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Index
Molly Emma Aitken
Description: The Intelligence of Tradition in Rajput Court Painting
The Intelligence of Tradition in Rajput Court Painting
Index
Author
Molly Emma Aitken
PublisherYale University Press
Copyright© 2010 by Molly Emma Aitken
Stable URL: https://aaeportal.com/?id=-21151
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Index
Abbas, Shah (of Persia), 132–133
‘Abid, 38, 40, 81
Abu’l Fazl, 114, 133–134
Abu’l Hasan, 190, 204
“Ahmadabad archetype,” 177–178, 182–185, 189, 198, 200, 201–202
Ajit Singh, Maharaja, 138, 139, 140, 310n108
Akbar (Mughal emperor), 16, 25, 62–65, 68, 69, 75, 116, 320–321n109
control over north India, 11, 16
gifts and, 132, 133–134
portraits of, 67, 67, 114, 196
workshop under, 16–17
Akbarnama, 67, 202, 203
Amar Singh I, Rana, 62, 63
Amar Singh II, Maharana, 5, 35, 41, 108, 119, 130, 229, 255, 306n12, 311n123
artists of, 74
contextual portraits of, 121
gifts and, 131
moustaches in court of, 77
Mughals and, 116
portraits by Stipple Master, 144, 144–145, 146, 220
Rajput Alliance and, 138, 139, 140, 140
style in portraits of, 57, 58, 69–70, 90, 103–109
Amber, 63, 68, 108, 117, 300n17
artists of, 91
Mughal painting and, 24, 35
Mughals and, 115, 138
royal portraits, 91, 137. See also Jaipur
animals, 71, 76, 84
dragon, 76, 174, 193
elephant, 173, 177, 235, 236, 236, 255
hawk, 218
horse, 97, 105, 144
peacock, 1, 2, 103, 230
rabbit, 31, 31
simurgh, 173, 177, 193
animals, in Layla–Majnun paintings, 168, 169, 184–185, 199, 314n48
Chokha’s, 206
in male-female pairs, 154, 155, 156
Miskin’s, 170, 171–173
Nizami’s Khamsa, 158, 159, 160–161
archetypes, 195, 314n38
Farhad and Shirin, 198
Ibrahim Adham of Balkh, 191, 192
Khusraw and Shirin, 187
Layla and Majnun, 177–178, 182, 183, 184–185, 189, 196
architecture, 2, 41, 26, 64, 113, 117, 151, 283
Ari Singh, Maharana, 75, 100, 215, 226–227, 289
Bagta’s portrait of court, 111, 112, 113, 149–153, 152, 153
genealogical portraits of, 117
Arjun Singh, Maharao, 251, 318n65
artists: in Akbar’s workshop, 16–17
caste/class of, 291–292, 296–297
compensation for, 48, 136, 305n81
courtly styles and, 99
culinary metaphor, 195–196
genealogies of, 47–48
in inscriptions, 74
kalam and, 72, 73
painter lineage, 101, 102
patronage and, 48–49
reputations of, 273–274
rewards and, 100
stylistic imitation and, 91
tradition and, 5, 130
training of, 88, 89, 100
Aurangzeb, Emperor, 42, 81, 118, 177
in darbar, 56, 84–87, 85, 86
death of, 41, 116, 137
portraits of, 196, 304n67
succession battle after, 138
Awadh court, painting of, 41, 72, 199
eclecticism of, 187
landscapes, 189
Layla-Majnun paintings and, 178, 185, 195
painting tradition, 48
Ayamal, Raja, 49, 137
Azam, Prince/Sultan, 65, 116, 131
Babur (Mughal emperor), 16, 118
Bagta, 49, 99, 100, 102, 212, 214, 225, 226, 260
Ari Singh’s court portrayed by, 111, 112, 113, 149–153, 152, 153
battle scene by, 232, 233, 234, 286
at Deogarh, 227–228
family style and, 275
Kota/Bundi painting and, 229
Bahadur Shah (Mughal emperor), 118, 138
Baijnath, 240, 241, 247, 252, 263, 271–272, 272, 275
Bannu (Ved Pal Sharma), 9, 295–296
Basawan, 11, 17, 22, 170, 175
beards, 76, 83, 84, 86, 100, 104
beauty, ideas of, 40, 284
Bengal/Bengal School, 41, 48, 116, 288, 290
Bhagavata Purana, 17, 33, 44, 258–259, 265, 267, 319–320nn94–95
Bikaner painting of, 29–31, 30
