{"product_id":"oxford-readings-in-indian-art-nah703","title":"Oxford Readings in Indian Art","description":"\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Specification\u003c\/h2\u003e\u003ctable\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eItem Code:\u003c\/td\u003e \u003ctd\u003eNAH703\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eAuthor:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/book-author\/b%20n%20goswamy\/\" class=\"underlined\" title=\"B. N. Goswamy\"\u003eB. N. Goswamy\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePublisher:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/book-publisher\/oxford%20university%20press%20new%20delhi\/\" class=\"underlined\" title=\"Oxford University Press, New Delhi\"\u003eOxford University Press, New Delhi\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eLanguage:\u003c\/td\u003e \u003ctd\u003eEnglish\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eEdition:\u003c\/td\u003e \u003ctd\u003e2018\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eISBN:\u003c\/td\u003e \u003ctd\u003e9780199469420\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePages:\u003c\/td\u003e \u003ctd\u003e557\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eCover:\u003c\/td\u003e \u003ctd\u003eHardcover\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eOther Details\u003c\/td\u003e \u003ctd rel=\"product-dimensions\"\u003e10.0 inch X 7.5 inch\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eWeight\u003c\/td\u003e \u003ctd rel=\"product-weight\"\u003e1.10 kg\u003c\/td\u003e \u003c\/tr\u003e \u003c\/table\u003e\u003cbr\u003e\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Description\u003c\/h2\u003e\u003cdiv class=\"product-details-description\" style=\"max-height: 63rem; overflow-y: auto;\"\u003e\n\u003ccenter\u003e \u003cb\u003eAbout the Book\u003c\/b\u003e\n\u003c\/center\u003e \u003cp style=\"text-align: justify;\"\u003e The World of art is complex and challenging more so in India because the documentation here is remarkably thin whatever exists is widely scattered and difficult to gather. Addressing these issues, this volume brings together an astounding body of material consisting not only of speculations or theories, but also of original, primary sources. Between the pages we hear sages speak of the interrelationships of the arts, practitioners records measurements of units of time and space, iconographers lay down measurements of units of time and space, iconographers lay down rules and practices, artists record their experiences, and patrons recount their delights.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e Oxford Readings in Indian Art traces the long, rich varied tradition of reflection on Indian art. Organized into thematic section, the contributions range from texts on iconography and aesthetics and excerpts bearing upon our understanding of patronage and artistic practices, to information on artists and early writings that have shaped our thinking on Indian art.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e Slowly as one dips into these sources, one can hear the past speak and see the arts of India, which have been lost of history, come alive.\u003c\/p\u003e \u003ccenter\u003e \u003cb\u003eAbout the Author\u003c\/b\u003e\n\u003c\/center\u003e \u003cp style=\"text-align: justify;\"\u003e B.N. Goswamy, acclaimed art historian, is currently professor emeritus of art history at Panjab University, Chandigarh India. He has held several distinguished poition: he has been visiting professor at many universities in Europe and the USA, including Heidelberg University, Germany ETH Zurich (Swiss Federal Institute of Technology in Zurich), Switzerland; the University of Pennsylvania, Philadelphia, the University of California, Berkeley and Los Angeles, and the University of Texas at Austin, in the USA. He has been the recipient of the Jawaharlal Nehru Fellowship, and the Tagore National Fellowship. He was honoured by the president of India with the padma Shri in 1998 and the Padma Bhushan in 2008.