382 pages, hardback, 310 x 230 cm, 272 illustrations
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ISBN: 978 3 907077 03 0
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The Maharanas of Mewar in Rajasthan have long been regarded as pre-eminent among the Rajput chiefs of India and as dedicated guardians of social and cultural tradition. The Mewar school of painting, centred first at Chitor and later at Udaipur, was one of the most vigorous and prolific of all Indian court styles. It reveals an unrivalled continuity of development from the 16th century or earlier until as late as the 1940s.
In recent times, much of the huge production of Udaipur artists from 1614 to 1948 has become available for study in museum, library and private collections both at Udaipur and elsewhere in India, Europe, America and Australia. This book presents the most comprehensive account hitherto of the development of the Mewar school, from its obscure beginnings in the pre-Mughal Early Rajput style to the successive phases of manuscript illustration and court portraiture at Udaipur, which evolved in reaction first to Mughal stylistic influences and later to the exotic challenges of European art and photography.
The formative patronage of Maharanas Jagat Singh I (1628–52) and Amar Singh II (1698–1710) among others is discussed, as well as that of less artistically discerning rulers. The achievements of the leading court painters are also appraised, from Sahibdin in the 17th century to Chokha, Tara, Sivalal and others in the 19th to 20th centuries. Andrew Topsfield is Curator of Indian Art at the Ashmolean Museum, Oxford. He is the author of many publications on Rajasthani painting and related subjects. This monograph is a revised version of his Oxford University doctoral thesis.
Remembering Forward presents works by nine of the most prominent Australian Aboriginal artists: Paddy Bedford, Emily Kame Kngwarreye, Queenie McKenzie, Dorothy Napangardi, Rover Thomas, Ronnie Tjampitjinpa, Clifford Possum Tjapaltjarri, Tim Leura Tjapaltjarri and Turkey Tolson Tjupurrula. More
Illuminator, painter, scribe, clerk, teacher, doctor of theology, restorer and binder, Mesrop was one of the greatest Armenian artists of his and following generations. He was prolific, working for at least forty-two years in Sos (New Julfa) from 1608 to 1651. This book will be the first serious study of the forty-six of his manuscripts that have survived. The focus of the book, however, is The Four Gospels, one of the few manuscripts painted entirely by Mesrop’s hand and one of the most extensively illuminated in his oeuvre. More
Detailed biographies describe the lives of twelve collectors of tribal art in Britain, active between 1770 and 1990. These men were rarely field collectors and only occasional travellers, but they were vigorous hunters, for whom the pursuit, handling and possession of such objects was what mattered. More
In the winter of 1586, Hakob Jughayets'i, one of Armenia's most celebrated illuminators, completed work on a Gospel Book with an extensive and extraordinary programme of narrative miniatures and marginal figures. More
Twenty-five years after Captain Cook, the London Missionary Society sent its first representatives to the South Seas. Their goal was to eradicate heathenism and idolatry, but unwittingly, they became agents for the preservation of Polynesian culture through their diligent recording of language and religious practices. They even preserved a number of religious artifacts, which they sent back to England for exhibition in the Mission Museum in London. This book focuses on these artifacts, the idols that avoided the flames. More