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In the Name of Krishna: the Cultural Landscape of a North Indian Pilgrimage Town
In the Name of Krishna: The Cultural Landscape of a North Indian Pilgrimage Town A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Sugata Ray IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Frederick M. Asher, Advisor April 2012 © Sugata Ray 2012 Acknowledgements They say writing a dissertation is a lonely and arduous task. But, I am fortunate to have found friends, colleagues, and mentors who have inspired me to make this laborious task far from arduous. It was Frederick M. Asher, my advisor, who inspired me to turn to places where art historians do not usually venture. The temple city of Khajuraho is not just the exquisite 11th-century temples at the site. Rather, the 11th-century temples are part of a larger visuality that extends to contemporary civic monuments in the city center, Rick suggested in the first class that I took with him. I learnt to move across time and space. To understand modern Vrindavan, one would have to look at its Mughal past; to understand temple architecture, one would have to look for rebellions in the colonial archive. Catherine B. Asher gave me the gift of the Mughal world – a world that I only barely knew before I met her. Today, I speak of the Islamicate world of colonial Vrindavan. Cathy walked me through Mughal mosques, tombs, and gardens on many cold wintry days in Minneapolis and on a hot summer day in Sasaram, Bihar. The Islamicate Krishna in my dissertation thus came into being. -
“Patna's Drawings” Album
Mughal miniatures share these basic characteristics, but they also incorporate interesting innovations. Many of these deviations results from the fact that European prints and art objects had been available in India since the establishment of new trading colonies along the western coast in the sixteenth century. Mughal artists thus added to traditional Persian and Islamic forms by including European techniques such as shading and at- mospheric perspective. It is interesting to note that Eu- ropean artists were likewise interested in Mughal paint- ing—the Dutch artist Rembrandt van Rijn collected and copied such works, as did later artists such as Sir Joshua Reynolds and William Morris. These images continued to interest westerners in the Victorian era, during the period of Art Nouveau, and even today. [For a demon- stration of Persian miniature painting, see http://vimeo. com/35276945.] The DepicTion of The RuleR in Mughal MiniaTuRe painTing While Humayun was largely responsible for the im- portation of Persian painters to India, it was under Ak- bar that Mughal miniature painting first truly flourished. Akbar maintained an imperial studio where more than a hundred artists illustrated classical Persian literary texts, as well as the Mahabharata, the great Hindu epic that the emperor had translated into Persian from its original Sanskrit. Akbar also sponsored various books describing his own good deeds and those of his ancestors. Such books were expansive—some were five hundred pages long, with more than a hundred miniature paintings illustrat- portrait of the emperor shahjahan, enthroned, ing the text. It is here that we see the first concentrated from the “patna’s Drawings” album. -
The Mughal Audience Hall: a Solomonic Revival of Persepolis in the Form of a Mosque1
THE MUGHAL AUDIENCE HALL: A SOLOMONIC REVIVAL OF PERSEPOLIS IN THE FORM OF A MOSQUE1 Ebba Koch Shah Jahan’s Court After Shah Jahan (rul. 1628–58), the fifth emperor of the Mughal dynasty, was enthroned on 8th Jumada al-Thani of the Hijri year 1037, corresponding to 14 February 1628 CE, he issued an order that halls for his public audiences should be constructed in all the great fortress palaces of the capitals of the Mughal empire. The audience hall was a new building type in the Mughal palace, of central importance for the proceedings of the Mughal court and for the interaction of the emperor with his subjects. Under the rule of Shah Jahan, the Mughal empire entered its classi- cal phase of greatest prosperity and stability.2 The conquests of Babur (1526), enlarged and consolidated under Akbar (rul. 1556–1605) and Jahangir (rul. 1605–1627), had established the Empire of the Great Moghul (or Mughal) as one of the three leading powers of the Islamic world, the other two being the Ottoman Empire and Safavid Persia. The informal set up of Babur asprimus inter pares among his Central Asian followers, had—in particular through the efforts of Akbar— developed into the court of an absolute ruler who, as head of a cen- tralized state, personally and diligently oversaw the administration of 1 This paper is based on an earlier study of the audience halls of Shah Jahan with detailed references, see Ebba Koch, ‘Diwan-i ‘Amm and Chihil Sutun: The Audience Halls of Shah Jahan’, Muqarnas 11 (1994) pp. -
Tour Guides in Agra & Fatehpur Sikri
