast Road Muttukadu, Chennai Chengalpet District 600118, Tamil Nadu, India [email protected] Contact Prof. Dr. Nachiket Chanchani Associate Professor of South Asian Art and Visual Culture, Departments of the History of Art and Asian Languages and Cultures University of Michigan 855 S. University Avenue, Ann Arbor MI 48109, USA E-mail: [email protected] Dr. Hannah Baader Academic Program Director Art Histories and Aesthetic Practices Forum Transregionale Studien Wallotstr. 14, 14193 Berlin, Germany E-mail: [email protected] Contents Concept Note ........................................................................... 4 Program (Table) ....................................................................... 5 Program (Detailed) ................................................................. 6 Participants and Projects .................................................... 11 Steering Committee .............................................................. 24 Guest Scholars ........................................................................ 27 Institutional Framework ....................................................... 31 Notes .......................................................................................... 32 Concept Note India and the World: New Arcs of Knowledge Transregional Academy November 24–30, 2019 Mumbai, Kolkata, Chennai Studying the visual and material culture of Sciences Calcutta (Kolkata), Dakshina Chitra the Indian subcontinent constitutes a gateway Museum (Chennai) and Chhatrapati Shivaji toward understanding much of the intellectual Maharaj Vastu Sangrahalaya (Mumbai). and cultural heritage of the globe, from antiquity The organizers acknowledge Prof. Dr. Tapati to the present day. The assemblages of objects Guha-Thakurta's role in co-organizing the Kol- and images produced and used in the subconti- kata segment of the Transregional Academy. nent —Buddhist stupas, sprawling temple-cities, Mughal carpets, Chettiyar homes, Satyajit Ray The Transregional Academy will be led by the films, bazaar paintings, family photographs and following scholars: much else—represent more than the inherit- ance of the subcontinent. This Academy brings Prof. Dr. Nachiket Chanchani together artists, curators, and scholars who are (University of Michigan, Ann Arbor) critically investigating such objects and images, and are interested in explicating how they are Dr. Hannah Baader equally the heritage of many other cultures and (Art Histories and Aesthetic Practices, Berlin/ communities. Many of them have emerged from Kunsthistorisches Institut in Florenz – Max- encounters with other mediums and with other Planck-Institut) regions, which, in turn, have been reflected, Prof. Dr. Rosinka Chaudhuri reshaped, and reformed by the art of subconti- (Centre for Studies in Social Sciences, Calcutta) nent. Prof. Dr. Tapati Guha-Thakurta The Transregional Academy will be held at (Centre for Studies in Social Sciences, Calcutta) Chhatrapati Shivaji Maharaj Vastu Sangrahalaya Dr. Deborah Thiagarajan in Mumbai, Centre for Studies in Social Sciences, (Dakshina Chitra Museum/ Madras Craft Foun- Calcutta, and at Dakshina Chitra Museum in dation, Chennai) Chennai in various formats including a sympo- Prof. Dr. Gerhard Wolf sium where research papers will be presented, (Kunsthistorisches Institut – Max-Planck-Insti- site visits, experiential learning sessions, and