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Cummins, Joan

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Index

Joan Cummins

Indian Painting from Cave Temples to the Colonial Period

Index

Author

Joan Cummins

PublisherMuseum of Fine Arts, Boston

Stable URL: https://aaeportal.com/?id=-21179

Index

A

Abbas, Shah of Persia, 57, 61, 63, 225n34, 226n52

Abdul Ghafur Lari, 67–68

Abdur Rahman Jami, Maulana, 67–68

Abdur Rashid Dailami, 67–68, 225n46

Abhisarika Nayika (The Heroine Who Rushes To Meet Her Lover, probably Garhwal), 196–97, pl. 109

Abhisarika Nayika (The Heroine Who Rushes to Meet Her Lover, probably Kangra), 102–3, 186, 191, 196–97, pl. 53, back cover

Abul Fazl, 48, 49, 52, 224n18. See also Akbar Nama

Abul Hasan, 62, 225n32, 225n43

Adhira Kanishtha Nayika and Dhira Jyestha Nayika (The Jealous Older Woman and the More Impetuous Younger Woman), 128, 131, 168, pl. 68

Afghanistan, 35, 39, 77

Africa, 26, 63, 81, 82

After the Bath (Mankot, about 1690), 174–76, pl. 95

After the Bath (Mankot, about 1725–30), 99–101, 175–76, pl. 51

Agni Purana, 233n4

Agra, 54, 68, 112, 122, 187, 223n31–32, 224n20, 226n48

Ahar (Aghatapura), 222n13

Ahiri Ragini, 175, 179, pl. 96

Ahmadnagar, 82–83, 85, 89

Ahmedabad, 222n19

Ajaib al-Makhluqat of al-Qazwini, 81–82, 226n1 (chap. 3), pl. 40

Ajanta, 11, 12–13, 19, 33, 89, 117, 211, 221n1 (chap. 1), 223n8, pl. 1, fig. 1

Ajmer, 74, 92, 216

Akbar, Mughal emperor, 37, 74, 121, 122, 139, 153, 226n48

as empire builder, 51–52

as illiterate, 221n8

as patron of architecture, 39, 43, 224n20

as patron of painting, 39–55, 57, 62, 65, 85, 93, 114, 223n6–8

as sponsor of literary projects, 46–47, 48–49, 224n15–16

compared to Jahangir as patron, 45, 55–56, 56–57, 63

interest in European culture of, 42, 50, 199

interest in Hinduism of, 52–53, 114, 224n23

political and social policies of, 39, 52, 92, 229n49

reign dates 39, 55

representations of, 49

Akbar Nama, 48–49, 50, 56, 65, 134, 224n18–20, 226n8 (chap. 3), fig. 5

Alamgir. See Aurangzeb

albums (compilations of painting and calligraphy), 14–15, 43, 49, 55, 57, 61, 65, 67, 73, 119, 141, 207, 215

Alchi, 13

Ali, 222n22

Ali I, sultan of Bijapur, 226n1 (chap. 3)

Aliwardi Khan, nawab of Bengal, 78–79

Allahabad, 55

Allegorical Figure, 42–44, 45, 55, 85, 203, 225n32, pl. 15

Al-Mutawakkil Inquires about a Debt, 48–49, 224n17, pl. 18

Amaru Shataka, 227n3, 228n7

Amber, 139–43, 145–46, 147, 149, 225n28, 226n1 (chap. 4), 228n25–27

Amir Khusrau Dilavi. See Khamsa of

Amrit Pal, maharaja of Basohli, 186, 230n13, 231n33, 231n36–37

Ancalagaccha Bhandar, 222n19

animals, depiction of, 46, 50, 56, 62–63, 64, 65, 69, 77, 98, 103, 113, 124, 125, 132, 155, 194, 218, 232n7, 232n9

Annesley, George, Viscount Valentia, 207, 232n8

Anup Singh, maharaja of Bikaner, 147

Aqa Riza, 55–56, 62

Arabic language and culture, 14, 26, 67, 81–82

Archer, W. G., 192

architecture, depiction of, 33, 40, 42, 43, 53, 77, 102, 105, 109, 123, 125, 126, 134, 142, 144, 157–58, 168, 175, 181, 194, 198, 201, 204, 218

Arjuna, 110–11

Arjun Singh of Kota Admiring a Horse, 155–56, 157, 230n53, pl. 86

artists: as itinerant, 123, 166, 170–71, 173, 182, 186, 196, 231n26

depiction of, 193–94

European, working in India, 204–7

family styles of, 166, 170–71, 182–83, 186, 187–89, 193, 230n4

female, 221n1 (intro.)

later loss of commissions for, 201, 209, 219

looking for work outside of Mughal atelier, 73–74, 75, 77, 78, 141, 146–47, 152, 166, 187, 194

magical powers of, 193

modern, making paintings in traditional styles, 209, 211, 232n12

monks as, 16

role in determining court styles, 50, 77, 79, 89, 129–31, 153, 155–57, 169–71, 173, 188–89

singled out for recognition by patrons, 55, 57, 62, 63, 65, 147, 186–87, 213–14, 232n2

sources of information about, 213

status compared to that of scribes, 65, 213–14, 233n1–2

training in English art schools, 207–8

working as both painters and textile designers, 138, 228n22

workshop practices of, 8, 14, 22, 30, 32, 39–40, 42, 45, 50, 52–53, 54–55, 63, 73, 75, 82, 129, 132, 138–39, 145, 166, 170, 175, 186, 193, 207, 211, 213–19, 222n15, 223n30, 225n38, 233n3

Asani, 152

Asavari Ragini, 125–26, 228n8, pl. 67

ascetics, Hindu. See sadhus.

Ashtasahashrika Prajnaparamita, 15, 16–18, 19, 119, 221n9–10, 222n11, pl. 2A, 2B, fig. 2

atmospheric perspective, 45, 48, 53

attribution of paintings: historical interest in, 55

obstacles to, 8–9, 14, 53, 63, 67, 82, 85, 89, 92, 93, 98, 119, 122–23, 124, 126, 129, 141, 144–46, 154, 157, 165–66, 170, 177, 182, 186, 193, 213, 221n9, 222n19, 223n6

through comparison to portraits, 154–55, 177, See also regional categorization of styles

Aurangabad, 88–89

Aurangzeb, Mughal emperor, 74–75, 141, 147

Ayodhya, 113

B

Babur, Mughal emperor, 35–37, 48, 50, 52, 62, 65, 139, 223n1

Babur Nama, 36–37, 46, 48, 50, 63, 223n1, 223n3, 224n18, 225n39, fig. 3

Baghdad, 83

Bahadur Azam ud-Daulah, 226n47

Bahadur Shah, Mughal emperor, 75

Bahram Gur and the Shepherd Who Hanged His Dog, 38–39, 45–46, 223n5, pl. 12

Bahu, 173, 176–79, 231n17–18, 231n27

Balagopalastuti of Bilvamangala, 30, 31–33, 92, 103, pl. 10

Balak Ram Sah, 194, 232n44, 232n46

Balarama, 110

Balchand, 66, 225n45

Balwant Singh, maharaja of Jasrota, 186–87

Bangali Ragini (Bikaner), 146–48, 227n7, 229n39–40, pl. 80

Bangali (Vangali) Ragini (Mewar), 132, 227n7, 229n40, pl. 71

Bani Thani, 149–50

Baramasa, 228n17

Baroda, 228n14

Basohli, 109, 118–19, 167–177, 178, 186, 194, 197, 218, 230n5–13, 231n29, 231n33, 231n36–37

