India's rich heritage of jeweled artistry is expressed in extravagant and opulent creations that range from ornaments for every part of the body to ceremonial court objects such as boxes, daggers, and thrones. Treasures from India presents more than sixty iconic works from the renowned Al-Thani collection, including pieces created for the imperial Mughals in the seventeenth century, others made for the nizams of Hyderabad and the maharajas of the Rajput courts from the eighteenth to the twentieth century, Indian-inspired jewelry fashioned by Cartier and other Western firms, and contemporary designs. The lucid text discusses the significance of these objects within the history of Indian jeweled arts, demonstrating how they stand among the highest expressions of Indian culture.
Published to celebrate The Metropolitan Museum of Art’s 150th anniversary, Making The Met, 1870–2020 examines the institution’s evolution from an idea—that art can inspire anyone who has access to it—to one of the most beloved global collections in the world. Focusing on key transformational moments, this richly illustrated book provides insight into the visionary figures and events that led The Met in new directions. Among the many topics explored are the impact of momentous acquisitions, the central importance of education and accessibility, the collaboration that resulted from international excavations, the Museum’s role in preserving cultural heritage, and its interaction with contemporary art and artists. Complementing this fascinating history are more than two hundred works that changed the very way we look at art, as well as rarely seen archival and behind-the-scenes images. In the final chapter, Met Director Max Hollein offers a meditation on evolving approaches to collecting art from around the world, strategies for reaching new and diverse audiences, and the role of museums today.
This catalogue is published in conjunction with "The Roof Garden Commission: Imran Qureshi" on view at The Metropolitan Museum of Art, New York, from May 14 through November 3, 2013.
Court painting, both devotional and secular, has a long history in India and has inspired artists from diverse global traditions. This Bulletin features more than fifty stunning examples of Indian court painting by Mughal, Deccani, Rajasthani, and Pahari artists all from the former collection of British painter Howard Hodgkin (1932–2017). The works featured include stunning portraits, beautifully detailed text illustrations, studies of the natural world, and devotional subjects. Authors explore Hodgkins’s interest in these works and the relationship between his collecting and artistic practice while also providing detailed discussions of individual styles of the Indian courts and the vibrant exchange across their kingdoms from the sixteenth to the nineteenth century.
Selection of papers presented at a conference 'Art, Patronage and Society in the Muslim Deccan from the Fourteenth Century to the Present Day' (4-6 July 2008) at St. Antony's College, Oxford, with support from the John Fell Fund, Barakat Trust and Alessandro Bruschettini.
The vast Deccan plateau of south-central India stretches from the Arabian Sea to the Bay of Bengal. In the sixteenth and seventeenth centuries, the region was home to several major Muslim kingdoms and became a nexus of international trade — most notably in diamonds and textiles, through which the sultanates attained remarkable wealth. The opulent art of the Deccan courts, invigorated by cultural connections to the Middle East, Africa, and Europe, developed an otherworldly character distinct from that of the contemporary Mughal north: in painting, a poetic lyricism and audacious use of color; in the decorative arts, lively creations of inlaid metalware and painted and dyed textiles; and in architecture, a somber grandeur still visible today in breathtaking monuments throughout the plateau. The first book to fully explore the history and legacy of these kingdoms, Sultans of Deccan India elucidates the predominant themes in Deccani art—the region’s diverse spiritual traditions, its exchanges with the outside world, and the powerful styles of expression that evolved under court patronage—with fresh insights and new scholarship. Alongside the discussion of the art, lively, engaging essays by some of the field’s leading scholars offer perspectives on the cycles of victory and conquest as dynasties competed with one another, vied with Vijayanagara, a great empire to the south, and finally succumbed to the Mughals from the north. Featuring some 200 of the finest works from the Deccan sultanates, as well as spectacular site photographs and informative maps, this magnificently illustrated catalogue provides the most comprehensive examination of this world to date and constitutes a pioneering resource for specialists and general readers alike.
In the 16th and 17th centuries, the Deccan plateau of south-central India was home to a series of important, highly cultured Muslim kingdoms and was a nexus of international trade. Invigorated by cultural connections to Iran, Turkey, East Africa, and Europe, Deccani art is celebrated for its unmistakable, otherworldly character: in painting, a poetic lyricism; in architecture, a somber grandeur; and in the decorative arts, lively creations in inlaid metalwork and dyed textiles. This beautifully illustrated catalogue, which includes extraordinary new site photographs and lush landscape images, along with discussions of 200 of the finest Deccani works, creates the most comprehensive examination to date of this fascinating and remote world. The text not only discusses paintings, drawings, textiles, arms, manuscripts, and other decorative arts from this rich culture, but also explores the history, architecture, literature, and music of the period" -- Distributor's website.