\u003c\/p\u003e \u003ccenter\u003e \u003cp\u003e \u003cb\u003eIntroduction \u003c\/b\u003e\u003c\/p\u003e \u003c\/center\u003e \u003cp style=\"text-align: justify;\"\u003e The putting together of a volume like this is a task. While there is evident need for under- standing what the practice and the state of the arts in India in the past was, and for that to go to original sources which can serve as 'Readings', doing this is not easy. For the sources are scattered; facts have be gleaned, slowly; statements made directly are few; much has to be read between the lines; and interpretations tend to vary. No histories of art appear to have been written in early India; no biographies of artists exist, nor have artists left any notebooks or memoirs of their own. Much knowledge, having been preserved within families and passed on orally from generation to generation, remains hidden. The hard information we have from the past, as far as the arts are concerned, comes to us thus in the form of whispers that one can sometimes barely hear.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e The limitations are clear. And yet, with some effort, a picture, somewhat hazy perhaps, can be reconstructed. For doing this the sources-primary, original, authentic, reasonably dateable, or securely dated-that one has to go back to and draw upon, are of diverse kinds and differ from period to period. To take some examples from ancient India, there is that seminal text, Bharata's Natyashastra, which has extensive passages on how the arts come into being and how they affect, even shape, minds. The Puranas-Agni, Markandeya, Linga, Shiva, among them-s-even though essentially religious texts in character, yield information, for instance, on iconography, and contain legends in which the arts sometimes figure. There are shilpa-shastras, the equivalent of manuals on art, which go into the making of images or structures-Chitrasutra, Chitralakshana, samarangana Sutradharo, Manasara, Abhilashaitartha Chintamani, Mayamata, among them-and contain most valuable passages on materials, processes, iconography, iconometry. Related to these in some manner are works that, strictly speaking, come from the fields of the performing or literary arts-the sahitya Darpana for instance, or the Abhinaya Darpana-but have a clear bearing on the visual arts. Works of literature, among them plays like Bhasa's Pratima Nataka, or Kalidasa's Abhijnana Shakuntalam, and cycles of stories such as the Kathasarita Sagara, provide insights into or descriptions of works of art. All of these have been drawn upon. Some things remain insistently obscured from sight, but there are others that come into full, sharp view.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e From the period that followed, unparalleled, in respect of the information it contains, is the Akbar period work Abu'l Fazl's Ain-i Akbari-which has a whole chapter on the 'Arts of Writing and Painting'. Notices of art appear in chronicles or memoirs, names of individual painters start emerging in this period, and an emperor like Jahangir devotes space in his Tuzuk for the work that his most gifted artists did for him: men like Abu'l Hasan and Mansur. There are no detailed lives of the painters, but some painters and calligraphers begin to turn from shadows into substances as much from notices of them in other peoples' writings, however brief, as from their portraits that have survived. There were early visitors from the Islamic and Buddhist worlds-Fa Hsien, Alberuni, Taranath, among them-who observed and wrote about the arts in India. Writings from the Persian world which directly impacted or bore relevance to what was going on in respect of techniques and processes followed in Mughal India Bihzad's notes, Sadiq Beg's composition on the 'Laws of Painting' -are useful to draw upon. Truly valuable at the same time are the accounts left by European travellers and officers who came to India in a steady stream, from Jesuit priests and merchants and physicians to ambassadors to the Imperial court-Domingo Paes, Fernao Nuniz, Garcia da Orta, Father Monserrate, Johannes de Laet, William Finch, Thomas Roe, Bernier, Tavernier, Thevenot; somewhat later, Polier, Moorcroft, William Barr, von Orlich, and others-and the observations, some enthusiastic, others somewhat superior and cynical, they made on the arts in India. Their understanding of the grammar of these arts, and of their aesthetics, might have been partial, but their observation was sharp.