080016 PS Case Study II/III: Book Painting in Early Modern India (2021S)

The course provides an introduction to Mughal book painting during the reigns of Akbar (r. 1556-1605), Jahangir (r. 1605-1627) and Shah Jahan (r. 1628-1658). Akbar’s patronage in the area concentrated on illustrated manuscripts. His rule and the history of the Mughal dynasty were given centre stage in copies of the Akbarname (Book of Akbar) and the Baburname (Book of Babur). Translations of Hindu texts into Persian were also initiated during his reign and lavishly illustrated.
Under Jahangir and Shah Jahan, albums became the main focus of patronage and constituted an important tool of imperial self-representation. Albums brought together a great variety of images and calligraphy that were encased in elaborately decorated margins which helped create a cohesive whole. A number of genres gained prominence with the production of albums. These included depictions of fauna and flora and portraits of courtiers and court women. The reception of European engravings that had begun under Akbar had a lasting impact on both manuscript painting and the visual characteristics of Mughal albums.
While a majority of the artworks associated with Mughal painting today were made for the three emperors listed above, other patrons also played a role in shaping the artistic production of the period. Thus, patronage of other members of the court, such as the Rajput nobility, will also be considered. The Rajput chieftains, members of the ruling Hindu caste in north and east India, were integrated into the Mughal Empire’s elite after Akbar’s conquest. They were important patrons for book painting and the fusion of Mughal and Rajput elements in a number of manuscripts executed for Rajput patrons has led to the creation of the scholarly subcategory of Popular Mughal painting. In contrast, the Deccani sultanates ruling over the Deccan Plateau were the Mughal Empire’s main Muslim rivals in the region until the end of the seventeenth century. A brief discussion of book painting sponsored by Deccani sultans will bring the significance of Mughal painting for neighboring states into perspective.

The main aims of the course are:
-to practise presenting one’s research coherently
-to foster critical reading of scholarly literature

Describing, analysing and interpreting art works is practised with the help of short assignments, a presentation and a final paper. By discussing texts together, the class trains critical thinking. At the same time, the course provides students with basic training in research on book painting in Early Modern India.