Tour Guides In Agra & Fatehpur Sikri DISCOVER INDIA PROGRAM 2017-18 Certificate This is to certify that the work incorporated in the report titled “Tour Guides in Agra and Fatehpur Sikri” submitted by the undersigned research team was carried out under my supervision. Such material as has been obtained from other sources has been duly acknowledged. Sr. No. Name Designation Signature 1 Aditya Jha Visual Documentation 2 Advait Makhija Group Leader and On-field Research 3 Amalina Sengupta Accounts and On-field Research 4 Aman N Shah Accounts and On-field Research 5 Anish Jayaraman Content Writing 6 Deepta Iyer Logistics and On-field Research 7 Enasha Thakker Creativity 8 Hardika Zaveri Creativity 9 Maitreyi Menon Content Writing 10 Manasi Pant Content Writing 11 Sharvari Karandikar Content Writing 12 Shreya Negandhi Creativity 13 Tamanna Rajabali Creativity and Visual Documentation 14 Vishwambhar Vaidyam Visual Documentation Name of the Mentor: Dr. Juhi Sidharth Signature: Date: ii Table of Contents Sr. No. Particulars Page no. 1 1.0. Introduction 1 1.1. Geographical Location 1.1.1. Location 1.1.2. Climate 1.2. Economy and Education 1.3. Historical Overview 1.3.1. History of The Region 1.4. Research Statement 1.5. Research Aims and Objectives 1.6. Research Methodology 1.7. Limitations 2 2.1. Literature Review: Evaluation of Secondary Sources 11 2.1.1. Roles of a Tour Guide 2.1.2. Types of Tour Guides 2.1.3. Training 2.1.4. Conduct 2.1.5. Challenges to The Guides and The Industry 2.1.6. Gender 2.1.7. -
Past and Present
2nd Scandinavian Symposium on Furniture Technology & Design Marquetry Past and Present May 2007 Vadstena Sweden Cover photo: Detail of ‘Scarab table’ by Rasmus Malbert. Photo taken by © Rasmus Malbert. This publication was made possible thanks to Carl Malmstens Hantverksstiftelse Editor Ulf Brunne Director of Studies Carl Malmsten Furniture Studies Linköping University Tel. +46 (0) 13 28 23 20 e-mail: [email protected] Layout Elise Andersson Furniture Conservator Tel. +31 (0) 686 15 27 06 / +46 (0) 704 68 04 97 e-mail: [email protected] Foreword The Marquetry Symposium in Vadstena 2007 was all over the world. The presentations covered a the second international symposium hosted by Carl multitude of aspects and were well inline with our Malmsten Centre of Wood Technology & Design ambition to include both historical, theoretical, at Linköping University. Since then we not only technical and design related aspects. changed our name, we also moved to new purpose- Even if the symposium, as intended, covered both built premises and above all, updated our programs historical and modern applications we conclude in order to meet future challenges. Carl Malmsten that presentations of contemporary works and Furniture Studies, which is our new name, is techniques were in minority. It is therefore with great satisfaction we during the past few years have Marquetry has since ancient times been used to registered a growing interest not only in traditional decoratedefinitely furniture back on track! and interiors. Starting with basic marquetry but also in the use of marquetry on but intricate geometric patterns in the Middle Ages, industrially manufactured design furniture. -
Exploration of Arabesque As an Element of Decoration in Islamic Heritage Buildings: the Case of Indian and Persian Architecture
Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930 Exploration of Arabesque as an Element of Decoration in Islamic Heritage Buildings: The Case of Indian and Persian Architecture Mohammad Arif Kamal Architecture Section Aligarh Muslim University, Aligarh, India Saima Gulzar School of Architecture and Planning University of Management and Technology, Lahore, Pakistan Sadia Farooq Dept. of Family and Consumer Sciences University of Home Economics, Lahore, Pakistan Abstract - The decoration is a vital element in Islamic art and architecture. The Muslim designers finished various art, artifacts, religious objects, and buildings with many types of ornamentation such as geometry, epigraphy, calligraphy, arabesque, and sometimes animal figures. Among them, the most universal motif in ornamentation which was extensively used is the arabesque. The arabesque is an abstract and rhythmic vegetal ornamentation pattern in Islamic decoration. It is found in a wide variety of media such as book art, stucco, stonework, ceramics, tiles, metalwork, textiles, carpets, etc.. The paper discusses the fact that arabesque is a unique, universal, and vital element of ornamentation within the framework of Islamic Architecture. In this paper, the etymological roots of the term ‘Arabesque’, its evolution and development have been explored. The general characteristics as well as different modes of arabesque are discussed. This paper also analyses the presentation of arabesque with specific reference to Indian and Persian Islamic heritage buildings. Keywords – Arabesque, Islamic Architecture, Decoration, Heritage, India, Iran I. INTRODUCTION The term ‘Arabesque’ is an obsolete European form of rebesk (or rebesco), not an Arabic word dating perhaps from the 15th or 16th century when Renaissance artists used Islamic Designs for book ornament and decorative bookbinding [1]. -