tut, Florenz) discussions. The Transregional Academy is organized by http://academies.hypotheses.org/ Prof. Dr. Nachiket Chanchani (University of www.forum-transregionale-studien.de www.art-histories.de Michigan, Ann Arbor) in collaboration with Art www.khi.fi.it Histories and Aesthetic Practices program at www.cssscal.org the Forum Transregionale Studien (Berlin), Kun- www.csmvs.in sthistorisches Institut in Florenz – Max-Planck- www.dakshinachitra.net Institut (Florence), Centre for Studies in Social 4 Program (Table) SAT, Nov 23 SAT. Nov 24 MON, Nov 25 TUE, Nov 26 WED, Nov 27 THU, Nov 28 FRI, Nov 29 SAT, Nov 30 Welcome at Panel 6 Workshop Welcome and CSSSC/ R. Ghose Introduction Introduction of all V. Gupta ‘Making Things in Round Table South Asia’ participants P. Roy Choudhury Conversation Travel to Travel to Panel 1 ‘The Indian House Kolkata H. Baader Chennai as an Archive’ ‘City as an N. Kimmet Panel 7 D. Thiagarajan B. Kuriakose Archive’ walk J. Pal R. Chaudhuri S. Menon Final Discussion through UNESCO Panel 2 S. Mitra R. Jafer World Heritage S. Mallik W. Bamber R. Bernhaut P. Singh A Lunch 5 R Tour of CSMVS Panel 3 Panel 8 galleries and R T. Guha-Thakurta P. Deshpande special exhibition I M. Sil S. Agarwal N. Rizvi S. Bhatawadekar Walk through V Dakshina Chitra Discussion on the A campus with making of ‘India Visit to Victoria Panel 4 Panel 9 curators L Memorial Hall and the World’ N. Chanchani T. Banerjee End of and grounds led Visit to exhibition with M. Manohar J. Bachman Academy/ by P. Wibulsilp I. López Arnaiz Mahabalipuram S. Mukherjee T. Guha-Thakurta Departure Tea Break Tea Break Tea Break Tea Break Conversation Panel 5 Tour of JBMRC- Dance with artists L. Subramanian CSSSC visual Performance at A. Dodiya and N. Grancho archives with Dakshina Chitra G. Patel S. Lewis K. Mukherjee Museum Dinner at Dinner: personal Dinner: personal Conference Dinner: personal Dinner: personal Dakshina Chitra arrangements arrangements Dinner arrangements arrangements Museum Program Sunday, Nov 24 Monday, Nov 25 7:35am Departure/ Travel to 9:00am Academy Introduction Kolkata Welcome by Nachiket Chanchani and Hannah Flight 6E 6749 Baader 12:00pm Lunch at Jadunath Bhavan Mu- Meeting Point: Sea-front opposite Soona Mahal, seum and Resource Center (JBMRC)/ Cen- 143 Marine Drive, Mumbai tre for Studies in Social Sciences, Calcutta (CSSSC) 9:30am Walking Tour along UNESCO World Heritage Victorian 1:30–5:00pm Tour Gothic and Art Deco buildings of Victoria Memorial Hall with Tapati Guha- Mumbai Thakurta (Centre for Studies in Social Sciences, with Mustansir Dalvi (Sir JJ school of Architecture, Calcutta) Mumbai) 12:00pm Lunch at CSMVS Visitor Centre Tuesday, Nov 26 1:00pm Gallery Walk through CSMVS 9:15am Meeting at JBMRC with a curator of the ongoing special exhibition ‘India and the Netherlands in the Age of Rem- brandt’ 9:30–10:00am Preliminaries Welcome adress by Rosinka Chaudhuri 2:00pm Tea and Coffee Break (Director, CSSSC) Brief introduction to the symposium by Nachiket Chanchani 2:15pm Talk Introduction of all participants, panel chairs, by Sabyasachi Mukherjee (Director General, and discussants CSMVS) on the making of the ‘India and the World’ exhibition (2018) and the current special 10:00–11:15am exhibition followed by a Q+A session Symposium Panel 1 3:30pm Tea and Coffee Break Natasha Kimmet (Universität Wien) Buddhist Clay Sculpture Production in the Shahi Kingdoms 4:00pm