Bhanudatta, 1, 17
Bharata, 52, 53
Bhasa, 113, 306n4
bhava, 14, 50–55, 259
Bhim Singh, Maharana (Udaipur), 137, 143, 236, 316n20
British colonial regime and, 289
Darshano ki Kitab and, 265
Ghasi and, 278
in hunting scene, 204
Krishna images and, 142, 224, 224, 225, 248
Madhavanala and, 283–284
portrait by Mialalotar, 228, 228
portraits by Chokha, 214, 214–220, 215–216, 218, 220, 253, 274
Vallabha sampradaya and, 252
Bhim Singh, Maharao (Kota), 135, 147, 233, 234, 248, 309n90
Bhopa, 228–229, 232, 261, 316n20
Bhupal Singh, Maharana, 291, 302n62
Bichitr, 91, 116, 305n81
Bihzad, 175, 176
Bikaner court, 6, 24, 68, 71, 72, 115, 152, 296–297
artists of, 48, 72, 74, 91
documents, 121–122
Bikaner painting, 6, 42, 94, 106, 108
canon and, 44
landscapes, 97, 98
Madhavanala-Kamakandala imagery, 280–281, 281
Mughal painting and, 31
Mughal-Rajput encounter and, 26–35, 41
portraits of rulers, 143
Usta clan and, 31, 48
Brahma, 29–30, 30
Braj pilgrimage sites, 129
Brijnathji (Brajnathji), 248, 249, 250, 251, 316n10
Brijnidhi (Pratap Singh), 50–51
British colonial regime, 41, 149, 212
decline of Chokha’s style and, 278–279
gift exchanges and, 143, 308n57
Sisodia dynasty and, 62, 289–290
Buddhism, 18, 208
Bundi court, 115, 178
Bundi painting. See Kota/Bundi painting
calligraphy, 175, 176, 192
canon, 14, 43–45, 50, 275, 287, 297
Central Asia, 6, 16, 76, 97
Chaurapanchashika style, 15, 299n1:3
chiaroscuro, 78, 149, 216, 253, 254
China/Chinese art, 14, 43, 151, 153
Chittor city/fortress, 62, 63, 64, 68, 69, 203
Chokha, 5, 99, 212, 316n4
antecedents of, 226–228
authorship and, 271–279
Bhim Singh portraits, 214, 214–220, 215–216, 218, 220, 233, 235, 235
color and sensual effect used by, 252–253, 254, 255, 256–257, 258
Kishangarh ideal and, 260
Kota/Bundi painting and, 236–247
Layla-Majnun imagery, 155–159, 205–209, 260, 273, 274
Madhavanala-Kamakandala imagery, 211, 213, 279–280, 282–285
Shukadeva imagery, 265, 266, 267–268, 269
at Udaipur, 214–226
Chokha, Krishna imagery of, 225–226, 260, 268, 271, 273, 276–278
Kota/Bundi painting and, 236, 240–247
use of color, 252, 255, 256
Chughtai, Abdur Rahman, 292, 293
City Palace (Udaipur), 134, 138, 283
Bhim Vilas mural cycle, 252, 252, 253, 263, 265, 267
clothing and fashions, 83, 133
in Chokha’s paintings, 274, 275, 282, 283
courtly styles, 76–77, 78, 99, 150
portraits and, 118, 119
colors, 7, 11, 15–16, 59, 69, 72, 76, 83
Chokha’s use of, 253, 255, 258
in Layla-Majnun paintings, 155
in Madhavanala-Kamakandala paintings, 282–283
Mewar and Kota styles contrasted, 96–97
in portraiture, 114, 119
in Udaipur painting, 220
connoisseurship, 157, 169, 193, 202, 209, 258, 284
copy and response paintings, 174–178, 201, 208–209
corpothetics, 276–278
courtesans, 92–93, 95, 273
pasawan, 216, 216, 217, 228, 228
Vallabha sampradaya and, 251
darbar scenes, 289–290, 304n67
Darshano ki Kitab (Book of Darshan), 225, 265, 267
Dastur Komvar compendium, 122, 141, 142, 311n126
Deccan region, 6, 47, 48, 64, 74, 99, 106
Bikaner painting and, 31
gifts and, 143
Persia and, 16, 159
Rajput portraits and, 26
royal portraits, 137
Delhi, city of, 41, 178, 180, 185 239, 297, 306n11
Delhi style (dilli kalam), 50, 71–73, 94, 302n61
“Delhi masters,” 27, 49, 72, 73, 137
Deogarh, 49, 153, 227, 236, 318n53
Bagta and family at, 214, 305n88
palace murals, 191–192, 192, 224, 224, 248
Vallabha sampradaya and, 251–252