Basawan, 42–45, 224n11, 225n32

bathing women, depictions of, 99–101, 105, 107, 174, 176, 227n9

Battle between Arjuna and Kama, 110, 112, 155, 157, 230n54, pl. 60

bears, 113–14, 116–17

beetle wings, 168–69, 171, 174–75, 218, 227n25, 230n6, 231n29

Benares (Varanasi), 153, 231n22

Bengal, 35, 78, 203, 206, 210, 222n11, 232n8. See also West Bengal

Bengal School, 232n13–14

Berlin, 229n37

Museum of Indian Art, 231n24

Bhagalpur, 222n11

Bhagavad Gita, 227n20

Bhagavata Purana, 10, 31, 155–33, 52, 54, 92, 103, 105, 110–11, 123–24, 131, 137–38, 184–86, 155, 228n9, 231n30–32, 233n7, pl. 11, 59, 102, 103

Bhagwandas, maharaja of Jaipur, 228n26

Bhairava Enthroned, 118–19, 129, 167, 227n24–25, pl. 64

Bhairava Raga (Amber or Jaipur), 142–43, pl. 77

Bhairava Raga (Mewar), 129, 155, 142, pl. 69

bhakti and bhaktim, 103, 105–6, 109–10, 112–13, 115, 131, 150, 162, 169, 180, 231n32

Bhamarananda Ragaputra, 94, 98, 175, 179, pl. 47

bhandars, 20, 222n19. See also libraries

Bhanudatta. See Rasamanjari

Bharata Itihasa Samshodaka, Poona, 226n5 (chap. 3)

Bharat Kala Bhavan, Varanasi, 231n22

Bhikarinath, 228n18

Bhim Singh I, rana of Mewar, 71, 72, 140–41, 226n51, 228n28

Bhim Singh II, maharana of Mewar, 139

Bhoj Singh, maharao of Bundi, 153–54, 229n49

Bhumi, 184–85

Bhup Singh, maharaja of Guler, 198

Bihar, 16, 222nl1

Bihari. See Sat Sai

Bijapur, 81–82, 85, 86, 87, 226m (chap. 3)

Bikaner, 146–49, 150, 229n38

Bilaspur, 179, 181–82, 230n3, 231n24

Bilvamangala. See Balagopalastuti

binding types, 16, 21, 141, 218, 232n8, 233n14

Binney Collection, 226n6 (chap. 3)

birch bark, 15

birds, as symbolic or expressive elements in paintings, 101, 123, 125, 157–58, 230n57

Birth of a Prince, 56–57, 58, 59, pl. 23

Birth of the Virgin (Flemish engraving), 42–43, fig. 4

Birth of the Virgin (Mughal painting), 42–43, 45, 203, 215, 224n14, pl. 14

Bishandas, 57, 58–59, 61, 225n31, 225n35

bodhisattvas, 18

Bodleian Library, Oxford University, 225n45

Bombay. See Mumbai

borders. See margins

“Boston ragamala” series: 230n56

Kota, 97, 98–99, 158, pl. 50

Malwa, 96, 98–99, 124–25, pl. 49, 66

Mewar, 95, 98, 132, 228n15, pl. 48, 71

Brahma, 132, 227n7

Brahmins, 22, 53, 139, 187–88, 214, 222n17

Brijnathji, 162, 230n53

Brijrajji, 161–63

British: artists working in India, 204–6, 207

compared to Mughals as rulers and patrons, 52, 204, 207

East India Company, 203–4, 206

Empire, 203

founding of art schools in India, 207–8

growth of power of, 199, 201, 203

historians, 228n26

influence on Indian painting, 204–7

interest in natural history, 207

patrons of Indian artists, 206–7, 232n6. See also European

British Library, 226n1 (chap. 3), 227n21, 228n14

Broach, 222n19

Buddhism and Buddhist subjects in painting, 7, 11–13, 15–21, 119, 221n4, 221n9–10, 222n11

Bundelkhand, 122–23, 126, 153, 227n2

Bundi, 153–54, 157, 221n4, 229n49–51, 230n56

buraq, 226n47

burnishing. See polishing of painting surface

C

Calcutta, 206–7, 209–11, 232n7, 232n15

calligraphy, 14–15, 28, 43, 55, 65, 67–70, 73, 213, 217, 218, 224n14, 226n5 (chap. 3), 233n2

Calligraphy (by “The Miserable Ali”), 69–70, 73, 226n49, pl. 31

Calligraphy with an image of two poets, 67, 68, 226n47, pl. 30

cartoons (drawings for wall paintings), 142, 144, 219, 229n34

Cave temples, 11–13, 117. See also Ajanta

central Asia, 21, 26, 35, 56, 68, 81, 91, 96, 223n26

Central India, 26, 27, 33, 54, 73, 79, 87, 89, 91, 98, 105, 106, 121, 122–27, 166, 215, 226n3 (chap. 4), 227n2. See also Bundelkhand, Madhya Pradesh, Malwa

Chamba, 171–73, 192, 230n14, 231n27

Chattar Singh, maharaja of Chamba, 230n14

Chaurapanchasika group of paintings, 32, 228n11

Chawand ragamala, 121, 127–28, fig. 6

China, 21, 43, 55, 70, 85, 172, 211, 224n10

Chingiz Nama, 52

Chitarman, 76, 226n55

Chittorgarh, 127, 131

Christianity and Christian subjects in painting, 42–43, 57, 80, 84–85, 203. See also Jesuits

chromolithographs, 209

Chunar ragamala, 121, 155–54, 157–58, 229n49, fig. 7

Cleveland Museum of Art, 223n6, 230n60

cloth, paintings and texts on, 8, 15, 40, 137, 139, 221n4, 229n34

colonial period, 203–11

Company School paintings, 206–7

continuous narration, 12, 33, 52, 131, 186, 187, 201

Conversion of Nanda, 13, pl. 1

provenance of, 221n1 (chap. 1). See also Ajanta

Coomaraswamy, Ananda Kentish, 9, 127, 209, 219, 228n15, 229n34, 232n44

Cort, Cornelis, 42–43, 224n10

costume, depiction of, as means of attributing painting, 27, 43, 56, 71, 83, 124, 128, 137, 141, 142, 153, 161, 172–73, 186, 198, 204, 228n5, 232n47

courtesans, 71, 153, 194, 204, 227n12

covers, for manuscripts, 8, 14, 16, 18–19, 218, 222ml, pl. 2B cows, 31–32, 114–15, 110–11, 134–35, 139, 177, 184–85, 207, 215