Conversation with artists Geive Patel and Anju Dodiya on their Joeeta Pal (Jawaharlal Nehru University, New work and its worldly affiliations Delhi) The Afterlife of Kanheri: The Multiple Participants in an Extended Mortuary Tradition 6 Panel Chair and Discussant: 3:00–4:15pm Hannah Baader (Forum Transregionale Stu- Symposium Panel 4 dien/ KHI Florenz – MPI ) Mohit Manohar (Yale University, New Haven) Making and Remaking the Tomb of Sher Shah Suri 11:15–11:30am Tea and Coffee Break in British India 11:30–12:45pm Pimmanus Wibulsilp (Chulalongkorn Univer- Symposium Panel 2 sity, Bangkok) The Majestic Red Building That Burned Down: Ross Bernhaut (University of Michigan, Ann Reconsidering the Indo-Anglo Cultural Encounters Arbor) and Exchanges in the Late Eighteenth-Century The Making and Remaking of the Jain Rock-Cut Nawabi Karnatak Through the History of the Che- Sculptures at Gwalior: Expressions in Text, Image, pauk Palace and Stone Panel Chair and Discussant: Parul Singh (Jawaharlal Nehru University, New Nachiket Chanchani (University of Michigan, Delhi) Ann Arbor) Framing Reality: Photo-Mimetic Portraiture in the Windsor Castle Ishqnama Illustrated Manuscript 4:15–4:30pm Tea and Coffee Break Panel Chair and Discussant: Sanjoy Mallik (Visva-Bharati, Santiniketan) 4:30–5:45pm Symposium Panel 5 12:45–1:45pm Lunch Nuncho Grancho (Instituto Universitário de Lisboa) 1:45–3:00pm Asia on the Move: Two-Way Processes, Data and Symposium Panel 3 Legacy of Architectural History from Former Portu- Mrinalini Sil (Jawaharlal Nehru University, New guese Colonial Territories in India Delhi) Collection and Commission: Formation of the Sarojini Lewis
Recommended publications
  • Unit 17 Architecture and Painting*
    Architecture and Painting UANIT 17 RCHITECTURE AND PAINTING* Structure 17.0 Objectives 17.1 Introduction 17.2 Architecture under the Delhi Sultanate 17.2.1 New Structural Forms 17.2.2 Stylistic Evolution 17.2.3 Public Buildings and Public Works 17.3 Mughal Architecture 17.3.1 Beginning of Mughal Architecture 17.3.2 Interregunum: The Sur Architecture 17.3.3 Architecture under Akbar 17.3.4 Architecture under Jahangir and Shah Jahan 17.3.5 The Final Phase 17.4 Paintings under the Delhi Sultanate 17.4.1 Literary Evidence for Murals 17.4.2 The Quranic Calligraphy 17.4.3 Manuscript Illustation 17.5 Mughal Paintings 17.5.1 Antecedents: Paintings in the Fifteenth Century 17.5.2 Painting under Early Mughals 17.5.3 Evolution of the Mughal School under Akbar 17.5.4 Developments and Jahangir and Shahjahan 17.5.5 The Final Phase 17.5.6 European Impact on Mughal Painting 17.6 Summary 17.7 Keywords 17.8 Answers to Check Your Progress Exercises 17.9 Suggested Readings 17.10 Instructional Video Recommendations 17.0 OBJECTIVES After going through this Unit, you should be able to: • distinguish between the pre-Islamic and Indo-Islamic styles of architecture, • identify major phases of architectural development during the period, • understand the traditions of painting prevalent in the Delhi Sultanate, • learn new structural forms and techniques of Mughal architecture, and • describe the main elements of Mughal painting. * Prof. Ravindra Kumar, School of Social Sciences, Indira Gandhi National Open University, New Delhi 357 Religion and Culture 17.1 INTRODUCTION Art and architecture are true manifestations of the culture of a period as they reflect the ethos and thought of a society.