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e Writing anything close to the history of art in India, or aspects of it, began no earlier than the early years of the twentieth century, but a fair body of material came together then. There were scholars who translated old but nearly lost texts and added their own comments on them; others took stock of what was on the ground and helped to deepen understanding; still others who brought little known, or virtually unnoticed, developments in the arts into the foreground, Gopinath Rao, Manmohan Ghose, P.K. Acharya, Ananda Coomaraswamy, J. Ph. Vogel, Vincent Smith, E.B. Havell, Abanindranath Tagore, J.c. French, Goetz and Kuhnel, Stella Kramrisch, N.C. Mehta, among them. Excerpts from their writings go legit- imately into the 'Readings' that this volume consists of.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e What has been set forth above might convey to the reader an idea of how things have been gone about, but there are other things that have also been researched, other sources drawn upon. In any case, the materials gathered have been organized under six sections: Early Textual References to Art; Icons and Their Measurements; Aesthetic Theory; Artists and Patrons; The Arts in Practice and as Observed; and Early Art Historical Writings.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e There is much overlapping in this ordering, and it is admittedly somewhat arbitrary. But we hope that it makes for some convenience of consultation. With the same consideration in mind, each section is introduced, or preceded by, what can be called 'head-notes'.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e A few things need to be stated about this effort. What is put together here is, in the nature of things, excerpts from sources, illustrative rather than exhaustive. The intention clearly is to lead the researcher\/reader to those sources and by no means exhaust them. Other scholars might easily have gone for other sources or selections, and, naturally therefore, other readings. Some passages here run into several pages and there are others- inscriptions, colophons, and the like-that consist of no more than a few lines. But then that is of the essence of the material. An effort has been made, not always successfully, to provide some dates although perfectly secure dates, at least as far as early India is concerned, are the exception rather than the rule.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e Two things in the end. This volume concerns itself essentially with the visual arts and not the performing or the literary. Spreading out into those other fields would have required another volume. Likewise, the final section on Early Art Historical Writings, stops suddenly, and indefensibly perhaps, with the year 1947. What followed after that, we are aware, is filled with other riches, but those, again, deserve to go into another volume. Meanwhile, it is hoped that what is put together and presented here would provide some insights, as also factually prove of some value to those whom the arts of India continue to interest.\u003c\/p\u003e \u003ccenter\u003e \u003cp\u003e \u003cb\u003eContents\u003c\/b\u003e\u003c\/p\u003e \u003c\/center\u003e \u003ctable width=\"100%\"\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd width=\"05%\"\u003e \u003c\/td\u003e \u003ctd width=\"90%\"\u003e Acknowledgements\u003c\/td\u003e \u003ctd width=\"05%\"\u003e xv\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Introduction\u003c\/td\u003e \u003ctd\u003e XVII\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003cb\u003ePART I - EARLY TEXTUAL REFERENCES TO ART \u003c\/b\u003e\n\u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 1\u003c\/td\u003e \u003ctd\u003e The Hymn of Creation', from the Rig-veda\u003c\/td\u003e \u003ctd\u003e 3\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 2\u003c\/td\u003e \u003ctd\u003e References to the Physical Attributes of Deities in the Rig-veda\u003c\/td\u003e \u003ctd\u003e 5\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 3\u003c\/td\u003e \u003ctd\u003e Silpas or Hymns for Producing Art\u003c\/td\u003e \u003ctd\u003e 6\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 4\u003c\/td\u003e \u003ctd\u003e An Image of a Woman Made Out of Gold by the Bodhisattva in the Kusa-Jataka\u003c\/td\u003e \u003ctd\u003e 7\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 5\u003c\/td\u003e \u003ctd\u003e References to the Bodhisattva's Inherent Skill in Architecture, and the Act of Decorating Buildings, from the Maha- Ummaga Jataka\u003c\/td\u003e \u003ctd\u003e 9\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 6\u003c\/td\u003e \u003ctd\u003e Bharata's Identification of a Sculpture of His Father, through Its Lakshanas\u003c\/td\u003e \u003ctd\u003e 11\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 7\u003c\/td\u003e \u003ctd\u003e Mention of Craftsmen and Artisans in the Description of the Crowd That Welcomes the Buddha to Kapilavastu\u003c\/td\u003e \u003ctd\u003e 15\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 8\u003c\/td\u003e \u003ctd\u003e A List of Sixty-four Arts from Yashodhara's Commentary on the Kamasutra ofVatsyayana\u003c\/td\u003e \u003ctd\u003e 17\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 9\u003c\/td\u003e \u003ctd\u003e Sixty-four Kalas from the Shaivatantra\u003c\/td\u003e \u003ctd\u003e 21\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 10\u003c\/td\u003e \u003ctd\u003e The Art of Painting and the Artist Used as Metaphors in the Context of Buddha's Teachings\u003c\/td\u003e \u003ctd\u003e 22\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 11\u003c\/td\u003e \u003ctd\u003e Separated from Shakuntala, King Dushyanta Commissions Her\u003c\/td\u003e \u003ctd\u003e 24\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 12\u003c\/td\u003e \u003ctd\u003e The 'Birth' of Painting as the Heavenly Apsara Urvashi\u003c\/td\u003e \u003ctd\u003e 27\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 13\u003c\/td\u003e \u003ctd\u003e The Interrelationship of the Main Branches of the Arts, Elucidated by Markandeya in the Chitrasiura\u003c\/td\u003e \u003ctd\u003e 29\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 14\u003c\/td\u003e \u003ctd\u003e The Divine Origins of Chitra, as Expounded by Brahma\u003c\/td\u003e \u003ctd\u003e 31\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 15\u003c\/td\u003e \u003ctd\u003e The Bodhisattva's Accomplishment in the Arts\u003c\/td\u003e \u003ctd\u003e 33\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 16\u003c\/td\u003e \u003ctd\u003e A Painter Fools Everyone by Painting a Life-like Image of His Own Corpse in a Tocharian Jataka\u003c\/td\u003e \u003ctd\u003e 35\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 17\u003c\/td\u003e \u003ctd\u003e A Reference to the Celebrated Painter Mani in the Persian Epic E15\u003c\/td\u003e \u003ctd\u003e 38\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 18\u003c\/td\u003e \u003ctd\u003e A King and His Friend Attempt to Guess the Identity of a Woman through Her Attributes as Painted in the Murals in the Palace\u003c\/td\u003e \u003ctd\u003e 41\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 19\u003c\/td\u003e \u003ctd\u003e The Striking Realism of a Queen's Portrait Raises Suspicion in the Mind of the Patron King\u003c\/td\u003e \u003ctd\u003e 45\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 20\u003c\/td\u003e \u003ctd\u003e A Princess Identifies Her Beloved, Only Encountered in a Dream, from a Painting Made by Her Friend\u003c\/td\u003e \u003ctd\u003e 47\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 21\u003c\/td\u003e \u003ctd\u003e A Painted Peacock Feather Is Mistaken for a Real One by a King\u003c\/td\u003e \u003ctd\u003e 49\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 22\u003c\/td\u003e \u003ctd\u003e A Prince Falls in Love with a Beautiful Stone Statue of a Woman\u003c\/td\u003e \u003ctd\u003e 50\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 23\u003c\/td\u003e \u003ctd\u003e A Story of the Origin of the Arts, in the [ain Context\u003c\/td\u003e \u003ctd\u003e 52\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 24\u003c\/td\u003e \u003ctd\u003e A Competition between the Artists of Turkey and China\u003c\/td\u003e \u003ctd\u003e 53\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 25\u003c\/td\u003e \u003ctd\u003e The Emperor of China Is Helped by His Minister's Skill in the Art of Painting\u003c\/td\u003e \u003ctd\u003e 56\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 26\u003c\/td\u003e \u003ctd\u003e Different Artisans Drawn on the Playing Cards Specifically Designed for Akbar, as Described by Abu'l Fazl\u003c\/td\u003e \u003ctd\u003e 61\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 27\u003c\/td\u003e \u003ctd\u003e A Portrait of the Princess of China Causes All Men to Fall in Love with Her\u003c\/td\u003e \u003ctd\u003e 63\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 28\u003c\/td\u003e \u003ctd\u003e The Uniting of Separated Lovers as a Theme in Paintings\u003c\/td\u003e \u003ctd\u003e 65\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003ccenter\u003e \u003cb\u003ePART II - ICONS AND THEIR MEASUREMENTS \u003c\/b\u003e\n\u003c\/center\u003e \u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 1\u003c\/td\u003e \u003ctd\u003e Forms of the .lmages of Different Devas: Rama, Varaha, Narasimha, Shiva, and Others\u003c\/td\u003e \u003ctd\u003e 69\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 2\u003c\/td\u003e \u003ctd\u003e Characteristics of the Image of Vasudeva and Other Gods: Iconography and Measurements\u003c\/td\u003e \u003ctd\u003e 71\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 3\u003c\/td\u003e \u003ctd\u003e Passages Relating to Varieties of Lingas and Benefits from Their Worship\u003c\/td\u003e \u003ctd\u003e 74\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 4\u003c\/td\u003e \u003ctd\u003e Measurements of the Five Kinds of Men from the Churasutra\u003c\/td\u003e \u003ctd\u003e 76\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 5\u003c\/td\u003e \u003ctd\u003e Shiva Reveals His Many Forms, in the Tantric Text Shiva Rahasya\u003c\/td\u003e \u003ctd\u003e 78\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 6\u003c\/td\u003e \u003ctd\u003e Different Temple Structures Listed and Explained by Varaha Mihira\u003c\/td\u003e \u003ctd\u003e 81\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 7\u003c\/td\u003e \u003ctd\u003e The Necessary Qualifications of Architects, and the System of Measurement To Be Followed, as Expounded in the Manasara\u003c\/td\u003e \u003ctd\u003e 83\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 8\u003c\/td\u003e \u003ctd\u003e The Manasara's Instructions on the 'Chiselling of the Eyes' of Idols to Prepare Them for Worship\u003c\/td\u003e \u003ctd\u003e 87\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 9\u003c\/td\u003e \u003ctd\u003e Description on the Making of the Images of the Buddha\u003c\/td\u003e \u003ctd\u003e 92\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 10\u003c\/td\u003e \u003ctd\u003e Prescriptions Concerning the Making of Images, Etc., as Given in the Sukranitisara\u003c\/td\u003e \u003ctd\u003e 94\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 11\u003c\/td\u003e \u003ctd\u003e Svarupas of Diverse Hindu Deities, and Some Measurements\u003c\/td\u003e \u003ctd\u003e 96\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 12\u003c\/td\u003e \u003ctd\u003e Directions from the Sariputra on the Making of the Images of the Buddha\u003c\/td\u003e \u003ctd\u003e 98\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 13\u003c\/td\u003e \u003ctd\u003e Buddha's Own Recommendations about How Images of His Should Be Made: Measurements and Other Details\u003c\/td\u003e \u003ctd\u003e 101\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 14\u003c\/td\u003e \u003ctd\u003e Iconographic Details for the Images of Bodhisattva Avalokitesvara, as well as Hindu Deity Ganesha, from the Sadhanamala\u003c\/td\u003e \u003ctd\u003e 105\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 15\u003c\/td\u003e \u003ctd\u003e The Fourteen Dreams ofTrishala, as Described in the Kalpa Sutra\u003c\/td\u003e \u003ctd\u003e 107\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 16\u003c\/td\u003e \u003ctd\u003e Prescriptions for the Images of Jain Deities\u003c\/td\u003e \u003ctd\u003e 111\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003ccenter\u003e \u003cb\u003ePART III - AESTHETIC THEORY\u003c\/b\u003e\n\u003c\/center\u003e \u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e The Eight Rasas Explained\u003c\/td\u003e \u003ctd\u003e 117\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e The 'Laws of Dance': Expressions, Gestures, Glances, Hand Positions, Etc.