The Rasikapriya, (Connoisseur's Delights), is one of the first vernacular texts dealing with ... more The Rasikapriya, (Connoisseur's Delights), is one of the first vernacular texts dealing with hero-heroine classification in which Krsna and Radha are seen as the archetypal lovers. Written by Keshavadas in A.D. 1591, Rasikapriya is one of the finest poetic works in the r(')iti tradition, and one of the most frequently illustrated texts in Rajput painting. The study of the text and the formation of its visual images has not, however, received from scholars the attention it deserves. This thesis focuses on the earliest known Rasikapriya paintings and has two distinct, but interrelated goals. The primary goal is to underst and the genesis of Rasikapriya paintings. The second goal is to develop a more comprehensive methodology for the study of textual illustrations in India. Because the investigation concerns the origin of Rasikapriya images, it is limited to three earliest known painted sets: (1) the sub-imperial Mughal set--ca. 1600-1624 A.D.; (2) the Malwa set--ca. 1600-1634 A.D.; (3) the Mewar set--ca. 1630-40 A.D. The origins of the Rasikapriya paintings and their patronage are explored through an in-depth study of the text itself, and a detailed stylistic, iconographic and contextual analysis of each of the sets mentioned above. From these two types of studies it has been possible to identify factors which were responsible for the creation of Rasikapriya paintings. They are: narrative painting conventions of a given school, literary sophistication of the patron, and the presence of a scholarly intermediary for the appropriate explication of the text. Through a detailed study of the earliest known Rasikapriya paintings, the thesis also enumerates principles which can be considered when studying textual images in Rajput art. A thorough comprehension of the text, its importance for the patrons, and a study of the textual illustrations in relation to the painting conventions of a center are important components. An analysis of the gestures and postures of figures, decorative motifs, and spatial organization, as carriers of meaning is also necessary. Such an investigation helps to decode the visual language used by the artist to convey the layers and levels of textual meaning. Through a careful consideration of these factors we are able to ascertain the way word-bound images were used and appreciated by their patrons, and develop a more comprehensive underst and ing of textual illustrations in Rajput painting.Ph.D.Fine artsAsian literatureUniversity of Michiganhttp://deepblue.lib.umich.edu/bitstream/2027.42/160291/1/8502793.pd
Аннотация Discusses the display and perception of Asian arts in the West using as examples the As... more Аннотация Discusses the display and perception of Asian arts in the West using as examples the Asia Society's exhibitions entitledBuddha of the Future'andAsia/America: Identities in Contemporary Asian American Art.'Focus of the two exhibits; Difference in ...
Page 1. A RANGE OF CRITICAL PERSPECTIVES The Problematics of Collecting and Display, Part 2 Moder... more Page 1. A RANGE OF CRITICAL PERSPECTIVES The Problematics of Collecting and Display, Part 2 Modern French Painting and the Art Museum Richard R. Brettell For most members of the public, French Impressionist and ...
... Mewar only in the latter part of the seventeenth century, during the reigns of Jai Singh (r. ... more ... Mewar only in the latter part of the seventeenth century, during the reigns of Jai Singh (r. 1680 ... acceptance of Mughal sover-eignty by the Bikaner rulers Kalyan Singh and Rai Singh in the ... tion of the Sisodia rulers' resistance to the Mughal authority in the late sixteenth and early ...