    [Show full text]
  • Non-Western Art History the Art of India 3
    Non-Western Art History The Mughal Empire 1526 - 1707 The Art of India 3 End End 1 Art of India 3 2 Art of India 3 The Mughal Empire Established by Babur, a Muslim from Central Asia, in 1526 with the help of the rulers of Persia (modern Iran) Expanded by his grandson, Akbar (r. 1556-1605), who conquered northern and central India and laid the real foundation for the empire The Mughals, during most of their dominance, were known for strong central government and tolerance of all religions Portrait of Akbar, The Mughals grew very wealthy from trade with Europeans, the by Manohar, Ottoman Empire (Turks) and along the Silk Road 16th century, Hermitage Museum The empire expanded into part of southern India under Aurangzeb (r. 1658-1707), but declined after 1707 Source: The Art of the Mughals, Heilbrunn Timeline of Art History, The Metropolitan Museum of Art End End 3 Art of India 3 4 Art of India 3 Akbar Hears a Petition, by Manohar, c. 1604, H: 10 inches, India, Freer & Sackler Galleries Akbar Hears a Petition, by Manohar, c. 1604, H: 10 inches, India, Freer & Sackler Galleries End End 5 Art of India 3 6 Art of India 3 1 Basic Beliefs of Islam Monotheistic - a belief in only one God, Allah, who is omnipotent. The overall purpose of humanity is to serve Allah, to worship him alone and to construct a moral lifestyle The Koran or Qu’ran is the holy book of Islam, the written revelation from Allah to the prophet Muhammad in the 6th century.
    [Show full text]
  • The Mughal Empire) (Part – II)
    Class – 7 Subject – History & Civics Chapter – 5 (The Mughal Empire) (Part – II) Shah Jahan (1628-1658 AD) The reign of Shah Jahan marks the climax of the Mughal empire. Conquests The Deccan states of Ahmednagar, Bijapur and Golconda had been a source of constant trouble for the Mughals. After annexing Ahmednagar in 1632, the Emperor ordered the states of Bijapur and Golconda to submit to the Mughal authority. The Emperor himself marched to Deccan to seek compliance of his orders. The rulers of Golconda acknowledged the Mughal authority in 1636, but Bijapur submitted only after military action. In the North-West, he was also able to recover Kandahar in 1630, but could not retain it for a long. Cultural Accomplishment Shah Jahan is famous in history for his cultural achievements, especially in the field of architecture. He modeled his court after the style of the old Persian monarchs. The exquisite takht-e-taus, (the peacock shaped throne) and the celebrated diamond Kohinoor added to the magnificence of his court. The famous Taj Mahal at Agra, the Red Fort and Jama Masjid of Delhi are some of the finest specimens of Mughal architecture of his time. War of Succession Shah Jahan fell seriously ill in 1657. Although he had executed his will and nominated his eldest son Dara as his successor, Shah Jahan’s other three sons decided to contest for the throne. A war of succession began among the four brothers – Dara (the heir designate) who was also governor of Punjab and Delhi, Shuja (governor of Bengal, Bihar and Orissa), Aurangzeb (governor of Deccan provinces) and Murad (governor of Gujarat and Multan).
    [Show full text]
  • Mains Gateway-2019
    Daily Prelims Practice Subject: History Topic: Medieval History Batch: DEC 2020 Issue: Mughal Empire - Akbar Date: 17/04/2021 SOLUTIONS 1. (d) When Humayun was wandering Statement 2 is correct: Though in Bikaner, he was gallantly offered Maham Anaga soon withdrew from shelter and help by the Rana of politics, her son, Adham Khan was Amarkot. It was at Amarkot in 1542, an impetuous young man who that Akbar, the greatest of the assumed independent airs when Mughal rulers, was born. Akbar sent to command an expedition was the son of Humayun and his against Malwa. mother name was Hamida Banu Statement 3 is not correct: Akbar Begum. Humayun went to war killed Adham Khan, son of Maham leaving his wife in Amarkot and Anaga, in whose disconnection that’s when Akbar was born. Maham Anga died. This group led by Educational objective: To know Maham Anga was also known as the about great Mughal rulers. petikot rule or puppet rule. They were against the wellbeing and welfare of both Akbar and the 2. (b) Bairam Khan was an important people. military commander, and later Educational objective: To know commander-in-chief of the Mughal about important circumstances army, Humayun honoured him as during Akbar’s life. Khan-i-Khanan, which means "King of Kings". Bairam was originally called Bairam "Beg", but later 4. (b) Statement 1 is not correct: At the became honoured as 'Kha' or Khan. same time after abolishing Jizyah, He was the father of the celebrated Akbar also abolished the pilgrim tax Abdul Rahim Khan-i-khana, the on bathing at holy places such as popular Rahim, a poet of the Bhakti Prayag, Banaras, etc.