D

da Gama, Vasco, 42, 203

Dancer, 142, 144, 155, 219, 229n33–34, pl. 78

Darab Khan, 74

Dara Shikoh, Mughal prince, 225n46

darbar, 57, 216

Darbar of Jahangir, 34, 57, 60, 203, 225n32, 233n8, pl. 24

darshan, 117, 119, 139, 214, 227n23. See also worship, use of images in

Datia, 106, 108, 122, 126, 227n2

Davda (Davada), 222n16

Deccan, 8, 75, 81–89, 222n23, 233n6

as training place of Mughal artists, 86

Hindu subject matter in painting from, 86–89

impact of European colonialism on, 204

influence on Rajput painting from, 148, 154, 157, 158

painting from, compared to Mughal, 83, 85, 87, 226n5 (chap. 3)

painting from, compared to Rajput, 123, 226n4 (chap. 4)

rarity of painting from, 226n4

rivalry with Mughal empire, 81, 82–83, 87, 89

sultanate interaction with Rajputs in, 87–89, 148

Delhi, 27, 36, 39, 68, 75, 77, 78, 91, 92, 112, 121, 122, 139, 141, 147, 148, 153, 165, 187, 222n23, 223n31–32, 226n48, 226n54, 228n21, 229n31, 232n7

Demon Army Gathers as Ravana Confers with a Captain, 113, 115, 182, 216, pl. 62

demons, 110, 113–117, 182

Demons Battle Rama’s Army of Monkeys and Bears, 113, 116, 117, 215, 216, pl. 63

“Demotte Shah Nama” 228n21

Desakar Ragini, 157–58, 160, 161, 230n56, pl. 89

Devagiri Ragini (Bahu), 175, 178–79, 155, 226n53, 227n7, pl. 99

Devagiri Ragini (Bilaspur), 181–82, 226n53, 227n7, pl. 101

Devasano Pado Library, 222n19

Devidasa, 169–171, 186, 230n10

Devi Mahatmya, 230n2, 232n39, 233n12

Dharm Das, 50

Dhenuka, 110

Dhundhar, 139. See also Amber, Jaipur

Dipaka Raga, 157–59, 230n55, pl. 88

drapery, depiction of, 42, 45, 48, 169, 204, 218, 224n11

drawings, 9, 22, 38–39, 45–46, 50, 63–66, 74, 77–78, 113, 116–17, 142, 144, 149, 155, 183, 207, 214, 215–19, 223n5, 224n14, 228n22, 229n34, 231n30

E

East Asian influence on painting, 211, 232n14. See also China

East India Company. See British

Elegant Man Seated under a Willow Tree, 55–56, 62, 65, pl. 22

elephants, 132–33, 189–90, 216

England. See British

engravings, Dutch and Flemish, 42, 55, 224n10, 224n14, 224n17, 226n5 (chap. 3)

Equestrian portrait of Nawab Aliwardi Khan, 78, 79, pl. 39

Ethiopia, 63

Europe: artistic influence from, 42–45, 46, 48, 50, 52, 53, 57, 69, 84–85, 87, 145, 199, 203–7, 211, 224n10–11, 224n17, 226n5 (chap. 3), 232n9, 232n15

imperialism of, 52, 203, 207

trade with, 203

visitors from, 11–12, 42, 57, 69, 203, 206, 207. See also British

F

Faizabad, 204–5

falcons, 61, 62–63, 64, 75

Farrukhsiyyar, Mughal emperor, 75

Fatehpur Sikri, 43, 224n20

Fath Khan, ruler of Ahmadnagar, 83

flowers and plants, depiction of, 69–70, 77, 85, 86, 87, 125, 126, 131, 132, 137, 144, 177, 185, 191, 197, 201, 209

foreshortening, 42, 85, 198

France, 203, 206

Fraser, James, 232n7

Freer Gallery of Art, Smithsonian Institution, 224n23

fresco secco, 11

G

Gandhi, Mahatma, 232n13

Ganesh, 208–9

Ganges River, 24, 55, 77, 153, 165, 180

gardens, 68, 75–77, 85, 113–14, 226n56

Garhwal (Tehri Garhwal), 194, 196–97, 232n46

Garuda, 139, 181

Gauri Ragini, 157–58, pl. 87

Genghis Khan, 35, 52

Ghanerao, 89

Ghiyas al-Din Khalji, sultan of Mandu, 222n23

Gita Govinda of Jayadeva, 103, 105, 107, 155–31, 183–84, 186, 194, 228n13, 231n29, 231n36, 233n7, pl. 56, 70

Goa, 86, 203

goddesses, 17–19, 117, 118, 167, 169, 181, 221n10, 232n39. See also Parvati

Goelet, John, 9

Golconda, 84–85, 86–87, 226n5 (chap. 3)

Goloubew, Victor, 9

Gopala III, ruler of Pala dynasty, 221n9

gopas and gopis, 103, 105, 107, 110, 139, 149–51, 157, 161, 177, 186, 231n32, 233n13

Gosain Nilakanthagirji, 120, 134–35, 228n19

Govardhana, Mount, 138

Gujarat, 20, 35, 48, 110–11, 121, 137–38, 222n16, 222n19, 222n23

Guler, 114, 115, 116–17, 182–83, 186, 189, 194, 197–201, 231n27, 231n29, 232n46

Gulshan album, 226n5 (chap. 3)

Gumani, 161–62

Gupta dynasty, 35

Gwalior, 122, 228n8

H

Hamir Hath, 233n12

Hamza Nama, 14, 40–41, 42, 45, 48, 49, 50, 54, 223n7, pl. 13

Hari-Hara, 231n23

Harinegameshin Delivers the Embryo of Mahavira, 22, 23, 24, 218, 222n17, pl. 5

Harivamsha, 52–53, 224n24, pl. 20

Hermitage Scene, 191–92, 218, pl. 106

Himachal Pradesh, 13, 165

Himachal State Museum, Simla, 230n2

Himalayas, 91, 165, 199

Hindi, 53, 54, 165, 222n21, 229n29, 232n41

Hinduism and Hindu subjects in painting, 7, 15, 21, 28–33, 39, 52–55, 73–74, 86–87, 91, 94, 98, 103–119, 120, 123–24, 125–26, 130–31, 132, 134–35, 138–39, 144–51, 161–63, 167–71, 175, 177–79, 180–82, 184–86, 187–88, 191–92, 194, 196, 208–9, 214, 223n32, 227n20

Holi, 145, 149–51

“Houghton” Shah Nama, 223n4, 228n21

Hour of Cowdust, 2, 104–5, 109, 191, 232n42, pl. 54

Humayun, Mughal emperor, 37–39, 40, 79, 139, 226n48

Hunhar, 72

hunting, depictions of, 61, 99, 134, 161–62, 199, 218, 225n35, 232n47

Hyderabad, 85, 87, 99, 231n22

I

iconography, 98, 132, 175, 181, 197, 214, 231n23

icons, religious: depiction of, 22, 117, 138–39, 161–63, 228n24

miraculous, 138, 162

modern prints of, 209

paintings as, 18, 115, 117–119, 139, 167, 180, 214

worship of, 18, 115, 117–119, 138–39, 161–63, 167, 179, 181. See also darshan

illiteracy, 15, 221n8

Impey, Sir Elijiah and Lady, 232n7

Inayat Khan Dying, 63–65, 66, 67, 70, 137, 215, 225n43–45, pl. 29

Indian Paintings from the Punjab Hills, 192

India Office Library, 226m (chap. 3)