\u003c\/td\u003e \u003ctd\u003e 127\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Aesthetic Experience as Annotated in Abhinavagupta's Commentary on the Natyashastra\u003c\/td\u003e \u003ctd\u003e 134\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e An Approach to Aesthetics through a Combined Study of Rhetoric and Drama\u003c\/td\u003e \u003ctd\u003e 137\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e The Six Fundamental Rules of Painting Elucidated\u003c\/td\u003e \u003ctd\u003e 139\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003ccenter\u003e \u003cb\u003ePART IV - ARTS IN PRACTICE AND AS OBSERVED \u003c\/b\u003e\n\u003c\/center\u003e \u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 1\u003c\/td\u003e \u003ctd\u003e A Description of Materials and Methods of Making Images\u003c\/td\u003e \u003ctd\u003e 143\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 2\u003c\/td\u003e \u003ctd\u003e Recipes for Lepas or Plasters To Be Used for Construction and Repair\u003c\/td\u003e \u003ctd\u003e 145\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 3\u003c\/td\u003e \u003ctd\u003e The Guide to the Lost Wax Technique Used to Cast Idols\u003c\/td\u003e \u003ctd\u003e 147\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 4\u003c\/td\u003e \u003ctd\u003e A Summary of the Contents of the Mayamatam\u003c\/td\u003e \u003ctd\u003e 149\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 5\u003c\/td\u003e \u003ctd\u003e The Method of Plastering Walls in Preparation for Painting\u003c\/td\u003e \u003ctd\u003e 151\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 6\u003c\/td\u003e \u003ctd\u003e Rules for the Correct Technique of Painting\u003c\/td\u003e \u003ctd\u003e 154\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 7\u003c\/td\u003e \u003ctd\u003e The 'Epistle' of Maulana Sultan Ali\u003c\/td\u003e \u003ctd\u003e 157\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 8\u003c\/td\u003e \u003ctd\u003e Detailed Description of the Netra Mangalya, or the Ceremony of 'Eye Opening' of a Sacred Image\u003c\/td\u003e \u003ctd\u003e 162\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 9\u003c\/td\u003e \u003ctd\u003e A Chapter on Pratima Lakshana-the Characteristics of (Sacred) Images-Guides Sculptors on Materials and Methods\u003c\/td\u003e \u003ctd\u003e 168\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 10\u003c\/td\u003e \u003ctd\u003e Reference to the Oris san Artist's Process as It Was in Eighteenth Century\u003c\/td\u003e \u003ctd\u003e 171\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 11\u003c\/td\u003e \u003ctd\u003e Two Official Documents on the Production of Paper at Daulatabad\u003c\/td\u003e \u003ctd\u003e 172\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 12\u003c\/td\u003e \u003ctd\u003e The Process for Obtaining Peori Yellow Pigment\u003c\/td\u003e \u003ctd\u003e 174\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 13\u003c\/td\u003e \u003ctd\u003e Methods of Extracting Dyes Explained\u003c\/td\u003e \u003ctd\u003e 176\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 14\u003c\/td\u003e \u003ctd\u003e Documentation of the Process of Making Paper\u003c\/td\u003e \u003ctd\u003e 179\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 15\u003c\/td\u003e \u003ctd\u003e A List of Botanical Sources of Coloured Pigments, Used for Making Dyes\u003c\/td\u003e \u003ctd\u003e 181\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 16\u003c\/td\u003e \u003ctd\u003e Procedure for Making Sialkoti Paper\u003c\/td\u003e \u003ctd\u003e 184\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 17\u003c\/td\u003e \u003ctd\u003e Faxian's Description of the Chariot Procession of Buddha at Pataliputra\u003c\/td\u003e \u003ctd\u003e 186\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 18\u003c\/td\u003e \u003ctd\u003e Xuanzang's Account of Stupas and Images of Buddha in Gandhara\u003c\/td\u003e \u003ctd\u003e 188\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 19\u003c\/td\u003e \u003ctd\u003e