Deogarh/Udaipur painting. See Udaipur painting
dervishes, 79, 190
Devgandhar ragini, 182–183, 183
diplomacy, portraiture and, 130–136, 143, 149
do-chasmi, 75, 76, 78, 120, 120, 198, 303n48
East India Company, British, 149, 189, 279
Eklingji, 103, 106, 117, 128, 225, 263, 306n13
erotic paintings, 70, 253, 254, 273, 278
European (Western) art, 43, 58, 75, 78, 94, 104, 109, 290
Akbar’s workshop and, 16
Awadhi painters and, 187
Chokha and, 212, 253
illusionism in, 37–38, 40
individualities in, 101
Layla-Majnun and, 170, 173
Mughal imitation of, 82, 82, 90
naturalism in, 288
portraits as gifts, 132
eyes, depiction of, 75, 88, 88, 115, 125, 143, 228, 309n86
court styles, 97, 98, 99, 106
Kishangarh style, 261–263, 265
lotus, 229, 275
fakirs, 79, 182
family style, 101, 102, 143, 275
Farrukhabad, 42, 178
Farrukh Chela, 160, 181, 197, 202
Fateh Singh, Maharana, 62, 291
firangi genre, 78, 94, 212
Gaj Singh, Maharaja, 91, 115–116, 116, 309n73
genealogy, portraiture and, 117–118, 118
Ghasi, 212, 278, 279, 289, 301n51, 305n76
gifts, 49–50, 130–136, 143. See also nazar gifts
Gita Govinda, 17, 18, 19, 20, 20–21, 23, 44
Gokul Das, Rawat, 275
Krishna imagery and, 224, 224, 225, 248
Madhavanala and, 283, 284
gold ornament, 16, 72, 73, 92, 93
Goswami, Rupa, 258, 259
Govardhan, 78, 79, 81–82, 176, 304n56, 314n35
Govind Dev, 142, 311n128
Gujarat, 15, 41
Haldighati, Battle of, 63, 275, 279, 289, 320–321n109
Hamir Singh, Maharana, 226, 227
Hanuman, 66, 67, 68
Hara clan, 233, 241
Hinduism, 8, 16, 17, 94, 108, 182
aesthetics of mood, 33
caste system, 6
darshan ritual, 135, 277
festivals, 48, 51, 139, 307n46
kingship and, 6, 117, 306n12
manuscript illustrations and, 18
Mughal idiom and, 25, 26, 29
mystical tradition, 181, 285
painting idioms and, 15
in portraiture, 145
Rajput aesthetic and, 12
shalabhanjika, 201. See also specific deities and texts
Hodgkin, Howard, 272, 295
holy men, paintings of, 71, 72, 193
Humayun (Mughal emperor), 16, 70, 118, 165, 313n19
Hunhar, 72, 182, 314n35
hunting scenes, 71, 83, 83–84, 240, 278, 295
bhava and, 51
by Chokha, 236, 238, 274
contextual portraits and, 121, 122, 127
court styles and, 96
Layla-Majnun story and, 194
in margins, 193
Hyderabad, 41, 193, 199
Ibrahim Adham of Balkh, 182, 182, 183, 191, 192
iconography, 2, 4, 163
of Devgandhar ragini, 182–183, 183
of Krishna, 223, 276
illusionism, 37–38, 40
inam gifts, 130–131, 136
India, modern, 287–288, 291, 293
Ishvari Singh, Maharaja, 142, 311n125
Islam and Muslims, 17, 63, 68, 73, 136, 157, 170, 199
depiction of Muhammad as insult, 76
Islamic art, 43, 233
Islamic fort, 66, 67
late Mughal painting and, 42
Layla-Majnun story and, 204
Mewar representations of, 87
mystical tradition, 181, 285
Rajput Alliance and, 138
Sahi kings, 75
“Sultanate” courts, 14–15. See also Sufism
Jagat Singh, Maharaja (Jaipur), 142
Jagat Singh, Rao (Kota), 47, 115, 115
Jagat Singh I, Maharana (Udaipur), 64, 66, 67, 110, 276
Jagat Singh II, Maharana (Udaipur), 117, 121, 228
artists of, 74
in hunting scenes, 60, 61, 111, 122
Jahangir (Mughal emperor), 62, 63, 69, 118
accession to throne, 190
artists of, 91
darshan with, 67
gift exchanges and, 132–133, 134
Gulshan album, 192
Layla-Majnun paintings at court of, 169–170, 170–173, 173–176, 175–176
portraits of, 65, 65–66, 68, 196, 307n28
stylistic sensibility of, 70
Jainism, 16, 285
painting and, 15, 18, 75, 76