Islamic Art Pp001-025 21/5/07 08:53 Page 2
Spirit &Life Spirit & Life The creation of a museum dedicated to the presentation of Muslim ‘I have been involved in the field of development for nearly four decades. arts and culture – in all their historic, cultural and geographical Masterpieces of Islamic Art This engagement has been grounded in my responsibilities as Imam of diversity – is a key project of the Aga Khan Trust for Culture, one the Shia Ismaili Community, and Islam’s message of the fundamental of whose aims is to contribute to education in the fields of arts and from the Aga Khan Museum Collection unity of “din and dunya”, of spirit and life.’ culture. The developing political crises of the last few years have collections museum khan theaga from art ofislamic masterpieces revealed – often dramatically – the considerable lack of knowledge of His Highness the Aga Khan the Muslim world in many Western societies. This ignorance spans at the Annual Meeting of the EBRD all aspects of Islam: its pluralism, the diversity of interpretations Tashkent, 5 May 2003 within the Qur’anic faith, the chronological and geographical extent of its history and culture, as well as the ethnic, linguistic and social Spirit and Life is the title of an exhibition of over 160 masterpieces diversity of its peoples. of Islamic art from the Aga Khan Museum which will open in Toronto, Canada in 2009. This catalogue illustrates all the miniature For this reason, the idea of creating a museum of Muslim arts and paintings, manuscripts, jewellery, ceramics, wood panels and culture in Toronto as an eminently educational institution, with beams, stone carvings, metal objects and other art works in the the aim of informing the North American public of the diversity and exhibition, which spans over a thousand years of history and gives significance of Muslim civilisations naturally arose. -
Studies and Sources in Islamic Art and Architecture
STUDIES AND SOURCES IN ISLAMIC ART AND ARCHITECTURE SUPPLEMENTS TO MUQARNAS Sponsored by the Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. VOLUME IX PREFACING THE IMAGE THE WRITING OF ART HISTORY IN SIXTEENTH-CENTURY IRAN BY DAVID J. ROXBURGH BRILL LEIDEN • BOSTON • KÖLN 2001 This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Roxburgh, David J. Prefacing the image : the writing of art history in sixteenth-century Iran / David J. Roxburgh. p. cm. — (Studies and sources in Islamic art and architecture. Supplements to Muqarnas, ISSN 0921 0326 ; v. 9) Includes bibliographical references and index. ISBN 9004113762 (alk. papier) 1. Art, Safavid—Historiography—Sources. 2. Art, Islamic—Iran– –Historiography—Sources. 3. Art criticism—Iran—History—Sources. I. Title. II. Series. N7283 .R69 2000 701’.18’095509024—dc21 00-062126 CIP Die Deutsche Bibliothek - CIP-Einheitsaufnahme Roxburgh, David J.: Prefacing the image : the writing of art history in sixteenth century Iran / by David J. Roxburgh. – Leiden; Boston; Köln : Brill, 2000 (Studies and sources in Islamic art and architectue; Vol 9) ISBN 90-04-11376-2 ISSN 0921-0326 ISBN 90 04 11376 2 © Copyright 2001 by Koninklijke Brill NV, Leiden, The Netherlands All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910 Danvers MA 01923, USA. -
Art in Between Empires: Visual Culture & Artistic
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Columbia University Academic Commons ART IN BETWEEN EMPIRES: VISUAL CULTURE & ARTISTIC KNOWLEDGE IN LATE MUGHAL DELHI 1748-1857 Yuthika Sharma Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Yuthika Sharma All rights reserved ABSTRACT Art in between Empires: Visual Culture & Artistic Knowledge in Late Mughal Delhi 1748 -1857 Yuthika Sharma This dissertation focuses on the artistic culture of late Mughal Delhi spanning the last century of Mughal rule and the administration of the English East India Company in North India, from the mid-eighteenth to the mid-nineteenth centuries. It brings a hitherto unrecognized period of artistic accomplishment to light and studies the transformations within painting culture in the multicultural Anglo-Mughal society of Delhi. Rather than being fixated on the continuum of Mughal painting over centuries, this dissertation suggests that the art of the late Mughal period should be studied on its own terms as a response to immense socio-political and cultural changes. At its core this study is concerned with dissolving the stylistic barriers between Mughal and Company painting in the late eighteenth and nineteenth centuries. I take up the question of what the term ‘late Mughal painting’ entails and discuss how the term privileges the notion of a court centric culture of painting in an era when the Mughal court was only one of many venues of artistic expression. On the other hand, I highlight the inadequacy of the term ‘Company painting’ to address the variegated nature of works produced under East India Company patronage in this period. -
Gallery Guide Marx-Lambert Collection Compton Verney
