COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
ASIA.1979.058
amicoid
ASIA.1979.058
AMICA ID
false
AMICA Library Year:
1999
aly
1999
AMICA Library Year
false
Object Type:
Drawings and Watercolors
oty
Drawings and Watercolors
Object Type
false
Creator Nationality:
Asian; Indian Sub-Continent; Indian
crc
Asian; Indian Sub-Continent; Indian
Creator Nationality
false
Creator Dates/Places:
Central Indian
cdt
Central Indian
Creator Dates/Places
false
Creator Name-CRT:
Central Indian
crt
Central Indian
Creator Name-CRT
false
Title:
Heroine Confiding in Her Attendant
otn
Heroine Confiding in Her Attendant
Title
false
View:
Full view
rid
Full view
View
false
Creation Date:
c. 1650-1660
oct
c. 1650-1660
Creation Date
false
Creation Start Date:
1650
ocs
1650
Creation Start Date
false
Creation End Date:
1660
oce
1660
Creation End Date
false
Materials and Techniques:
Opaque watercolor and ink on paper
omd
Opaque watercolor and ink on paper
Materials and Techniques
false
Creation Place:
India, Madhya Pradesh, Malwa region
ocp
India, Madhya Pradesh, Malwa region
Creation Place
false
Dimensions:
8 1/4 x 5 3/4 in. (21 x 14.6 cm)
met
8 1/4 x 5 3/4 in. (21 x 14.6 cm)
Dimensions
false
AMICA Contributor:
Asia Society
oon
Asia Society
AMICA Contributor
false
Owner Location:
New York, New York, USA
oop
New York, New York, USA
Owner Location
false
ID Number:
1979.058
ooa
1979.058
ID Number
false
Credit Line:
Asia Society: The Mr. and Mrs. John D. Rockefeller 3rd Collection
ooc
Asia Society: The Mr. and Mrs. John D. Rockefeller 3rd Collection
Credit Line
false
Parts and Pieces:
folio from an Amaru Shataka manuscript
opp
folio from an <I>Amaru Shataka</I> manuscript
Parts and Pieces
false
Rights:
orl
<a href="http://www.asiasociety.org"target="_new">http://www.asiasociety.org</a>
Rights
false
Context:
Illustrations in books and small-scale paintings grouped in albums or sets are among the most important art forms produced in India from the 16th through 19th centuries. During this period, much of northern India was ruled by the Mughals, a dynasty of Central Asian origins that had entered northern India from Afghanistan in 1526. However, different regions of the northwestern part of the subcontinent, such as Malwa, were under the control of native Rajput kings. This painting, produced in the Malwa region, illustrates some of the differences between Mughal and Rajput pictorial styles. Dated to 1650-60, it is a folio from a manuscript of the Amaru Shataka (One Hundred Verses by Amaru). The composition and the use of space and color reflect the conceptual differences between the Rajput and Mughal world views and pictorial styles. Mughal paintings are usually particularized, stressing a specific individual or event. Although Rajput paintings dealing with courtly themes and subjects can also behistorically specific, many Rajput pictures, especially those dealing with literary or religious themes, do not adhere to empirical reality. Mughal paintings show an interest in spatial depth, which helps to place a scene in a setting, while Rajput narrative paintings often place figures and architecture within a flat picture plane. The colors used in Rajput paintings are brighter and bolder than those used in contemporaneous Mughal works, and the gestures and postures used in Rajput paintings are more stylized than those found in the art of the Mughal court.
Within the Rajput tradition, Malwa painting is noted for its conservatism; compared with most other schools of painting in Rajasthan, it betrays little awareness of or influence from the predominant Mughal style and insistently harks back to pre-Mughal conventions. This can be seen here in the conventionalized figures and architecture.
The blues, reds, and yellows; the relatively simple backgrounds; the figures' sweet faces and delicate gestures; and the ornate detailing of the architecture are characteristics shared by Malwa paintings of the later 17th century. Most paintings from this set are in the Prince of Wales Museum, Bombay, and the set has been dated to about 1650 on the basis of style and inscriptional evidence.