pilgrimage towns, 129
temples, 113
Jaipur, 62, 122, 129, 297
gifts and, 136–137, 143
patronage and, 102
queen regent (Kundan Kumari), 49
Rajput Alliance and, 137–141, 140
suratkhana, 136, 137, 140, 307n39, 309n82
Jaipur painting, 6, 42, 70, 74, 75, 99
gift exchanges and, 131
Layla-Majnun story and, 178
in Mughal style, 91
portraiture and, 118
style of, 94
Jai Singh, Maharaja (Sawai), 49–50, 91, 142, 248, 310n106
Krishna imagery and, 142
portraits, 116, 116, 144–146, 146
Rajput Alliance and, 138, 139, 140, 140–141
Jai Singh, Maharana (Udaipur), 69, 105
Jami (Persian poet), 157, 181
Jaswant Singh, Maharaja (Jodhpur), 25, 115, 300n17
Jaswant Singh, Rawat (Deoghar), 227
Jaya Sthamba, at Chittorgarh, 203, 205
jewelry, 103, 114, 118, 119, 150
jharoka window, attendants at, 134
Jodhpur court, 62, 68, 74, 115, 307
artists of, 91
inventories, 50
Mughals and, 24, 115, 310n108
patronage and, 102
portraits of rulers, 152
Rajput Alliance and, 137–141, 140
Jodhpur painting, 6, 8, 35, 94
eyes, 98, 99
Layla-Majnun story and, 178
jotdans, 73, 117
Kachwaha kingdom. See Amber court; Jaipur court
Karan Singh, Maharaja (Bikaner), 26–27
Karan Singh, Maharana (Udaipur), 63, 64, 133
Kashmir, 16, 59
Kavala, 233, 275, 317n23
Kedar ragini (by Ruknuddin), 10, 32, 33
Keshavadas, 53, 64, 124, 302n69
Khamsa of Khusraw, 162, 163, 167, 167, 183, 187
Khamsa of Nizami (Ahmadabad painting), 157, 160, 163, 164–165, 173
Khusraw and Shirin in, 187
marginal ornamentation, 192–193. See also Ahmadabad archetype
khichri aesthetic, 195–196
Khusraw (author), 157, 159, 195
Khusraw, King (and Shirin), 183, 187, 187, 195
kingship: divine kingship of maharanas, 225
Hinduism and, 6, 117, 247, 306n12
Rajput concept of, 99, 116, 121, 220, 251
Kishangarh painting, 5, 40, 42, 44, 49, 88, 94
Chokha and, 222–223, 225, 226, 285
eyes, 98, 99, 228
Krishna imagery, 211, 260–263, 261–262, 264–265, 265
landscapes, 97, 98
Layla–Majnun and, 198
love imagery, 222, 223
royal portraits, 143
Kishore Singh, Maharao, 143, 262, 318n46
knoll-and-stream motif, 163, 165, 166, 167, 168–169, 174, 182–183, 315n72
knowledge, pictorial, 14, 47–50, 187, 209
Kota/Bundi painting, 6, 22, 94, 228–235, 272, 301n46
Bundi kalam, 71, 74
Chokha and, 222–223, 225, 226, 235, 236–247, 285
colors in, 59
Krishna imagery, 211
landscapes, 42
love imagery, 222–223, 235
patronage and, 102
style in, 59
women in, 236, 237
workshops, 40
Kota painting, 5, 96–97
canon and, 44, 45
eyes, 98, 99
Krishna imagery, 211
landscapes, 97, 98
Layla-Majnun story and, 178, 200–201, 201
rasa theory and, 259
Vallabhite aesthetics and, 260
Krishna, 1–2, 17, 42, 211, 247, 289
in Bhagavata Purana, 29–30, 30
bhava and, 51
canonical representation of, 46, 47
Chokha “school” of imagery, 273
courtly styles of representation, 99
dressed as Radha, xii, 229, 230–231
as Murlidhar, 2, 276, 278
in Gita-Govinda, 18, 20–21
gopas/gopis and, 210, 243, 244–246, 247, 258, 261
in Harivamsa, 25
Hindola imagery, 223–224
Janamashtami, 48
Kishangarh ideal and, 260–263, 261–262, 264–265, 265
Kota/Bundi imagery, 236, 242
mendicant king and images of, 141–142
in shringara images, 223
symbols of, 103. See also Bhagavata Purana; Chokha, Krishna imagery of; Shri Nathji; Vallabha sampradaya
Kundanlal, 291–292
kunj, 21, 36, 37, 46, 47
Lakshmi and Narayana, 26–27, 27, 28
Lal, 167, 169
landscapes, 81, 97, 98, 125-126
Awadhi specialty, 189