Indra Worshiping the Embryo of Mahavira, 22, 24–25, 222n17, 222n19, pl. 7

Inju dynasty, 27

Interpretation of Queen Trishala’s Dream, 22, 23, 214, pl. 4

Iran, 9, 21, 25, 27, 57, 61, 62, 63, 85, 222n24–25, 225n34. See also Persia

Iskandar Finds the Infant Darab, 40–41, 42, 224n19, pl. 13

Islam, 26, 40, 46, 66–67

opposition to making of figural imagery in, 26, 39, 52, 67, 74, 119

Italy, 203, 224n10. See also Medicis

Itimad ud-Daulah, 226n48

J

Jagat Singh, maharana of Mewar, 129–31, 227n21, 228n10, 228n12, 228n28

“Jagat Singh Ramayana,” 228n14

Jagdish and Kamla Mittal Museum of Indian Art, Hyderabad, 231n22

Jahangir, Mughal emperor, 37, 43, 46, 50, 64, 74, 83, 92, 121, 128, 139, 146, 154, 216, 226n48, 233n10

as patron of painting, 55–67, 70, 85–86, 147, 213, 215, 218, 224n10, 225n34, 226n6 (chap. 3)

as son of Hindu princess, 52, 226n1 (chap. 4)

compared to father as patron, 55

courtly formality of, 57

life and reign dates, 48, 55, 68

sensitivity to animals of, 62–63, 230n57. See also Salim

“Jahangir Album,” 224n11

Jahangir Nama (Tuzukh-i Jahangiri), 56, 57, 58–60, 61, 62, 63, 65, 211, 224n18, 224n35, 225n43, 230n57, pl. 23, 24

Jahangir Receives Prince Khurram at Ajmer, 216, 233n9–10, pl. 117

Jainism and Jain subjects in painting, 7, 15, 20–25, 30, 32, 33, 39, 92, 122, 126, 137, 152, 166, 214, 218, 222n13–20, 222n25, 233n2

Jaipur, 139, 142–46, 148–49, 150, 152, 154, 218, 219, 224n23–24, 229n31

City Palace, 229n34, 233n15

Jai Singh I, maharaja of Amber (Mirza Raja), 141

Jai Singh II, maharaja of Amber and Jaipur (Sawai Jai Singh), 141–42, 229n31 Jaisinghpur, 230n2

Jammu (ancient principality), 167, 176–79, 186, 227n21

Jammu and Kashmir (modern state), 13, 91, 165

Jamnagar, 222n19

Jasrota, 186–87, 232n38

jatakas, 11–12

Jaunpur, 24, 222n18–19

Jawan Singh, maharana of Mewar, 139

Jayadeva. See Gita Govinda

Jerusalem, 226n47

Jesuits, 42, 57, 203

Jhansi, 227n2

Jodhabai, 226n1 (chap. 4)

Jodhpur, 141, 146, 149, 150, 152–53, 229n45–48. See also Marwar

K

Kahlur. See Bilaspur

Kakubha Ragini, 87, 95, 99, pl. 45

Kalyana Ragini, 95, 98, 228n15, pl. 48

Kalaka, 21

Kalakacharyakatha, 21, 222n16, 222n19, 222n25

Kalpasutra, 21–23, 24–25, 222n16, 222n19, pl. 4, 5, 7

Kama, 133–34, 228n6

Kamsa, 52, 110

Kanada Ragini, 88–89, 95, 99, pl. 46

Kanchipuram, Kailasanatha temple at, 13

Kangra, 102, 104, 189–97, 201, 208–9, 211, 218–19, 230n2, 232n12, 233n12

Kanha, 36, 225n39

Karan Singh, maharaja of Bikaner, 146

Karan Singh, maharana of Mewar, 228n12

Kama, 110

Karttikeya, 208–9

Kedara Kalpa, 199–201, pl. 112

Keshava Das (Kesu Das), artist, 40, 42, 50, 224n9, 224n11, 224n19, 225n27

Keshava Das, poet. See Rasikapriya

Kettle, Tilly, 204–6, 232n1–3

Khalji dynasty, 122, 222n23

Khampti, 221n1 (chap. 1)

Khambavati Ragini, 132, 227n7, 228n16

Khamsa of Amir Khusrau Dilavi, 26–27, 28, 45, 47, 222n23, pl. 8, 17

Khamsa of Nizami, 37–38, 39, pl. 12

Khan Alam, Ambassador of Jahangir, with Shah Abbas in a Landscape, 57, 61, 225n35, 226n52, pl. 25

Kheda district, 222n16

Khurram, Mughal prince, 57, 216, 233n10. See also Shah Jahan

Kishangarh, 145, 148, 149–151, 229n44

Kishan Singh, raja of Kishangarh, 149

Kishor Singh, maharao of Kota, 161–63

Koran, 65, 67, 68, 226n56

Kota, 97, 107, 110, 112, 138, 139, 153–63, 217, 221n4, 229n49–50, 230n53–54, 230n60

“Kota Master,” 155–57, 230n54

Kripal Pal, raja of Basohli, 169–73, 186, 231n33

Krishna, 7, 30, 32–33, 52–53, 54, 103–112, 123–24, 129, 130–31, 134, 138–39, 142, 145, 146, 149–51, 157, 161–63, 167–69, 176, 177, 184, 185–86, 196, 218–19, 223n32, 225n29, 227n20, 229n33, 230n53, 231n32, 233n13

Krishna and the Gopis Begin Their Love Play, 105, 107, 155, 233n7, pl. 56

Krishna as the Essence of Compassion, 123–24, 126, 215, 227n10, 227n4 (chap. 5), pl. 65

Krishna Awaits Radha, 130–31, pl. 70

Krishna Dances with the Gopas, 30–32, 92, 103, pl. 10

Krishna Fluting for the Gopas and Cows, 177, 179, 191, pl. 98

Krishna lila, 30, 103–6, 108–9, 131, 161, 227n15, 229n33, 231n32

Krishna Playing Holt with Radha and the Gopis, 145, 149–51, pl. 83

Krishna Roams with His Companions, 10, 31–33, 52, 54, 92, 123, 131, 223n32, 228n9, pl. 11

Krishna Slays the Ass Demon Dhenuka, 110–11, 137–38, pl. 59

Krishna Vanishes from His Favorite, 185–86, pl. 103

Krishna Visits Radha, 147–48, 229n41, pl. 81

Krishna’s Low Laugh, 54–55, 225n28, 227n10, 227n4 (chap. 5), pl. 21

kshatriya caste, 20, 222n17

Kulu, 176–77, 155, 192

L

Lahore: 226n48

National College of Arts in, 211

Laila, 46

lakshanas, 137

Lakshmana, 113

landscape, depiction of, 25, 28, 33, 39, 40, 45, 46, 48, 74, 78, 87, 113, 131, 133–34, 144, 149, 154, 161, 185, 189–92, 196, 198, 201, 211, 229n36, 233n16

Lanka. See Sri Lanka

lapis lazuli, 21

“Later Mughals.” See “Provincial Mughals”

“Late Shah Jahan Album,” 225n36, 226n48, 226n52

libraries, palace and temple, as repositories for manuscripts, 8, 14, 20, 39, 134, 158, 222n19, 229n34

Lion Hunt of Maharao Umed Singh of Kota, 161–62, fig. 8

lila. See Krishna lila

lingam and linga-yoni, 74, 155, 179

Lucknow, 204, 218, 224n24

M

Madhya Pradesh, 91, 121, 122. See also Bundelkhand, Central India, Malwa

Madonna. See Mary, Virgin, mother of Jesus.