    [Show full text]
  • The Art Bulletin Colonial Frames
    This article was downloaded by: [University of California, Berkeley] On: 11 July 2014, At: 11:08 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK The Art Bulletin Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rcab20 Colonial Frames, “Native” Claims: The Jaipur Economic and Industrial Museum Sugata Ray Published online: 10 Jul 2014. To cite this article: Sugata Ray (2014) Colonial Frames, “Native” Claims: The Jaipur Economic and Industrial Museum, The Art Bulletin, 96:2, 196-212 To link to this article: http://dx.doi.org/10.1080/00043079.2014.899180 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes.
    [Show full text]
  • Paper Iv History of the Mughals
    PAPER IV HISTORY OF THE MUGHALS MULTIPLE CHOICE QUESTIONS: UNIT 1 1. Who wrote Akbar Nama? (a) Akbar (b) Abul Fazl (c) Faizi (d) Humayun 2. The Battle of Khanua was fought between: (a) Babur and Ibrahim Lodi (b) Babur and Jai Singh (c) Babur and Rana Sanga (d) Babur and Medini Rao 3. The Second Battle of Panipat was fought between: (a) Humayun and Sher Shah (b) Bairam Khan and Hemu (c) Humayun and Hemu (d) Akbar and Hemu 4. Who was the Author of Humayun Nama? (a) Humayun (b) Gulbadan Begum (c) Roshannara (d) Akbar 5. The First Battle of Panipat (1526) marked the beginning of (a) Mughal Rule in India (b) Afghan Rule in India (c) Turkish rule in India (d) Rajput Rule in India 6. After Panipat, Babur had to face with the problem of dealing with the powerful forces of: (a) Rajputs (b) Afghans (c) Lodis (d) Marathas 7. Babur’s Tuzuk or Memoir is rightly classified as a classic of: (a) World literature (b) Indian literature (c) Muslim literature (d) Classic Literature 8. Babur wrote his memoir Tuzuk-i-Baburi in his mother tongue which was: (a) Persian (b) Arabic (c) Turkish or Turki (d) Sanskrit 9. The Mughals were descendants of the (a) Mongols (b) Chaghtai Turk Mongols (c) Turks (d) Afghans 10. Before the advent of Babur in India, the centre point of the struggle for Transoxiana in Central Asia was the control over (a) Samarqand (b) Farghana (c) Kabul (d) Khurasan 11. Babur was a descendant of (a) Timur (b) Chingiz Khan (c) Both (a) and (b) (d) None of the above 12.
    [Show full text]
  • Boctor of $F)Ilosopf)P
    ASPECTS OF SOCIO-CULTURAL TRENDS N MUGHAL INDIA FROM 1526-1707 ABSTRACT THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF Boctor of $f)ilosopf)p IN HISTORY BY MD. REHAN GHANI Under the Supervision of PROF. TARIQ AHMED CENTRE OF ADVANCED STULDY DEPARTMENT OF HISTORY ALIGARH MUSLIM UNIVERSITY ALIGARH INDIA. 2008 ABSTRACT In the present thesis an attempt has been made to study the social set up and culture in Mughal India. The emphasis of the thesis is on religious trends and thought, Sufi andBhakti, s'ocial condition, language and literature, architecture and painting, and fine arts etc. I had to cover a vast research through empirical, philosophical and national inquiry. It has been found difficult to be both comprehensive and intensive. Some work has been done on the cultural history of Mughal India, but no systematic study has been made. This thesis is a humble attempt to fill this gap is our studies. The source material for the study is varied and scattered. What we possess is a series of glimpses furnished by Persian chronicles, travelers accounts and indigenous writers, who noted what appeared to them of interest. The help form the secondary sources is also taken. The present thesis has been divided into six chapters besides the Preface and Conclusion. A brief resume of each chapter is given below. The first chapter deals with the Religious Trends and Thoughts of the Mughal period. Particularly the Akbar cosmopolitan outlook and others equally Mughal emperor played an important role for the peace and prosperity of nationalized and secularized India.
