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ARHA386
Empire and Erotica: Painting from the Courts of India
ARHA386 FA
| Section | Class Size | *Available | Times | POI | Prereq |
|---|
| 1 | 15 | 0 | Times: .T..... 7:00PM-10:00PM; | Yes | No |
*The number of spaces listed as available is based on class seats open for
the Blue Add phase of registration. Some seats may be taken in previous
phases while others may be held out for subsequent phases of registration.
(Last Updated on Tue Aug 10 05:00:30 EDT 1999
)
The history of North Indian painting from the 16th through
the 19th centuries is dominated by two distinct, stylistic
traditions, one flourishing at the court of the Mughal
empire, the other at courts of the various Rajput dynasties
that held sway in regions beyond the Mughal domain.
Despite complex historical relationships between the two
traditions, modern scholarship has tended to emphasize their
separate identities as distinct isolable schools with
mutually opposing stylistic and aesthetic ideals. Mughal
painting is characterized as naturalistic, rational,
political; contemporary Rajput work is seen as lyrical,
erotic, and spiritual in approach. In this course we
will approach Mughal and Rajput painting by examining some
of the fundamental assumptions and methods upon which modern
historiography of these schools rests, dealing with the
relationship between painting and literature, the structure
of patronage and the degree of the patron's influence in
shaping style, and the extent to which the Mughal style was
influenced by 16th-century European prints and paintings.
One of our guiding purposes will be to come to terms with
Mughal and Rajput as easthetic categories. To what extent
does this binary stylistic taxonomy rest on formal stylistic
qualities, and to what extent has it been shaped by the
Hindu-Muslim communal discourse of modern India?
MAJOR READINGS
W.G. Archer, THE LOVES OF KRISHNA IN INDIAN
PAINTING AND POETRY
Milo C. Beach, "The Context of Rajput Painting," "The
Gulshan Album and its European Sources"
Milo C. Beach and Ebba Koch, KING OF THE WORLD: THE
PADSHAHNAMA
Moti Chandra, STUDIES IN EARLY INDIAN PAINTING
Pramod Chandra, "Ustad Salivahana and the Development of
Popular Mughal Art"
Pramod Chandra and Daniel J. Ehnbom, THE CLEVELAND TUTI-NAMA
MANUSCRIPT AND THE ORIGINS OF MUGHAL PAINTING
Ananda K. Coomaraswamy, RAJPUT PAINTING
Visakha Desai, LIFE AT COURT: ART FOR INDIA'S RULERS,
16TH-19TH CENTURIES
Visakha N. Desai, "Painting and Politics in
Seventeenth-Century North India: Mewar, Bikaner, and the
Mughal Court"
Ebba Koch, "The Influence of the Jesuit Mission on Symbolic
Representations of the Mughal Emperors"
Anand Krishna, "A Reassessment of the TUTI-NAMA
Illustrations in the Cleveland Museum of Art (and Related
Problems on Earliest Mughal Paintings and Painters)"
Jeremiah P. Losty, THE ART OF THE BOOK IN INDIA
Pratapaditya Pal et al., PLEASURE GARDENS OF THE MIND:
INDIAN PAINTINGS FROM THE JANE GREENOUGH GREEN COLLECTION
Stuart Cary Welch, ed., GODS, KINGS, AND TIGERS: THE ART OF
KOTAH
EXAMINATIONS AND ASSIGNMENTS
Regular attendance and reading
of all assigned materials. Active participation in class
discussions. Several short essays; class presentation; term
paper.
ADDITIONAL REQUIREMENTS and/or COMMENTS
Permission of
Instructor.
Unless preregistered students attend the first class meeting
or communicate directly with the instructor prior to the
first class, they will be dropped from the class list.
NOTE: Students must still submit a completed Drop/Add form
to the Registrar's Office.
COURSE FORMAT: Discussion Seminar
REGISTRATION INFORMATION
Level: UG Credit: 1.00
Prerequisites:
None
- Section 01
- Wagoner, P
- Times: .T..... 7:00PM-10:00PM;
- Grading Mode: A/F
- Registration Preference (1 high to 6 low, 0=Excluded) Sr: 1, Jr: 2, So: 3, Fr: 4
- Major Preference Given
- Permission of Instructor Required.
Last Updated on MAR-22-1999
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