Madras (Chennai), 207, 221n1 (chap. 1)

Mahabharata, 52, 110, 112, 113, 155, 157, 244n23–24, 227n20, pl. 60

maharajas, maharanas, maharaos. See Rajputs, rulers of

Maharaja Sidh Sen of Mandi as a Manifestation of Shiva, 180–81, 187, pl. 100

Maharana Sangram Singh of Mewar as a Romantic Hero, 133–34, 137, pl. 72

Maharana Sangram Singh of Mewar Visiting the Ashram of Gosain Nilakanthagirji, 120, 155, 134–35, 137, 201, pl. 73

Maharao Kishor Singh of Kota Worshiping Brijrajji, 161–63, 230n60, pl. 163

Mahavira, 21, 22, 25, 222n17

Mahayana Buddhism, 16, 18–19

Mahesh (Mughal artist), 224n13

Mahesh (Chamba artist), 230n14

Maitreya, 18

Majnun in the Wilderness, 45–46, 47, 48, 215, pl. 17

Malik Ambar, ruler of Ahmadnagar, 83, 226n2–3 (chap. 3)

Malini, 183, 186, 194, 231n29

Malkos Raga, 154, fig. 7

Malwa, 96, 106, 122–27, 128–29, 146, 147, 227n3. See also Central India, Madhya Pradesh

Manaku, 114, 115, 116–17, 182–87, 188, 191, 193–94, 197, 216, 231n29

Mandi, 179–82, 230n3, 231n19–23

Mandu, 122, 222n23

Manjushri, 18

Mankot, 94, 99–100, 101–102, 173–77, 178, 186, 231n15, 231n27

Manohar, 57, 60, 225n32

Mansur, 36, 62–63, 64, 65, 225n38–39, 232n9

Mara, 18

margins, 24–25, 43, 55, 61, 65, 67, 69–70, 73, 102, 141, 191, 215, 218, 224n24, 226n49, 227n11, 228n29, 230n56, 230n8 (chap. 6), 23n118, 233n3

Markandeya Purana, 232n39

Mary, Virgin, mother of Jesus, 42, 57, 84–85, 203

Marwar, 92, 146, 149, 150, 152–53. See also Jodhpur

Maya, 18

Medicis, 69

medium, 215, 222n18

Megha Raga, 90, 155–6, 125–26, pl. 55

merchants: as patrons for painting, 20, 21, 32, 92, 124

from Europe, 203, 206

Mesopotamia, 81

Metropolitan Museum of Art, New York, 223n4, 229n34

Mewar, 20, 33, 71, 72, 92, 95, 120, 127–138, 139, 141, 146, 147, 153, 165–66, 168, 201, 217, 222n13, 223n32, 227n21, 228n9, 228n28, 229n40, 232n12, 233n10

Mewar Maharana Worshiping an Icon, 112, 138–39, 155, pl. 75

Middle East, influence of, 7, 21, 26, 28, 40, 65, 68–69, 81–82, 85, 87, 172. See also Islam, Muslim book arts, Persia

Mihr Chand, 204–6

miniature, appropriateness of term, 14

Mir Ja’far, 63

Mirza Ali, 223n5

Mirza Muhammad al-Hasani, 84, 226n5 (chap. 3)

“Miserable Ali,” 69, 226n49

Miskin, 46, 47, 215

modeling (painting technique), 13, 19, 42, 45, 56, 83, 137, 147, 148, 155, 157–58, 175, 180, 185, 217

modernism, 209–11

Mola Ram, 194, 197, 232n45–46

Mongols, 36. See also Genghis Khan

monkeys, 113–14, 116–17

monsoon, 105–6, 123, 132, 133

Monsoon Palace, 133

Mother and Child Reclining, 80, 84–85, 203, pl. 42

Moti Masjid (Pearl Mosque), 226n54

Mugdha Proshita Bhartrika Nayika (The Inexperienced Heroine Whose Husband Is Away), 101–2, 155–75, 227n12, pl. 52

Mughal dynasty: alliances with Hindu rulers, 81, 92, 121, 139–41, 142, 146, 149, 152, 153–54, 165–66, 228n26

architecture, 39, 43, 68, 74

as patrons of painting, 8, 36, 129

atelier of, 33, 39–40, 45, 49, 52–53, 54, 63, 73–74, 75, 77, 79, 82, 86, 153, 218, 233n3

courtly culture of, 39, 165, 172

interaction with Europeans of, 42, 203

interactions with Persians of, 61, 81

interest in natural history among, 36, 45–46, 48, 50, 52

gradual loss of power of, 74, 75, 77, 142

origins of, 35–36, 46–47, 52

policy toward conquered rulers, 36, 39, 74, 87, 89, 92, 121, 127, 166

rivalry with Deccani sultans, 81, 82–83, 87, 89

tendency of princes to rebel against fathers, 55, 68, 74

treatment of other religions, 52–53, 74, 92, 114

viceroys of, 77–78. See also Mughal painting, entries for individual emperors

Mughal painting: 35–79, 216, 232n9, 233n3, 233n6, 233n10

as product of imperialist urge, 52, 187

compared to Deccani, 82, 85

compared to Rajput, 123, 157, 183, 187, 218, 226n55

documentary tendencies of, 37, 40, 48–50, 52, 56–57, 62–65, 69–70, 187, 211

European influence on, 42–45, 48, 50, 52, 53, 57, 203, 206, 223n8

given as gifts, 141, 152, 233n3

imperial compared to subimperial, 53–55, 74

Indian influence on, 40, 52–53, 77, 92, 223n8

influence on Rajput painting, 54, 92, 121–22, 127, 128, 131, 134, 139–41, 142, 147, 149–50, 152, 153–54, 158, 165, 169, 179, 182, 187–88, 231n34

later, provincial variants of, 78–79

Persian influence on, 40, 45, 48, 52, 53

subject matter compared to that of Rajput painting, 92, 96, 119. See also portraiture, Mughal

Muhammad, Muslim Prophet, 26, 40, 46, 65, 222n22, 226n47

Muhammad Ali, 85–86, 226n6 (chap. 3)

Muhammad Shah, Mughal emperor, 75–78, 187, 226n55, 226n57

Muhammad Shah in a Palanquin, 75–76, 77, 155, pl. 37, cover Muhammad Shah Rides in a Garden, 75, 77, 78, 187, pl. 38

Mukunda, 46, 224n13

Mumbai (formerly Bombay), 26, 81, 207, 228n14

Mumtaz Mahal, 68

murals, 8, 11–14, 30, 92, 142, 144, 146, 154, 155, 166, 193, 215, 219, 221n3–4, 228n9, 229n51