    [Show full text]
  • The 13Th & 14Th Centuries
    The 13th & 14th Centuries Persian / Arabic Literature 1. Poetry was a popular form. Amir Khusrau and Amir Hassan were great poets. They also wrote qawwalis and created a new Indian style of poetry and is the originator of Hindustani music. 2. History writing was another popular trend. Barni, Afif, Siraj etc. 3. Books we written, specially dictionaries, with painted illustrations. Persian vs Arabic Historiography 2. analytical type. keep in mind that historiography is the study of how history is written. it is the study of all aspects of writing history. going by this definition.....volume wise arabic history works are less voluminous, persian more. reason, persian had been the court language of medieval rulers. what ever was written in arabic was by travelers before delhi sultanate, by religious scholars, arab immigrants to india. (list here famous examples)perspectives - arabic historians were not sympathetic to hindu traditions and culture. most of the works written by religious scholars, immigrants carry that tinge of fanaticism and superiority complex with respect to india in general and hindus in particular. persian - more sympathetic as they were written by those who settled here and non-religious historians. content and style - no differences that i know of. standard muslim style historical writing with plenty of allusions to religious terms. very few were objective. most of them were written to praise their patrons. eulogies and exaggerations. political history, cultural history, economic history, military history etc were the genres. methods of study - both relied on general observations, litterary sources written before them in their languages. very less or no importance was given to numismatics, inscriptions, archaeological sources, non-arabic and non-persian literature.
    [Show full text]
  • Osu1179937403.Pdf (2.74
    THE LORDS OF THE AUSPICIOUS CONJUNCTION: TURCO-MONGOL IMPERIAL IDENTITY ON THE SUBCONTINENT A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Lisa Ann Balabanlilar, M.A. ****** The Ohio State University 2007 Dissertation Committee: Approved by Professor Stephen Dale, Advisor Professor Jane Hathaway ____________________________ Professor Geoffrey Parker Advisor Graduate Program in History Copyright by Lisa Ann Balabanlilar 2007 ABSTRACT Contemporary studies of the Mughal dynasty in India have long been dominated by nationalist, sectarian and ideological agendas which typically present the empire of the Mughal as an exclusively Indian phenomenon, politically and culturally isolated on the sub- continent. Cross disciplinary scholarship on the Middle East and Islamic Central Asia assigns to the Mughals a position on the periphery. Omitting reference to a Central Asian legacy, scholars instead link the Mughals to the preceding nearly one thousand years of Muslim colonization in India. Yet to insist on a thousand years of Muslim continuity in India is to ignore the varied religious, cultural, and political traditions which were transmitted to the subcontinent by a widely diverse succession of immigrant communities. This study radically re-evaluates the scholarly and intellectual isolation with which the Mughals have been traditionally treated, and argues that the Mughals must be recognized as the primary inheritors of the Central Asian Turco- Persian legacy of their ancestor Timur (known in the West as Tamerlane). Driven from their homeland in Central Asia, the Timurid refugee community of South Asia meticulously maintained and asserted the universally admired charisma of their imperial lineage and inherited cultural ii personality.