The Rasikapriya, (Connoisseur's Delights), is one of the first vernacular texts dealing with ... more The Rasikapriya, (Connoisseur's Delights), is one of the first vernacular texts dealing with hero-heroine classification in which Krsna and Radha are seen as the archetypal lovers. Written by Keshavadas in A.D. 1591, Rasikapriya is one of the finest poetic works in the r(')iti tradition, and one of the most frequently illustrated texts in Rajput painting. The study of the text and the formation of its visual images has not, however, received from scholars the attention it deserves. This thesis focuses on the earliest known Rasikapriya paintings and has two distinct, but interrelated goals. The primary goal is to underst and the genesis of Rasikapriya paintings. The second goal is to develop a more comprehensive methodology for the study of textual illustrations in India. Because the investigation concerns the origin of Rasikapriya images, it is limited to three earliest known painted sets: (1) the sub-imperial Mughal set--ca. 1600-1624 A.D.; (2) the Malwa set--ca. 1600-1634 A.D.; (3) the Mewar set--ca. 1630-40 A.D. The origins of the Rasikapriya paintings and their patronage are explored through an in-depth study of the text itself, and a detailed stylistic, iconographic and contextual analysis of each of the sets mentioned above. From these two types of studies it has been possible to identify factors which were responsible for the creation of Rasikapriya paintings. They are: narrative painting conventions of a given school, literary sophistication of the patron, and the presence of a scholarly intermediary for the appropriate explication of the text. Through a detailed study of the earliest known Rasikapriya paintings, the thesis also enumerates principles which can be considered when studying textual images in Rajput art. A thorough comprehension of the text, its importance for the patrons, and a study of the textual illustrations in relation to the painting conventions of a center are important components. An analysis of the gestures and postures of figures, decorative motifs, and spatial organization, as carriers of meaning is also necessary. Such an investigation helps to decode the visual language used by the artist to convey the layers and levels of textual meaning. Through a careful consideration of these factors we are able to ascertain the way word-bound images were used and appreciated by their patrons, and develop a more comprehensive underst and ing of textual illustrations in Rajput painting.Ph.D.Fine artsAsian literatureUniversity of Michiganhttp://deepblue.lib.umich.edu/bitstream/2027.42/160291/1/8502793.pd
Press release for the exhibition "Life at Court: Art for India's Rulers, 16th-19th Centu... more Press release for the exhibition "Life at Court: Art for India's Rulers, 16th-19th Centuries," March 16-May 11, 1986, held at the Dallas Museum of Art. The press release announces related special events in conjunction with the exhibition
Abstract: Today, a growing number of Pakistani artists have embraced the nation's perceived ... more Abstract: Today, a growing number of Pakistani artists have embraced the nation's perceived visual languages and political, social, and cultural history to interrogate and unpack Pakistan's contemporary society and identity. The fruits of this shifting and mixing are ...
The Rasikapriya, (Connoisseur's Delights), is one of the first vernacular texts dealing with ... more The Rasikapriya, (Connoisseur's Delights), is one of the first vernacular texts dealing with hero-heroine classification in which Krsna and Radha are seen as the archetypal lovers. Written by Keshavadas in A.D. 1591, Rasikapriya is one of the finest poetic works in the r(')iti tradition, and one of the most frequently illustrated texts in Rajput painting. The study of the text and the formation of its visual images has not, however, received from scholars the attention it deserves. This thesis focuses on the earliest known Rasikapriya paintings and has two distinct, but interrelated goals. The primary goal is to underst and the genesis of Rasikapriya paintings. The second goal is to develop a more comprehensive methodology for the study of textual illustrations in India. Because the investigation concerns the origin of Rasikapriya images, it is limited to three earliest known painted sets: (1) the sub-imperial Mughal set--ca. 1600-1624 A.D.; (2) the Malwa set--ca. 1600-1634 A.D.; (3) the Mewar set--ca. 1630-40 A.D. The origins of the Rasikapriya paintings and their patronage are explored through an in-depth study of the text itself, and a detailed stylistic, iconographic and contextual analysis of each of the sets mentioned above. From these two types of studies it has been possible to identify factors which were responsible for the creation of Rasikapriya paintings. They are: narrative painting conventions of a given school, literary sophistication of the patron, and the presence of a scholarly intermediary for the appropriate explication of the text. Through a detailed study of the earliest known Rasikapriya paintings, the thesis also enumerates principles which can be considered when studying textual images in Rajput art. A thorough comprehension of the text, its importance for the patrons, and a study of the textual illustrations in relation to the painting conventions of a center are important components. An analysis of the gestures and postures of figures, decorative motifs, and spatial organization, as carriers of meaning is also necessary. Such an investigation helps to decode the visual language used by the artist to convey the layers and levels of textual meaning. Through a careful consideration of these factors we are able to ascertain the way word-bound images were used and appreciated by their patrons, and develop a more comprehensive underst and ing of textual illustrations in Rajput painting.Ph.D.Fine artsAsian literatureUniversity of Michiganhttp://deepblue.lib.umich.edu/bitstream/2027.42/160291/1/8502793.pd
Аннотация Discusses the display and perception of Asian arts in the West using as examples the As... more Аннотация Discusses the display and perception of Asian arts in the West using as examples the Asia Society's exhibitions entitledBuddha of the Future'andAsia/America: Identities in Contemporary Asian American Art.'Focus of the two exhibits; Difference in ...