Murar, 216, 233n10

Murshidabad, 78

Musa and the Great Man, 26–27, 28, pl. 8

Museum of Contemporary Art, Tehran, 223n4

Museum of Fine Arts, Boston (MFA), collection of Indian painting: history of, 9, 194, 223n27, 229n37, 231n27

former curators of, 9, 232n14

important series not represented in, 127, 177, 183, 224n19, 231n27

objects in, not reproduced here, 132, 226n3, 225n46, 230n5, 233n11, 233n12, 233n15

particular strengths and weaknesses of, 9, 30, 158, 168, 211, 219, 226n4, 228n22

musical themes. See ragamala

Muslim: appreciation for drawings, 224n14

artists working for Rajput patrons, 129, 146–47

book arts, 14–15, 21, 25–28, 65, 77, 124, 141

holy men, depictions of, 62, 72–73

interpretation of Majnun story, 46

reaction to Hindu imagery, 52–53

rulers in India, 26, 28, 30, 34–79, 80–89, 91, 165, 204–6

use of reed pens, 217

visitors to India, 26. See also Islam, Middle East, Mughal, Persia, sultanates

Mysore, 81

N

Nadirul’asr, 62–63, 225n38. See also Mansur

Nadiruzzaman, 62. See also Abul Hasan

Nagari Das. See Sawant Singh

Nainsukh, 182–83, 186–89, 191, 193, 197–98, 230n13, 231n33–38

Nala and Damayanti, 233n12

Nandi, 194, 203

Narasimha disemboweling Hiranyakashyapa, 227n22

Narsingarh (Nasratgarh), 227n3

Nathadwara, 112, 138–39, 162

Nationalism, twentieth-century Indian, 127, 232n13

National Museum, Delhi, 224n10

Natthu, 147–48, 229n41

nayakas and nayikas, 101–103, 108–9, 128, 133, 154, 167–73, 227n12–13, 230n8

Nepal, 16, 165, 222n11

Nidha Mal, 78, 226n57

night scenes, 74, 102–3, 160, 167–69, 187–88, 196–97, pl. 35, 53, 89, 91, 92, 104, 108, 109

Nihal Chand, 150–51

Nizami. See Khamsa of

Nur Jahan, 70

Nurpur, 170–71, 173, 182, 186, 232n37

O

oil paintings, 204, 206, 207–8, 215

oleographs, 209

Okakura Kakuzo, 232n14

opaque watercolors, 204, 206, 211, 215

“opulent group” of Jain manuscripts, 24–25, 222n19

oral traditions, 15, 28, 32, 65, 96

Orchha, 122, 227n2

Oswal (Ukesha) clan, 222n14

Oudh (Avadh), 204–6, 232n6

outline (in painting and drawing), 13, 19, 20, 24, 25, 27, 33, 42, 77, 85, 123, 128, 137, 142, 147, 148, 150, 155–58, 173, 176, 180, 184–85, 187, 191, 193, 207, 215, 217, 219

overpainting, 223n27, 223n6 (chap. 2)

P

Padshah Nama, 216, 233n10, pl. 117

Page from an unidentified illustrated manuscript, Jaunpur, 24, pl. 6

Pahari, 166. See also Punjab Hills

paintbrushes, 217–18

Pakistan, 36, 39, 121, 146, 150, 211, 222n21

Pala dynasty, 221n9

Pali (city in Marwar), 152

palm leaf manuscripts, 13, 15–20, 21, 24, 92, 119, 214, 221n6, pl. 2A, 2B, 3, fig. 2

Pancharaksha goddesses, 221n10

Pandit Seu, 183, 189, 231n25

paper, 15, 21, 193, 204, 206–7, 211, 214–15

Parsis, 26

Parvati, 132, 144–45, 169, 194, 196, 208–9

Parwiz, Mughal prince, 57

patkas, 73, 172

Patna, 219

patronage: as source of style, 8, 22, 27–28, 30, 32, 36, 50, 53–54, 77, 79, 89, 124–25, 127, 128, 129–30, 141, 145, 153, 170–71, 174, 196, 214, 223n30

sporadic, in Punjab Hills, 166

Peacock Throne, 77

peori (Indian yellow), 215, 233n6

performance, theatrical or story-telling, 15, 30, 40, 93, 95, 113, 231n26

Persia: architecture of, 53

artists from, 39–40, 55, 67, 226n5 (chap. 3)

as political entity, 35, 37, 57, 61, 81

carpets of, 53, 61, 138

culture of, 26, 28, 37, 81–82, 223n26

influence of its painting styles, 25, 27, 28, 40, 45, 48, 52, 55, 65, 70, 81–82, 85, 87, 122, 131, 154, 222n25, 223n30

invading India, 77

language of, 14, 27, 43, 52, 53, 57, 67, 82, 222n21, 223n26, 223n6 (chap. 2)

music of, 96

painting from, 26, 37–39, 45, 48, 50, 224n14, 233n6

practice of signing paintings in, 36, 55, 213

picchavais, 139

pieta dura, 69

pigments, 214–15, 217, 222n18, 222n24, 233n5–6

Pilgrims Visit an Ashram, 191, 199, 200–1, pl. 112

Piri Beg, 62

polishing of painting surface, 128–29, 207, 209, 214, 217

Poona, 226n5 (chap. 3)

Portrait drawing of Darab Khan, 74–75, 137, 215, pl. 36

Portrait of a Basohli ruler, 171–73, 197, 231n33, pl. 94

Portrait of a falcon, 62–63, 64, 225n38, 232n9, pl. 27

Portrait of a “Hindustani”

Woman, 204–5, 206, 232n2, 232n4, 232n6, pl. 113

Portrait of a zebra, 63, 64, 65, 225n42, pl. 28

Portrait of an imam, 62, 215, pl. 26

Portrait of Fath Khan, 83, 85, pl. 41

Portrait of Maharaja Ram Singh of Jodhpur, 152–53, pl. 84

Portrait of Raja Prakash Chand of Guler, 197–98, pl. 110

Portrait, possibly of Mota Raja Udai Singh of Jodhpur, 49–50, 51, 93, 149, 152, 224n22, pl. 19

Portrait, probably of Maharana Pratap Singh II of Mewar, 136–37, pl. 74

Portraits of an unidentified courtier and Bhim Singh of Mewar, 71–73, 228n28, pl. 72

portraiture: Deccani, 83, 87

drawings, 215, 233n8

Mughal, 49–50, 56–57, 62–65, 70–78, 83, 92, 119, 134, 137, 180, 187, 204, 218, 233

Rajput, 106, 131, 133–42, 147–49, 152–53, 154–56, 161–63, 166, 171–73, 177, 180–81, 186–89, 191, 193, 197–98, 204

Western-influenced, 204–6

Sikh, 201

usefulness in attributing other paintings, 154–55, 173, 177

Portugal, 86, 203. See also Europe

Posthumous portrait of Maharana Bhim Singh of Mewar, 140–41, 155, 228n27–29, pl. 76

pouncing, 219. See also stenciling

Prakash Chand, maharaja of Guler, 197–98

Pratap Singh II, maharana of Mewar, 136–37

Praudha Adhira Nayika (The Mature Heroine without Self-Control), 169–71, pl. 93

pre-Mughal painting, 11–33, 54, 96, 121, 122, 123–124, 125, 126, 127, 128, 131, 152, 153, 154, 166, 223n6, 228n9, 228n11

Prince Hunting Antelope and Boar, 198–99, pl. 111

Prithu Chases the Earth Goddess, 184–85, 191, 231n31, pl. 102

Prithvi, 231n31. See also Bhumi

“Provincial Mughals,” 77–78, 166, 204

puja. See icons, religious, worship of

Punjab Hills, 8, 9, 13, 89, 91, 92, 99, 105, 106, 113, 119, 162, 163–201, 208–9, 216–19, 230n1

limited Mughal influence on, 91, 165–66

purdah. See women

Purifying Rituals, 187–88, 189, 198, pl. 104

R

Radha, 54, 105–6, 108, 110, 130–31, 147–48, 150–52, 176, 185–86, 229n33, 231n32

Radha Asks Krishna to Look in a Mirror, 106, 108, 155, 126, pl. 57

ragamala (and raga, ragini, ragaputra), 74, 87, 88–89, 94, 95–99, 105–6, 121, 124–26, 127–28, 129, 132, 142–43, 146–47, 153–54, 157–60, 161, 175–76, 178–79, 180, 226n3–4 (chap. 4), 227n6–7, 227n3, 228n6, 230n56, 230n8 (chap. 6), 231n18, 231n24