India's rich heritage of jeweled artistry is expressed in extravagant and opulent creations that range from ornaments for every part of the body to ceremonial court objects such as boxes, daggers, and thrones. Treasures from India presents more than sixty iconic works from the renowned Al-Thani collection, including pieces created for the imperial Mughals in the seventeenth century, others made for the nizams of Hyderabad and the maharajas of the Rajput courts from the eighteenth to the twentieth century, Indian-inspired jewelry fashioned by Cartier and other Western firms, and contemporary designs. The lucid text discusses the significance of these objects within the history of Indian jeweled arts, demonstrating how they stand among the highest expressions of Indian culture.
As one of the finest holdings of Indian art in the West, the Kronos Collections are particularly distinguished for paintings made between the sixteenth and early nineteenth centuries for the Indian royal courts in Rajasthan and the Punjab Hills. These outstanding works, many of which are published and illustrated here for the first time, are characterized by their brilliant colors and vivid, powerful depictions of scenes from Hindu epics, mystical legends, and courtly life. They also present a new way of seeking the divine through a form of personal devotion—known as bhakti—that had permeated India’s Hindu community. While explaining the gods, demons, lovers, fantastical creatures, and mystical symbols that are central to literature and worship, this publication celebrates the diverse styles and traditions of Indian painting. Divine Pleasures features an informative entry for each work and two essays by scholar Terence McInerney that together outline the history of Indian painting and the Rajput courts, providing fresh insights and interpretations. Also included are a personal essay by expert and collector Steven M. Kossak and an examination of Hindu epic and myth in Mughal painting, which lays important foundations for Rajput painting, by curator Navina Najat Haidar. Through their research and observations, the authors deepen our understanding and underscore the significance of Indian painting. Divine Pleasures presents a nuanced view of a way of life intimately tied to the seasons, the arts, and the divine.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana} As an art form, jewelry is defined primarily through its connection to and interaction with the body—extending it, amplifying it, accentuating it, distorting it, concealing it, or transforming it. Addressing six different modes of the body—Adorned, Divine, Regal, Transcendent, Alluring, and Resplendent—this artfully designed catalogue illustrates how these various definitions of the body give meaning to the jewelry that adorns and enhances it. Essays on topics spanning a wide range of times and cultures establish how jewelry was used as a symbol of power, status, and identity, from earflares of warrior heroes in Pre-Colombian Peru to bowknot earrings designed by Yves Saint-Laurent. These most intimate works of art provide insight into the wearers, but also into the cultures that produced them. More than 200 jewels and ornaments, alongside paintings and sculptures of bejeweled bodies, demonstrate the social, political, and aesthetic role of jewelry from ancient times to the present. Gorgeous new illustrations of Bronze Age spirals, Egyptian broad collars, Hellenistic gold armbands, Japanese courtesan hair adornments, jewels from Mughal India, and many, many more explore the various facets of jewelry and its relationship to the human body over 5,000 years of world history.
The vast Deccan plateau of south-central India stretches from the Arabian Sea to the Bay of Bengal. In the sixteenth and seventeenth centuries, the region was home to several major Muslim kingdoms and became a nexus of international trade — most notably in diamonds and textiles, through which the sultanates attained remarkable wealth. The opulent art of the Deccan courts, invigorated by cultural connections to the Middle East, Africa, and Europe, developed an otherworldly character distinct from that of the contemporary Mughal north: in painting, a poetic lyricism and audacious use of color; in the decorative arts, lively creations of inlaid metalware and painted and dyed textiles; and in architecture, a somber grandeur still visible today in breathtaking monuments throughout the plateau. The first book to fully explore the history and legacy of these kingdoms, Sultans of Deccan India elucidates the predominant themes in Deccani art—the region’s diverse spiritual traditions, its exchanges with the outside world, and the powerful styles of expression that evolved under court patronage—with fresh insights and new scholarship. Alongside the discussion of the art, lively, engaging essays by some of the field’s leading scholars offer perspectives on the cycles of victory and conquest as dynasties competed with one another, vied with Vijayanagara, a great empire to the south, and finally succumbed to the Mughals from the north. Featuring some 200 of the finest works from the Deccan sultanates, as well as spectacular site photographs and informative maps, this magnificently illustrated catalogue provides the most comprehensive examination of this world to date and constitutes a pioneering resource for specialists and general readers alike.
Court painting, both devotional and secular, has a long history in India and has inspired artists from diverse global traditions. This Bulletin features more than fifty stunning examples of Indian court painting by Mughal, Deccani, Rajasthani, and Pahari artists all from the former collection of British painter Howard Hodgkin (1932–2017). The works featured include stunning portraits, beautifully detailed text illustrations, studies of the natural world, and devotional subjects. Authors explore Hodgkins’s interest in these works and the relationship between his collecting and artistic practice while also providing detailed discussions of individual styles of the Indian courts and the vibrant exchange across their kingdoms from the sixteenth to the nineteenth century.
This catalogue is published in conjunction with "The Roof Garden Commission: Imran Qureshi" on view at The Metropolitan Museum of Art, New York, from May 14 through November 3, 2013.
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