Page 1. A RANGE OF CRITICAL PERSPECTIVES The Problematics of Collecting and Display, Part 2 Moder... more Page 1. A RANGE OF CRITICAL PERSPECTIVES The Problematics of Collecting and Display, Part 2 Modern French Painting and the Art Museum Richard R. Brettell For most members of the public, French Impressionist and ...
... Mewar only in the latter part of the seventeenth century, during the reigns of Jai Singh (r. ... more ... Mewar only in the latter part of the seventeenth century, during the reigns of Jai Singh (r. 1680 ... acceptance of Mughal sover-eignty by the Bikaner rulers Kalyan Singh and Rai Singh in the ... tion of the Sisodia rulers' resistance to the Mughal authority in the late sixteenth and early ...
The Rasikapriya, (Connoisseur's Delights), is one of the first vernacular texts dealing with ... more The Rasikapriya, (Connoisseur's Delights), is one of the first vernacular texts dealing with hero-heroine classification in which Krsna and Radha are seen as the archetypal lovers. Written by Keshavadas in A.D. 1591, Rasikapriya is one of the finest poetic works in the r(')iti tradition, and one of the most frequently illustrated texts in Rajput painting. The study of the text and the formation of its visual images has not, however, received from scholars the attention it deserves. This thesis focuses on the earliest known Rasikapriya paintings and has two distinct, but interrelated goals. The primary goal is to underst and the genesis of Rasikapriya paintings. The second goal is to develop a more comprehensive methodology for the study of textual illustrations in India. Because the investigation concerns the origin of Rasikapriya images, it is limited to three earliest known painted sets: (1) the sub-imperial Mughal set--ca. 1600-1624 A.D.; (2) the Malwa set--ca. 1600-1634 A.D.; (3) the Mewar set--ca. 1630-40 A.D. The origins of the Rasikapriya paintings and their patronage are explored through an in-depth study of the text itself, and a detailed stylistic, iconographic and contextual analysis of each of the sets mentioned above. From these two types of studies it has been possible to identify factors which were responsible for the creation of Rasikapriya paintings. They are: narrative painting conventions of a given school, literary sophistication of the patron, and the presence of a scholarly intermediary for the appropriate explication of the text. Through a detailed study of the earliest known Rasikapriya paintings, the thesis also enumerates principles which can be considered when studying textual images in Rajput art. A thorough comprehension of the text, its importance for the patrons, and a study of the textual illustrations in relation to the painting conventions of a center are important components. An analysis of the gestures and postures of figures, decorative motifs, and spatial organization, as carriers of meaning is also necessary. Such an investigation helps to decode the visual language used by the artist to convey the layers and levels of textual meaning. Through a careful consideration of these factors we are able to ascertain the way word-bound images were used and appreciated by their patrons, and develop a more comprehensive underst and ing of textual illustrations in Rajput painting.Ph.D.Fine artsAsian literatureUniversity of Michiganhttp://deepblue.lib.umich.edu/bitstream/2027.42/160291/1/8502793.pd
Press release for the exhibition "Life at Court: Art for India's Rulers, 16th-19th Centu... more Press release for the exhibition "Life at Court: Art for India's Rulers, 16th-19th Centuries," March 16-May 11, 1986, held at the Dallas Museum of Art. The press release announces related special events in conjunction with the exhibition
Abstract: Today, a growing number of Pakistani artists have embraced the nation's perceived ... more Abstract: Today, a growing number of Pakistani artists have embraced the nation's perceived visual languages and political, social, and cultural history to interrogate and unpack Pakistan's contemporary society and identity. The fruits of this shifting and mixing are ...
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