Paintings of extraordinary beauty and variety were made for the many royal courts of India during a golden age that unfolded in the sixteenth century and lasted well into the British period. In India, two artistic traditions converged. The indigenous Rajput culture produced exuberant, vibrantly colored, boldly patterned illustrations of Hindu myths and epics. The entirely different art of the Islamic Mughal invaders, subtle and naturalistic, mainly presented elegant scenes of court life and history. From the cross-fertilization of these two traditions, a multiplicity of highly original painting styles blossomed and flourished. While works of art originating in Mughal and Rajput courts are often treated separately, in this book paintings made in the major Mughal, Deccani, Rajput, and Pahari workshops are presented together, chronologically. Eighty-three exceptionally fine paintings are reproduced in full color. Each is accompanied by a paragraph explaining the subject illustrated and pointing out particular qualities of style. The rich, remarkable court paintings of India are splendidly offered to the reader's eye and mind in this book, which also includes a map, enlarged detail photographs, and a selected bibliography.
This is an interesting, clear book gorgeously illustrated and wonderfully written. Its central chapter sketches out the differences between various courts in India, Hindu and Muslim, the differences in their painting styles, and the evolution that they had on each other. Short and well worth the read if you’re interested in learning more about Indian art. You can find a free PDF of this book on the Met’s website.
A wonderful expose of the Museum of Metropolitan Art's exhibition, which united Mughal and Rajput art under one roof/curation - thus highlighting both shared aspects and points of difference.
Deccan and Punjab Court art were strikingly unique in their style. The portrait of Shah Jahan on a Terrace Holding a Pendant Set with His Portrait (1627/8) is a Mughal treat.