The depiction of flora and fauna has been an intrinsic part of Indian painting traditions. The Mughals in their turn, in their fascinating paintings, used the bird and animal imagery to lend a special quality to their art of painting. This book, with over 70 illustrations, is a survey of the birds and animals used in Mughal paintings, especially during the reigns of Emperors Akbar and Jahangir. With historical details, it shows that the depiction of various kinds of birds and animals played a significant role in conformity with the context or the demands of the narratives. The artists painted both wild and domestic animals with equal competence. Outlining the differences in the paintings under the Mughal rulers themselves with regard to depiction of fauna, it notes that while Akbar was interested in historical, mythological or anecdotal events, Jahangir introduced album paintings and evinced interest in individual portrait studies of fauna. In all, it showcases the meticulous depiction of fauna in Mughal art and its persevering beauty. It mentions the names of a host of artists who executed the paintings and the many illustrated manuscripts mythological, historical and on popular fables that saw lavish use of paintings with faunal imagery. The book will interest historians especially those studying art history of the medieval period.

Fifty leaves that form the sumptuous Kevorkian Album, one of the world's greatest assemblages of Mughal art. -- Metropolitan Museum of Art website.

A comprehensive collection of Mughal Natural History drawings, centred on the art of Ustad Mansur with current scientific information. Includes rare Mansur paintings from Russia and Tehran. Imaginary Birds, showcasing the artist's imagination beyond the representation of realism in nature. The Mughals combined their love of nature with their love and patronage of art. By Akbar's reign the master artists of his atelier were producing hundreds of paintings of birds and animals with great accuracy and suavity for manuscripts of animal fables and adventures for the Emperor. Natural history drawing reached its highest point during the reign of Akbar's son Jahangir whose atelier most notably illustrated the Baburnama, Jahangir's great grandfather's treatises celebrated as the first systematic account of Indian flora and fauna. Among the various master artists of Akbar and Jahangir's ateliers, none are more important than Ustad Mansur who painted many images of rare and unusual birds, animals, and flowers for Jahangir. Mughal Natural History Drawings and Ustad Mansur presents these images with their correct scientific identification and other relevant details.

Illustrations: Numerous B/w & Colour Illustrations Description: The present work is based on an extensive and critical study of the original Mughal paintings supported by contemporary historical literature and provides fresh perspective for the interpretation and analysis of the painter's art under the Mughals. After a brief discussion on painting in Islam the author goes on to expound the nature and role of pre-Mughal indigenous traditions in the making of Mughal style. Thereafter, the study turns towards the origin and development of Mughal painting from Humayun to Aurangzeb. Finally, the various influences--Persian, Chinese and European--have been examined. The author concludes that Mughal painting reflecte a non-mechanical fusion of the different cultures of Asia and Europe. It had never been a colonial expression of Persian painting. Despite the presence of a number of elements borrowed from foreign sources, it remained truly Indian from the very beginning. This richly illustrated volume carries finest treasures of Mughal court paintings.

As the East India Company extended its sway across India in the late eighteenth century, many remarkable artworks were commissioned by Company officials from Indian painters who had previously worked for the Mughals. Published to coincide with the first UK exhibition of these masterworks at The Wallace Collection, this book celebrates the work of a series of extraordinary Indian artists, each with their own style and tastes and agency, all of whom worked for British patrons between the 1770s and the bloody end of the Mughal rule in 1857. Edited by writer and historian William Dalrymple, these hybrid paintings explore both the beauty of the Indian natural world and the social realities of the time in one hundred masterpieces, often of astonishing brilliance and originality. They shed light on a forgotten moment in Anglo-Indian history during which Indian artists responded to European influences while keeping intact their own artistic visions and styles. These artists represent the last phase of Indian artistic genius before the onset of the twin assaults - photography and the influence of western colonial art schools - ended an unbroken tradition of painting going back two thousand years. As these masterworks show, the greatest of these painters deserve to be remembered as among the most remarkable Indian artists of all time.

The Eleven Studies In This Book Offer A Fresh And Unique Interpretation Of Mughal Art And Architecture And Its Heterogeneous Sources-Central Asian Timurid, Indian, Persian And European-Fused Creatively To Express An Imperial Ideology Of Universal Aspirations.