Rajasthan, 8, 9, 13, 54, 71, 73, 74, 87, 89, 91–92, 98, 112, 121–22, 127–63, 165–66, 224n28, 226n3 (chap. 4), 227n1

Rajputs: alliances with Mughals of, 92, 121, 139–41, 142, 146, 149, 152, 154, 165–66, 228n26

as patrons for Mughal-trained artists, 141, 146–47

balance of religious and military duty among, 91, 110, 134, 162

influence of Mughal court on, 92–93, 121–22, 124–25, 139–41, 149, 229n44, 233n10

embrace of Krishna bhakti among, 103, 138–39, 161–62

interaction with Deccani sultans and artists of, 87–89, 148, 157

interaction with Europeans of, 204

nineteenth-century waning of power of, 201, 203

origins and ancestry of, 91, 112–13

palaces of, 121, 131, 154, 161, 186

patronage of pre-Mughal painting by, 32, 33, 92, 121

relocation of capitals by, 92, 127, 131, 141–42

resistance to Mughal conquest of, 92, 121, 122, 127, 141, 165–66

rivalries between clans of, 91

rulers (maharajas) of, 32, 49, 91–93, 121, 124–25, 133–34

subject matter preferred by, 93–119

terms of surrender to Mughals of, 92, 127, 166. See also entries for individual rulers

Rajput painting: 9, 32, 33, 77, 82, 87, 90–93, 215, 217, 218, 233n2

compared to Mughal, 123, 157, 183, 187, 218

diversity of styles, 93, 121

in Rajasthan and Central India, 120–163

in Punjab Hills, 164–201

influence of Deccani painting on, 148, 157

influence of European art on, 145

influence of Mughal painting on, 92–93, 121–22, 124, 127, 128, 134, 137, 141, 142, 147, 149–50, 152, 153–54, 158, 166, 169, 179, 182, 187–88, 211, 231n34

later styles of, 145, 161, 201

Pahari compared to Rajasthani, 165–66

subject matter of, 93–119, 189

Rama, 91, 112–115, 183

Ramayana, 52, 112–117, 131, 162, 176, 183, 224n23, 227n21, 230n54, 231n27, pl. 61, 62, 63

Ram Singh, maharaja of Jodhpur, 152–53

Ram Singh, maharao of Kota, 161–62

rangoli, 187

rasa, 93, 95, 96, 101, 115, 132, 145, 226n2 (chap. 4)

Rasamanjari of Bhanudatta, 101–102, 106, 108–9, 128, 167–69, 155–71, 174, 186, 218, 220, 227n13, 228n12, 230n5, 230n8, 231n29, 231n33, pl. 52, 58, 68, 91, 93

rasikas, 93, 95, 98–99, 101

Rasikapriya of Keshava Das, 54–55, 101, 106, 123–24, 155, 147–48, 215, 225n26–28, 227n10, 227n4 (chap. 5), 228n25, 229n41, pl. 21, 65, 81

Rati, 133–34

Ravana, 113, 183

Ravana Shows the Counterfeit Head of Rama to Sita, 113–14, 216, pl. 61

Ravi River, 170

Ravi Varma, 209

Razmnama. See Mahabharata

regional categorization of styles, 8, 82, 89, 121–22, 126, 129, 144, 166, 170–71, 173, 182, 186, 192–93, 23n137

Rejoicing the Birth of Prince Salim, 48–49, 50, 56–57, 224n9, 226n8 (chap. 3), fig. 5

River Eel, 206–7, pl. 114

romantic themes, 73–74, 78, 87, 98–109, 123–24, 128, 130–31, 133–34, 148, 149–51, 158–60, 167–71, 181, 185–86, 191, 193–95, 228n17

Ross, Denman Waldo, 9

Ruknuddin, 146–48, 229n39

Rumis, 63

Rustam Slays the White Demon, 28–29, 223n27, pl. 9

S

sadhus, 48–49, 86, 94, 98, 113, 132, 134, 146–47, 191–92, 194, 200–1, 207, 226n8 (chap. 3), 232n39

Safavid dynasty: as political power, 35, 81

paintings made for, 37–39, 40. See also Abbas, Persia, Tahmasp

Sahibdin, 129–32, 146, 228n10, 228n13

Sahib Ram, 144

Salim, Mughal prince, 48, 55–56, 224n20. See also Jahangir

Samantabhadra, 18

Samarqand, 223n26, 226n48

Samina Khera, 228n19

San Diego Museum of Art, 226n6 (chap. 3), 232n2

Sangram Singh II, maharana of Mewar, 120, 133–35, 137

Sansar Chand, maharaja of Kangra, 191, 193

Sanskrit, 15, 52, 53, 101, 119, 165, 221n7, 222n13, 222n16, 229n29

Sarang Ragini, 127–28, fig. 3

Sat Sat of Bihari, 103, 105–106, 108, 155, pl. 57

Satha Nayaka (The Deceitful Hero), 106, 108–9, 168–69, 220, pl. 58

Savaga Padikkamana Sutta Chunni (Shravaga Pratikramana Sutra Churni), 19–21, 92, 222n13, pl. 3

Sawant Singh, raja of Kishangarh, 149–50

Scholar in a Flower Garden, 55, 85–86, pl. 43

Scorpio and Sagittarius, 81–82, 226m (chap. 3), pl. 40

sculpture, 7, 28–30, 33, 68, 95, 117, 138–39, 142, 173, 196, 214, 228n24

Seu. See Pandit Seu

shadows, depiction of, 53, 56, 131, 147, 155, 157, 204, 217. See also modeling

Shah Jahan, Mughal emperor, 57, 61, 68, 77, 79, 225n46, 233n10

as builder of the Taj Mahal, 68

as gemologist and botanist, 68–69

as patron of painting, 67, 68–74, 78, 141, 146, 147, 216

life and reign dates, 68, 74

number and type of commissions compared to Akbar and Jahangir, 70, 74

Shah Nama, 28–29, 37, 39, 223n4, pl. 9

Shah Shuja, Mughal prince, 57

Shakas, 222n25

Shakyamuni Buddha, 11–12, 18

shaligrama, 181

Shamsher Sen, maharaja of Mandi, 231n20

“Shangri” Ramayana, 176–77, 227n21, 231n17, 231n27

Sheik Salim Chishti, 224n20

Shia Islam, 26, 35, 81, 222n22

Shiva, 74, 98, 118–19, 129, 132, 134, 144–45, 169, 171, 179, 180–81, 194, 196, 199, 208–9, 227n22, 231n23