Gallery Guide Marx-Lambert Collection Compton Verney Please return to the gallery after use 1 Marx-Lambert Collection Gallery Guide Marx-Lambert Collection Compton Verney The Marx-Lambert Collection Gallery Guide and re-display was Written and compiled by made possible by funding from: Dr Steven Parissien, Director and Penelope Sexton, Curator The DCMS/Wolfson Museums and Galleries Improvement Fund Compton Verney and With support from The Estate of Enid Marx Gallery guide: Designed by Anne Odling-Smee and Ana Gomes, O-SB Design, London Marx-Lambert Galleries: Curated by Penelope Sexton, Compton Verney Designed by O-SB Design, London and Jeremy Akerman All works by Enid Marx © The Estate of Enid Marx Photographs by Harminder Judge All other works © Compton Verney Photographs by Harminder Judge Photograph of Enid Marx © University of Brighton Design Archives Introduction 7 Biography 8 Collection Introduction 9 Cooking Utensils and Decorative Containers 10 Eating and Drinking 14 Furniture 28 Ornaments 32 Pictures 42 Textiles 48 Toys and Miscellanea 52 Introduction Enid Crystal Dorothy Marx (1902–1998) was one of the brightest stars to emerge from the Design School of London’s Royal College of Art (RCA) during the interwar years. Her generation at the RCA – an outstanding cohort which artist and RCA tutor Paul Nash (1889–1946) subsequently hymned as ‘an outbreak of talent’ – included her close friends Eric Ravilious (1903–1942) and Edward Bawden (1903–1989), as well as future giants of British painting such as John Piper (1902–1992). Marx’s own artistic talents were prodigious: she excelled as a textile designer, an author, designer and illustrator of children’s books, a printmaker and a painter. -
Antique Italian Pietra Dura Brass & Alabaster Comport Dish
anticSwiss 26/09/2021 14:08:10 http://www.anticswiss.com Antique Italian Pietra Dura Brass & Alabaster Comport Dish FOR SALE ANTIQUE DEALER Period: 19° secolo - 1800 Regent Antiques London Style: Altri stili +44 2088099605 447836294074 Height:8cm Width:29cm Depth:29cm Price:700€ DETAILED DESCRIPTION: This is a superb quality antique Italian Pietra Dura mounted, gilt brass and alabaster table-centre comport dish, dating from the late 19th Century. With striking pierced Neo-Gothic chased brass mounts this splendid alabaster dish is set with six highly decorative pietra dura roundels depicting various floral decoration. It is raised on a sturdy circular brass base. It is a sumptuous piece which will make a great statement in any special room. Condition: In really excellent condition, please see photos for confirmation. Dimensions in cm: Height 8 x Width 29 x Depth 29 Dimensions in inches: Height 3.1 x Width 11.4 x Depth 11.4 Pietra dura is a term for the inlay technique of using cut and fitted, highly polished coloured stones to create images. It is considered a decorative art. Pietre dure is an Italian plural meaning "hard rocks" or hardstones; the singular pietra dura is also encountered in Italian. In Italian, but not in English, the term embraces all gem engraving and hardstone carving, which is the artistic carving of three-dimensional objects in semi-precious stone, normally from a single piece, for example in Chinese jade. The traditional convention in English has been to use the singular pietra dura just to denote multi-colored inlay work. However, in recent years there has been a trend to use pietre dure as a term for the same thing, but not for all of the techniques it covers, in Italian. -
Aesthetics of the Qur'anic Epigraphy on the Taj Mahal
Aesthetics of the Qur’anic Epigraphy on the Taj Mahal by Rio Fischer B.A. Philosophy & Middle Eastern Studies Claremont McKenna College, 2012 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN ARCHITECTURE STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY June 2017 ©2017 Rio Fischer. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: __________________________________________________ Department of Architecture May 25, 2017 Certified by: __________________________________________________________ James Wescoat Aga Khan Professor Thesis Supervisor Accepted by:__________________________________________________________ Sheila Kennedy Professor of Architecture Chair, Department Committee on Graduate Students Committee: James Wescoat, PhD Aga Khan Professor Thesis Supervisor Nasser Rabbat, MArch, PhD Aga Khan Professor Thesis Reader 3 Aesthetics of the Qur’anic Epigraphy on the Taj Mahal by Rio Fischer Submitted to the Department of Architecture on May 25, 2017 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies ABSTRACT This thesis examines the Qur’anic epigraphic program of the Taj Mahal. Following the 1989 Begley & Desai book Taj Mahal: an Illustrated Tomb, the flourish of scholarship that would expectedly follow a complete epigraphical catalog never arrived. Despite being well-known and universally cherished as indicated by the Taj Mahal’s recognition as a UNESCO world heritage monument and as one of the New 7 Wonders of the World, there is insufficient research directed towards the inscription program specifically.