    [Show full text]
  • Workshop As Network: a Case Study from Mughal South Asia Yael Rice Amherst College, [email protected]
    Artl@s Bulletin Volume 6 Issue 3 Visualizing Networks: Approaches to Network Article 4 Analysis in Art History 2017 Workshop as Network: A Case Study from Mughal South Asia Yael Rice Amherst College, [email protected] Follow this and additional works at: h<p://docs.lib.purdue.edu/artlas Part of the Asian Art and Architecture Commons Recommended Citation Rice, Yael. "Workshop as Network: A Case Study from Mughal South Asia." Artl@s Bulletin 6, no. 3 (2017): Article 4. ;is document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. ;is is an Open Access journal. ;is means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. ;is journal is covered under the CC BY-NC-ND license. Visualizing Networks Workshop as Network: A Case Study from Mughal South Asia Yael Rice * Amherst College Abstract Over the course of Emperor Akbar’s long reign (1556–1605), more than one hundred manuscript painters found employ at the Mughal court. The overwhelming majority of these artists worked in a collaborative capacity. This study uses Social Network Analysis and Digital Humanities methods to analyze the patterns of artistic collaboration and learning across several manuscript projects of the later sixteenth century. Among the conclusions advanced is that the structure of manuscript illustration project teams, which fostered a large number of acquaintanceships among many artists, facilitated the widespread transmission of diverse practices, thereby contributing to the production of a new, synthetic style.
    [Show full text]
  • A Translation and Analysis of Abu'l-Fazl's Preface to the Razmnama
    Understanding the Mughal Book of War: A Translation and Analysis of Abu’l-Fazl’s Preface to the Razmnama by Razieh Babagolzadeh B.A., Arak University, 2010 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Department of History Faculty of Arts and Social Sciences Razieh Babagolzadeh 2015 SIMON FRASER UNIVERSITY Fall 2015 Approval Name: Razieh Babagolzadeh Degree: Master of Arts (History) Title of Thesis: Understanding the Mughal Book of War: A Translation and Analysis of Abu’l-Fazl’s Preface to the Razmnama Examining Committee: Chair: Roxanne Panchasi Associate Professor Derryl MacLean Senior Supervisor Associate Professor Luke Clossey Supervisor Associate Professor Thomas Kuehn Supervisor Associate Professor Azadeh Yamini-Hamedani External Examiner Assistant Professor World Literature Program Simon Fraser University Date Defended/Approved: December 16, 2015 ii Abstract The Mughal emperor Akbar (1542-1605) commissioned the translation of a number of texts from Sanskrit into Persian, one of his most ambitious projects being the Mahabharata, India’s celebrated epic. Akbar called this the Razmnama or ‘Book of War’ on account of the great conflict at the heart of the narrative. In 1587 he asked his courtier Abu’l-Fazl ibn Mubarak to write a Preface to the Razmnama. This thesis is a study of that Preface. My thesis is divided into several parts. To begin, I look at Abu’l- Fazl and the Translation Bureau, the department set up by the Mughals to undertake translation work. I then turn to the sources that document the translation of the Mahabharata and identify the translation team.
    [Show full text]
  • The Mughal Empire Is a Long Overdue Scholarly Study of the Mughal Period in Early Modern India
    I.B.TAURIS SHORT HISTORIES I.B.Tauris Short Histories is an authoritative and elegantly written new series which puts a fresh perspective on the way history is taught and understood in the twenty-first century. Designed to have strong appeal to university students and their teachers, as well as to general readers and history enthusiasts, I.B.Tauris Short Histories comprises a novel attempt to bring informed interpretation, as well as factual reportage, to historical debate. Addressing key subjects and topics in the fields of history, the history of ideas, religion, classical studies, politics, philosophy and Middle East studies, the series seeks intentionally to move beyond the bland, neutral ‘introduction’ that so often serves as the primary undergraduate teaching tool. While always providing students and generalists with the core facts that they need to get to grips with the essentials of any particular subject, I.B.Tauris Short Histories goes further. It offers new insights into how a topic has been understood in the past, and what different social and cultural factors might have been at work. It brings original perspectives to bear on the manner of its current interpretation. It raises questions and – in its extensive bibliographies – points to further study, even as it suggests answers. Addressing a variety of subjects in a greater degree of depth than is often found in comparable series, yet at the same time in concise and compact handbook form, I.B.Tauris Short Histories aims to be ‘introductions with an edge’. In combining questioning and searching analysis with informed history writing, it brings history up-to-date for an increasingly complex and globalized digital age.
    [Show full text]