Shiva and Parvati on a Terrace, 144–45, 229n35–37, pl. 79

Shiva and Parvati with Ganesh and Karttikeya, 202, 208–9, pl. 115

Shiva Watches Parvati Sleep, 169, 155–95, pl. 108

Shri Nathaji, 138–39, 162, 228n24

Shuja ul-Daula, nawab of Oudh, 204–6, 232n2

Shvetambara Jainism, 20

Siddhartha (father of Mahavira), 22

Sidh Sen, maharaja of Mandi, 180–81, 231n20–23

Siege of Lanka, 14, 155, 114–117, 182, 155–85, 215, 216, 233n11, pl. 61, 62, 63

Sikandra, 226n48

Sikhism, 201

Simla, 230n2

Sita, 113–14

Southeast Asia, 21

spatial depth, pictorial depictions of, 12, 33, 42, 45, 48, 77, 78, 85, 123, 125, 126, 128, 131, 133, 142, 147, 150, 153, 158, 169, 183, 185, 187, 189–91, 198–99, 201

Sri Lanka (Lanka), 9, 21, 113

Srimala clan, 222n16

stenciling, 229n34. See also pouncing

Still in the Forest Night, 209, 210–11, pl. 116

subimperial Mughal style, 53–55, 121, 141, 146, 153–54, 224n23, 224n25–26, 227n4, 228n25

Sufism, 26

sultanates: culture of, 26

Deccani, 81–89

painting in, 27–28, 30, 31, 39, 131, 223n30, 223n6 (chap. 2), 233n6

as political entities, 26, 35, 91, 122

Sunni Islam, 35, 81, 222n22

Surat, 110–11, 137, 228

Surjan Singh, maharao of Bundi, 229n49

T

Tabo, 13

Tagore, Abanindranath, 209, 232n15–16

Tagore, Gaganendranath, 209–11, 232n15–16

Tagore, Rabindranath, 209, 232n15

Tahmasp, Shah of Persia, 37, 39, 223n4–5

Taj Mahal, 68–69, 121, 226n48, 226n56

Takri, 165, 231n21

Tamil Nadu, 229n35

Taming Wild Elephants, 164, 155–91, pl. 105

Tantra: in Buddhism, 16

in Hinduism, 180

Tara, 18

Tarikh-i Alfi, 47–48, 49, 224n15–16, pl. 18

Tarikh-i Khandan-i Timuriyya (Timur Nama), 52

Tavi River, 176

techniques of paint application, 14, 24, 33, 40, 42, 64, 74, 108–9, 144, 155, 157–58, 168, 169, 175, 179, 193–94, 206–7, 211, 217–18, 222n18, 223n7, 232n42

Tehran, 223n4

temples, Hindu and Jain, 13, 32, 40, 74, 92, 117, 122, 126, 132, 138, 161–63, 165, 179

archives of, as sources of information about artists, 182, 213

text, placement and prominence within manuscripts, 14, 20, 21, 22, 30, 32, 48, 81, 142, 214, 222n18, 224n15

textiles: as rewards granted by rulers, 71–73

depiction of, 22, 24, 27, 30, 33, 71–73, 86, 137, 141, 144, 172, 194, 196, 224n13

designers of, also working as painters, 138, 228n22

Indian specialization in, 71, 138

trade, 20

thangkas, 221n4

Thanjavur (Tanjore): paintings from, 229n35

Rajarajeshvara temple at, 13

Tibet, 16

paintings from 13, 221n10

Timur (Tamerlane), 35, 52, 223n26, 226n48

Timur Nama. See Tarikh-i Khandan-i Timuriyya

Timurid dynasty, 28, 35, 55, 223n26

Todi Ragini (Kota), 97, 98–99, 101, 230n56, pl. 50

Todi Ragini (Malwa), 96, 98–99, 101, 125, 126, pl. 49

Tod, Lieutenant Colonel James, 228n26

tracing, 219, 233n15

trees, as symbolic or expressive elements in paintings, 101, 102–3, 105, 134, 169, 186, 191, 194, 209. See also flowers and plants, depiction of

Trishala, 22, 222n17

“Tularam Bhagavata,” 110–11, 137–38, 228n21, pl. 59

Turkey, 9

Turkman language and culture, 26, 28, 81, 223n26

Tuti Nama, 223n6

Tuzukh-i Jahangiri. See Jahangir Nama Two Blue Bulls (Nilgai) and Two Hog Deer, 36–37, 63, 225n39, fig. 3

Two Men Fighting, 45–46, pl. 16

Two Women in a Bower, 154–55, pl. 85

Two Women in the Woods at Night, 169–70, 155, pl. 92

U

Udai Singh, maharaja of Jodhpur (Mota Raja), 51, 93, 149, 152, 224n22

Udaipur, 112, 127, 131, 133, 134, 138, 222n13, 228n14, 228n19, 232n12

Ujjain, 21

Umed Singh, maharao of Kota, 161–62

Uniara, 154–55, 229n52

Upapati Nayaka (The Hero Who Loves Another Man’s Wife), 167–69, pl. 91

Urdu, 14, 222n21

Usha-Aniruddha, 233n12

Uttaranchal, 91, 165

Uzbekistan, 226n48

V

Vaishnavas, 129, 181, 231n23

Vajrayana Buddhism, 16

Vakataka dynasty, 11

Vallabha Sampraday, 161–62

Varanasi. See Benares Vasudeva Removes the Infant Krishna from the Palace, 52–53, 110, 218, pl. 20

Vedas, 28

Vedic-style worship, 134–35

Vibhasa Ragini, 124–25, 228n6, pl. 124

Victoria and Albert Museum, 63, 224n19

Vikramashila, 222n11

Vishnu, 30, 32, 52–53, 105, 112, 129, 138, 139, 146, 161, 180–81, 184, 231n23

Vishnudharmottara, 233n4

volume, pictorial depiction of, 42, 56–57, 61, 83, 123, 125, 137, 147, 155, 158, 198, 201, 209, 217, 223n8

Vrindavan, 103, 105, 110, 134, 138, 233n13

W

wash, 214. See also paper

Watteau, Jean-Antoine, 105

Wellesley, Marquis, 232n8

West Bengal, 16

Williams College Museum of Art, 161–62

Williams, General James Edwin, 221n1 (chap. 1)

Windsor Castle, Royal Library Collection, 216

Woman and a Painter, 193–94, 195, pl. 107

Woman at Her Toilette with Attendants, 176, pl. 97

Woman Holding a Flask and Cup, 148–49, 229n43, pl. 82

Woman Meeting with a Yogini, 86–87, 126, pl. 44

Woman with a Flower, 70–71, 74, pl. 33

Woman Worshiping a Shiva Lingam, 73–74, 78, 227n7, pl. 35

women: aristocratic, few public appearances by, 70, 194, 204

as artists, 221n1

as makers of rangolis, 187

as patrons of painting, 183–84, 194, 221n1 (intro.)

as subjects of portraiture, 49, 56–57, 70–71, 148, 194, 204

wood, paintings on, 8, 18–19, pl. 2B

Y

Yamuna River, 55, 105

Yashodha, 110

yoginis, 86–87, 125–26, 228n8

Young Krishna on a Swing Accompanied by Female Musicians, 212, 216–18, 219, 233n12, pl. 118

Z

Zebra, 63–65, 225n42

zenana, 48, 56, 70, 71, 99

Zenana Scene, 70, 74, 78, 99, pl. 32

Zoroastrianism, 26

Zuccaro, Federico, 42–43

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