Kota/Bundi, 42, 59
in Kota painting, 242, 242
Layla-Majnun story and, 194, 197
Layla-Majnun paintings, 287, 295
archetypes and mystical dimension, 177–184
Bodleian, 172, 173, 173–174, 202
Chokha, 155–157, 156, 205–209, 206, 207, 236, 260, 273, 274
early Mughal, 160, 161–168, 162–165, 167–169
Farrukh Chela, 160, 161, 162–163, 181, 197
at Jahangir’s court, 169–170, 170–173, 173–176, 175–176
Khusraw’s Khamsa, 159, 162, 163, 173, 183
Kulliyat of Sa’di, 163, 164
Lal, 167, 167–168, 168, 169
Layla-Majnun story and, 157–158, 314n39
Manohar Das, 170, 170, 173, 175
as marginal ornaments and allusions, 184–198, 185, 186, 188-192, 194, 197
Masood, 167, 167–168, 169
Nand Gwalior, 163, 164, 167, 168, 313n17
Narasimha, 162, 163, 168, 182, 313n17
Narsingh, 165, 165
Nizami’s Khamsa, 157, 158–159, 160–162, 164–165, 173, 183
in Persian tradition, 163
in Rajasthan court styles, 198–205
Sanvala, 163, 164, 168, 169, 313n17
Sur Gujarati, 160, 162
Layla–Majnun paintings (Kumar Miskin), 170, 171, 173, 173–174, 177, 181, 196
allusions to, 197
Chokha’s response to, 206, 207
details, 154, 197, 197, 204, 207
Rajasthani paintings and, 202
lines, in drawing, 71, 305n72
Rajput and Mughal in comparison, 89–90
style and, 57, 59
Lodi, Khan Jahan, 8, 38, 39, 40
love imagery, 21, 29, 42, 247
canon and, 44–45
Krishna and Radha, 2
Layla-Majnun story and, 181
mysticism and, 279–280
pictorial dialogue among traditions, 48
rasa and, 53
shringara style, 211, 222–223, 242
viraha, 255, 279, 284
Madhavanala and Kamakandala: Bikaner version, 280–282, 281
Chokha’s paintings, 211, 213, 255, 257, 268, 279–285
Kota version, 239, 239
Madho Singh, Maharaja (Jaipur), 49, 71, 141
maharanas, 6, 57
art collections of, 49–50
British colonial order and, 276
contextual portraits of, 121
depicted dressing before mirror, 218, 219, 220
divine kingship of, 225
gestures of independence by, 63, 64
Mughal painting conventions and, 68
patronage and, 102, 291
portraiture genre and, 116, 134
Vallabha sampradaya and, 248. See also specific rulers
Majnun. See Layla–Majnun paintings
Manohar Das, 170, 173, 175, 182, 182, 187
Man Singh, Maharaja (Jodhpur), 8, 143
Man Singh, Raja (Amber), 63, 116
manuscript illustration, 18, 36, 106, 127, 177
Marathas, 41, 143
margins/borders, of paintings, 76–77, 77, 84, 303n50
Layla-Majnun paintings, 177, 184–198
Marwar region/rulers, 24–25, 64, 119
masculinity, ideal, 220, 267
Masood, 167–168, 169
masquerading, stylistic, 81, 82
meaning, 97, 103, 287, 295, 297
art historians’ interpretations, 7, 12
associational (symbolic), 69, 92
forms and, 2, 111
mutability of, 9
style and, 59–60, 87, 101, 103, 109
subject matter and, 57
Mewar (Sisodia) dynasty, 1, 5–6, 22, 64, 109
British regime and, 62, 278
crescent moon as symbol of, 92, 100, 117, 206n13, 225, 253, 283–284
leading position in Rajasthan, 63
Mughal hegemony resisted by, 62–63, 65, 199–200, 203, 241, 275–276
patronage of artists, 101–102
portraits of rulers, 152
Rajput Alliance and, 137–141, 140
solar emblem of, 151, 289
Mewar painting, 50, 74
aesthetic conservatism of, 26, 79, 289
assembly scenes, 214, 289–290
British influences, 278–279
canon and, 44
colors in, 59, 282, 316n7
conventions and idioms of, 76, 214, 220
denotative naturalism of, 125–126
eyes, 261, 263, 302n1
foreigners depicted in, 78, 304n52
stylistic imitation in, 83–87
landscapes, 97, 98
Layla-Majnun story and, 157, 180