Illustrations of texts dealing with aspects of love are among the most popular images in Malwa painting of the 17th century, and the Amaru Shataka is one such text. Written by the Sanskrit poet Amaru (active c.7th century), the hundred verses in this lyrical book describe the various permutations of love. In this painting, the seated woman depends on a confidante to explain her anguish to her lover. Although this painting refers to the specific verse from the poem written above (now somewhat damaged), such illustrations of lovers, or so-called heroes (nayakas) and heroines (nayikas), are quite generalized in Malwa painting of the 17th century.
cxd
Illustrations in books and small-scale paintings grouped in albums or sets are among the most important art forms produced in India from the 16th through 19th centuries. During this period, much of northern India was ruled by the Mughals, a dynasty of Central Asian origins that had entered northern India from Afghanistan in 1526. However, different regions of the northwestern part of the subcontinent, such as Malwa, were under the control of native Rajput kings. This painting, produced in the Malwa region, illustrates some of the differences between Mughal and Rajput pictorial styles. Dated to 1650-60, it is a folio from a manuscript of the <I>Amaru Shataka</I> (<I>One Hundred Verses by Amaru</I>). The composition and the use of space and color reflect the conceptual differences between the Rajput and Mughal world views and pictorial styles. Mughal paintings are usually particularized, stressing a specific individual or event. Although Rajput paintings dealing with courtly themes and subjects can also behistorically specific, many Rajput pictures, especially those dealing with literary or religious themes, do not adhere to empirical reality. Mughal paintings show an interest in spatial depth, which helps to place a scene in a setting, while Rajput narrative paintings often place figures and architecture within a flat picture plane. The colors used in Rajput paintings are brighter and bolder than those used in contemporaneous Mughal works, and the gestures and postures used in Rajput paintings are more stylized than those found in the art of the Mughal court.<P>Within the Rajput tradition, Malwa painting is noted for its conservatism; compared with most other schools of painting in Rajasthan, it betrays little awareness of or influence from the predominant Mughal style and insistently harks back to pre-Mughal conventions. This can be seen here in the conventionalized figures and architecture.</P><P>The blues, reds, and yellows; the relatively simple backgrounds; the figures' sweet faces and delicate gestures; and the ornate detailing of the architecture are characteristics shared by Malwa paintings of the later 17th century. Most paintings from this set are in the Prince of Wales Museum, Bombay, and the set has been dated to about 1650 on the basis of style and inscriptional evidence.</P><P>Illustrations of texts dealing with aspects of love are among the most popular images in Malwa painting of the 17th century, and the <I>Amaru Shataka</I> is one such text. Written by the Sanskrit poet Amaru (active c.7th century), the hundred verses in this lyrical book describe the various permutations of love. In this painting, the seated woman depends on a confidante to explain her anguish to her lover. Although this painting refers to the specific verse from the poem written above (now somewhat damaged), such illustrations of lovers, or so-called heroes (<I>nayakas</I>) and heroines (<I>nayikas</I>), are quite generalized in Malwa painting of the 17th century.</P>
Context
false
Related Document Description:
Asia Society. Handbook of the Mr. and Mrs. John D. Rockefeller 3rd Collection. New York: Asia Society, [1981], p. 29.
rdd
Asia Society. <I>Handbook of the Mr. and Mrs. John D. Rockefeller 3rd Collection.</I> New York: Asia Society, [1981], p. 29.
Related Document Description
false
Related Document Description:
Queens Museum. Aspects of Indian Art and Life. New York: Queens County Art and Cultural Center, 1983, pp. 21-22.
rdd
Queens Museum. <I>Aspects of Indian Art and Life.</I> New York: Queens County Art and Cultural Center, 1983, pp. 21-22.
Related Document Description
false
Related Document Description:
Treasures of Asian Art: Selections from the Mr. and Mrs. John D. Rockefeller 3rd Collection, The Asia Society, New York. Hong Kong and Singapore: Hong Kong Museum of Art and National Museum Singapore, 1993, pp. 80, 81.
rdd
<I>Treasures of Asian Art: Selections from the Mr. and Mrs. John D. Rockefeller 3rd Collection, The Asia Society, New York.</I> Hong Kong and Singapore: Hong Kong Museum of Art and National Museum Singapore, 1993, pp. 80, 81.
Related Document Description
false
Related Document Description:
Treasures of Asian Art: Selections from the Mr. and Mrs. John D. Rockefeller 3rd Collection, The Asia Society, New York. Tokyo: Idemitsu Museum of Arts, 1992, pp. 57, 127.
rdd
<I>Treasures of Asian Art: Selections from the Mr. and Mrs. John D. Rockefeller 3rd Collection, The Asia Society, New York.</I> Tokyo: Idemitsu Museum of Arts, 1992, pp. 57, 127.
Related Document Description
false
Related Image Identifier Link:
ASIA.1979.058.a.tif
ril
ASIA.1979.058.a.tif
Related Image Identifier Link
false