love imagery, 211
nim kalam and, 105
political symbolism in, 69
portraiture, 118, 136, 140, 148
prices for, 72–73
religious and romantic illustrations, 17
style in, 57, 59, 60–70, 78–79
workshops, 1, 40, 226
Mialalotar, 228, 261
Mihr Chand, 185, 196
mimesis, 37, 38, 40
Mir Kalan Khan, 185, 198
Miskin and Miskin archetype, 177, 178, 187, 189, 196
Bodleian painting, 172, 173, 173–174, 202
margins and, 192–193. See also Layla–Majnun paintings (Kumar Miskin)
moustaches, 103, 104, 106, 119
Mughal Empire, 5, 73, 108, 306n11
Central Asian origin of, 6
court etiquette, 87
decline of, 41, 50
emperor as second Rama, 64
gifts in diplomacy of, 130–136, 143
maharanas and, 63–64
Mewar and, 6, 60, 62
patronage of, 16
portraiture and, 113, 114–115. See also individual emperors
Mughal painting, 59, 68, 70, 109, 163, 307n28
anti-illusionism in, 37
Awadhi painters and, 187
canon and, 44, 47
darbar scenes, 56, 84–87, 85, 86, 119, 128–129
darshan images, 66–67, 135
Mewar imitation of, 83–87
modern South Asian art and, 293
naturalism in, 125, 126
Persian tradition and, 159, 202
prices for, 72
scenes of imperial life, 119, 125, 129
style juxtapositions and, 80
stylistic imitation, 79–83, 90
workshops, 6, 42. See also Layla–Majnun paintings
Mughal-Rajput encounter, 14–26, 35–41
Bikaner painting as example, 26–35
Muhammad Shah (Mughal emperor), 41, 42, 185, 222
Mullah Do Piaza, 75–76, 77, 86
Murad, 33, 34, 319n68
muraqqas, 190, 192
music and musicians, 16, 52, 104, 106, 107, 291
Devgandhar ragini, 182, 183
Hindola raga, 223
raga-malas, 17
vina, 267, 279, 281
Nadir Shah (Persian emperor): invasion of Delhi, 41, 185, 306n11
portrait, 89, 89–90, 90
Nagaraja, 138, 146, 310n114
Nand Gwalior, 163, 165, 167, 313n17
Narasimha (artist), 160, 163, 167, 168, 182
Narasimha (avatar of Vishnu), 225
narrative, 2, 4, 18, 35, 50, 189, 278, 280
Nasiruddin, 22, 26
Nathdwara painting, 99, 277
Nathu (Nathuji), 31, 33, 49, 310n112
naturalism, 11, 38, 82, 89, 90, 163
Bikaner painting and, 33
canon and, 45
in depiction of clothing, 145
in European art, 288
Mughal-Rajput encounter and, 37
in portraits, 125–126, 135
Nayaka rulers, 113, 224–225
nayika, 215, 253, 272
nazar, 130–131, 136, 308n55, 312n147. See also gifts
Nihal Chand, 198, 251, 265
as Delhi master, 49
stylized eyes by, 261–262, 264, 319n84
nim kalam, 72, 104–105, 108, 145, 205–209, 206, 207
Nizami, 157, 163, 195
Padshahnama, 38, 39, 40, 81, 84, 119, 128, 132
Pahari painting, 7, 48, 301n38, 318n52
Pahari region, 59, 101
Pakistan, 293–294, 300n28, 306n13
Pancholi, Bihari Das, 139, 311n123
Parikshit, King, 265, 319n94
Patmanjari ragini, 28, 28–29, 30, 31, 33, 34
Patna, 42, 288
patronage, 7, 100, 101, 241, 295
artists’ compensation and, 48
in Mewar, 227
painting traditions and, 16
Patsahi (“imperial” painter), 27, 72, 73
Persian art, 38, 72, 75, 94, 109
Akbar’s workshop and, 16
Awadhi painters and, 187
in collections, 50
imitation in, 175–176
Jahangir’s court and, 175
juxtaposed styles and, 80
Layla-Majnun story and, 156, 159, 163, 168–169, 181
Mughal imitation of, 79, 81, 81–82, 90
pictorial conventions, 2
Persia/Persians, 14, 16, 41, 76–77, 84, 108, 116, 137, 185, 198, 306n11
perspective, rendering of, 7, 69, 86, 304n60
poetry, 17, 20, 31, 64, 127
Layla–Majnun story and, 157–158, 169, 178, 180, 181
Persian, 176, 181
ritikala, 44
Sufi, 42
Polier, Col. Antoine, 189, 196, 315n76
portraits, equestrian, 71, 79, 81, 81–82
Amar Singh II, 105, 105
bhava and, 51
of Bhim Singh, 234, 235
contextual, 121
status and value of, 136
style and identity, 144, 144–145, 146, 148
portraiture, 5, 69–70, 111, 113
compositions, 126–130
contextual portraits, 111, 119–125, 127, 135
courtly styles and, 100
do-chashmi, 68, 69, 75, 76, 233
as documents, 117–119
frontal view of face, 75, 76
gifts of, 199, 130–136, 311n127
history of, 113–117
kalam and, 72
Krishna imagery and, 223, 233
Mughals and, 12, 24, 35, 196
naturalism in, 125–126
political significance of, 63
prices of, 72–73
profile as “corporate identity,” 307n28, 312n144
Rajput Alliance (1708) and, 136–141, 140
Rajput conventions of, 106
royal lakshanas, 25
as social agent, 143–149
unity of profiles, 106, 107
power, relationships of, 70, 99, 100, 106, 113
Pratap Singh, Maharaja, 141, 142
Pratap Singh, Maharana, 50–51, 134
Pratap Singh, Rana, 53, 62, 64, 65, 275, 289, 320n109
Chokha’s portraits, 239, 240, 241, 271, 272, 275
Prithvi Raj Chauhan, 239, 240, 241, 275, 289
Pushti Marga doctrine, 247, 249
qissas, 180, 181, 183
Radha, 1–2, 17, 99
bhava and, 51, 54
Bhopa’s depiction, 230, 232
canonical representation of, 45, 46, 47
in Chokha’s painting, 255, 256
dressed as Krishna, 235
in Gita-Govinda, 18, 19, 20, 20–21
in Jodhpur painting, 270, 271
in Kishangarh painting, 261, 263, 265
in Kota/Bundi painting, 242
Krishna dressed as, xii, 229, 230–231
in shringara images, 223
in Vallabha sampradaya images, 251, 252. See also Krishna
ragamala paintings, 26, 71, 183, 192
Ragho Das, Kunvar, 229, 232
Ragho Das, Rawat, 227, 228, 316n4, 317n34
Rajasthani (Rajput) court painting: abstraction in, 125
bhava in, 50–55
collections, exhibitions and museums, 7, 50
conservative reputation, 14, 43
formal content, 5
group style, 101
knowledge of painters and viewers, 47–50
Layla–Majnun story and, 198–205
legacy of pictorial forms, 287–297
mapping and, 129
Mughal painting and, 12, 88–89
pictorial conventions, 1, 5, 8, 9, 18
portraiture, 106
reception of, 50–55
rulers in profile, 68
siyah kalam, 72
style in, 57–60, 78–79, 94–103, 109
subject categories, 71
tradition and, 2, 4. See also Mughal-Rajput encounter
Rajput Alliance (1708), 136–141, 140, 306n11
Rajput courts, 62, 64, 74, 259
cultural identity of, 94
hierarchy and, 130
kingship concept among, 99, 116, 121, 220, 251
kshatriya caste and, 6
Marathas and, 41
Mughals and, 115, 116, 138
portraiture and, 71, 114–115
thakurs, 73, 290
Raj Singh I, Maharana, 63, 138
Raj Singh II, Maharana, 51, 120, 226
Rama, 64, 66, 136, 148
Ramayana, 50, 66, 67, 66–70, 75, 76
Ranchhoda Bhatt, 63, 65
rasa theory, 14, 280, 285
Chokha and, 267, 273, 277–278
Vallabha sampradaya and, 258–260, 319n77
visual arts in relation to, 52–55
Rasamanjari (Bhanudatta), 1, 2, 3, 4, 5, 11, 17, 21, 24–26, 33, 45
rasika, 52, 280, 282, 285. See also connoisseurship
Rasikapriya (Sahibdin), 17, 53, 54
Rathor, Durga Das, 139, 311n117
Ravana, 66, 67, 67, 68
Raza, Ali, 26–28, 49, 72, 301n53
Red Fort, 190, 204
repetition, in painting tradition, 155–156, 170, 195, 208–209, 275
response, in painting tradition, 174–176, 177–178, 275, 280
Roe, Thomas, 82–83, 91, 132, 308n55
Ruknuddin, 33, 34, 54, 72, 301n52
Rup Singh, Maharaja, 248
Sahibdin, 1, 18, 22, 26
Gita Govinda, 44
Jahangir portrait, 65–66, 68
Rasikapriya, 53
sakhi, 18, 20, 20, 28, 29, 255
Sangram Singh II, Maharana (Udaipur), 71, 78, 84, 86, 91, 311n124
collection of, 88
contextual portraits of, 120, 121, 123, 127–128
Rajput Alliance and, 139, 141
as Yusef, 92, 95
Sanvala, 163, 168, 169, 313n17
Sawant Singh, Maharaja, 88, 251, 260, 262, 319n84
Shah Jahan (Mughal emperor), 63, 64, 115, 118, 196, 307n28
darshan with, 67
gifts and, 132, 133
Padshahnama of, 38, 84, 119, 128
portraits of 79, 81, 81, 83, 83–84, 114, 114, 128
Shahnama, 15, 15, 137, 165
Shambhu Singh, Maharana, 249, 250, 291
Shantidasji, 228, 228, 317n27
Shirin: Farhad and, 198
Khusraw and, 183, 187, 187, 195
Shiva, 25, 103, 117, 248, 255, 282
Shiv Das, 281, 283
Shri Kalyan Rai, 248, 262
Shri Nathji, 142, 277
opposition to British colonial regime and, 278
temple of, 42, 225
Vallabha sampradaya and, 247, 248–249, 252, 262, 276. See also Krishna
shringara, 54, 273
style, 211–212, 222–223, 241–242, 271
Shukadeva, 265, 266–267, 267–268, 269, 319–320nn94–96
Shyamaldas, 118, 120, 140, 302n61, 307n25
Sikander, Shazia, 293–294, 295–296, 297
Sikhism, 193, 285
Sisodias. See Mewar (Sisodia) dynasty Sita (deity), 66, 67
siyah kalam, 11, 71, 72, 96, 108, 202
of Kumar Miskin, 207
in Mewar portraits, 229
space, conceptions of, 86, 87
Stipple Master, 74, 105, 105–106, 144, 144, 220, 253
style, 57–60, 88, 101, 109
in Amar Singh II portrait, 103–106, 104–105, 107, 108–109
genre styles, 70–71
habitual and generic, 290
as heuristic, 58, 59
imitations of, 79–94
juxtapositions of, 75–79, 99, 109
kalam, 71–75
in Mewar painting, 60–70
Mughal-Rajput encounter and, 31, 33
as practice, 94–103
repetition and, 275
as social agent, 143–149
Sufism, 8, 42, 132, 181, 193
Sur Das verses, illustrations of, 36, 36–37
Surjan Singh of Bundi, Rao, 236, 238, 317n45
Tagore, Abanindranath, 288, 290, 292, 293, 294–295
takalufaat, 136–141
Takhat Singhji Jhalo, 120, 123, 136
Tara, 289, 290
Timur (Persian emperor), 16, 73, 79, 81, 81–82, 118
Timurid court, 168, 169
Tod, Col. James, 60, 63, 117, 134, 142, 212, 226, 276, 278, 289, 301n51, 308n57, 312n133
traditions, 2, 4, 287
canons and, 43–44
elite culture of Rajputs and, 6
knowledge of, 41
Layla–Majnun paintings and, 189, 201
literary, 193
modernity synthesized with, 290
painters as interpreters of, 5
royal patronage and, 16
turbans, 68, 76, 99, 100, 118, 119, 133, 150, 308n65, 309n77
Udaipur court, 62, 64, 92, 287, 297
architecture at, 117
Chokha at, 214–226
inventories, 50, 72, 74, 302n61
patronage of artists, 100, 102
traditions of, 287
Vallabha sampradaya and, 251–252. See also City Palace (Udaipur)
Udaipur painting, 41, 227
Chokha and, 236
eyes, 98, 99
kalam, 75
khyata lineage and, 118
Krishna imagery, 278
Layla-Majnun and, 178, 178, 201–205, 203–205
lotus eyes, 229
modern India and, 288
Udai Singh, Mota Raja, 114, 114
Udai Singh, Rana, 62
Umed Singh, Maharao, 60, 61, 120, 142, 147–148, 312n133
Usta, Jamil, 296–297, 300n28
Usta clan (Lalani and Umrani), 31, 48, 296
Vallabha sampradaya, 247–252, 258, 276, 285
British colonial regime and, 278
eyes in icons of, 262
rasa and, 258–260. See also Krishna
Varma, Raja Ravi, 274, 275, 288, 292
Vishnu, 30, 64, 66, 76, 224, 225, 248
Vitthalnath, 247–248, 258, 259, 268
Wasim, Saira, 293, 296
workshops (karkhana), 5, 35, 47, 100, 136
Amar Singh II and, 69
of Chokha, 273
Mughal, 6, 16, 42
patronage and, 48
style and, 71
Yusef and Zulaikha, 92, 93
zanana, 80, 97, 215, 220, 222