Alberuni's Observations on the Materials Used for Writing and Painting in India\u003c\/td\u003e \u003ctd\u003e 190\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 20\u003c\/td\u003e \u003ctd\u003e Domingo Paes Describes the Vijayanagara Empire\u003c\/td\u003e \u003ctd\u003e 193\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 21\u003c\/td\u003e \u003ctd\u003e Opulence of the Kingdom of Vi jay an agar a as Observed by Fernao Nuniz\u003c\/td\u003e \u003ctd\u003e 196\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 22\u003c\/td\u003e \u003ctd\u003e An Early Description of the Elephanta Caves\u003c\/td\u003e \u003ctd\u003e 198\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 23\u003c\/td\u003e \u003ctd\u003e Taranath's Record of the History of Some Accomplished Indian Artists\u003c\/td\u003e \u003ctd\u003e 200\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 24\u003c\/td\u003e \u003ctd\u003e An Extract from a Letter by the Dutch Painter Cornelis Claez de Heda\u003c\/td\u003e \u003ctd\u003e 202\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 25\u003c\/td\u003e \u003ctd\u003e William Finch Observes the Frescoes on the Walls of Royal Buildings at Lahore and Agra\u003c\/td\u003e \u003ctd\u003e 203\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 26\u003c\/td\u003e \u003ctd\u003e Jesuit Priests Present a Painting of the Madonna at the Court of Akbar\u003c\/td\u003e \u003ctd\u003e 206\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 27\u003c\/td\u003e \u003ctd\u003e Akbar's Visit to a Jesuit Chapel in Agra, as Recorded by Monserrate\u003c\/td\u003e \u003ctd\u003e 211\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 28\u003c\/td\u003e \u003ctd\u003e Johannes de Laet's Estimation of the Wealth of the Mughal Monarchs\u003c\/td\u003e \u003ctd\u003e 213\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 29\u003c\/td\u003e \u003ctd\u003e Thomas Roe's Encounters with Jahangir, and the Mughal Emperor's Interest in Western Art\u003c\/td\u003e \u003ctd\u003e 215\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 30\u003c\/td\u003e \u003ctd\u003e Francois Bernier's Letter Describing the Art of Painting as Practised in Different Cities of Mughal India\u003c\/td\u003e \u003ctd\u003e 217\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 31\u003c\/td\u003e \u003ctd\u003e Tavernier's Detailed Description of the Mughal 'Peacock Throne'\u003c\/td\u003e \u003ctd\u003e 219\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 32\u003c\/td\u003e \u003ctd\u003e Travelogue of Thevenot as He Travelled through Different Parts of India, Observing the Arts and Monuments\u003c\/td\u003e \u003ctd\u003e 221\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 33\u003c\/td\u003e \u003ctd\u003e Forbes's Appreciation of the Art at Elephanta and Ellora\u003c\/td\u003e \u003ctd\u003e 225\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 34\u003c\/td\u003e \u003ctd\u003e The Artist William Hodges's Thoughts and Observances on Indian Architecture\u003c\/td\u003e \u003ctd\u003e 227\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 35\u003c\/td\u003e \u003ctd\u003e The Process of Production of Paper at 'Hurry Ha!' as Witnessed by Edward Moor\u003c\/td\u003e \u003ctd\u003e 229\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 36\u003c\/td\u003e \u003ctd\u003e A Description of the Temples at Barolli\u003c\/td\u003e \u003ctd\u003e 231\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 37\u003c\/td\u003e \u003ctd\u003e References to the Art of Painting under the Kangra Ruler Sansar Chand from William Moorcroft's Correspondence and Journals\u003c\/td\u003e \u003ctd\u003e 234\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 38\u003c\/td\u003e \u003ctd\u003e Frescoes at Mandi Described by Vigne\u003c\/td\u003e \u003ctd\u003e 236\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 39\u003c\/td\u003e \u003ctd\u003e Details of the Frescoes in the Palace at Wazirabad\u003c\/td\u003e \u003ctd\u003e 238\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 40\u003c\/td\u003e \u003ctd\u003e References to Murals from the Journals of William Barr\u003c\/td\u003e \u003ctd\u003e 240\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 41\u003c\/td\u003e \u003ctd\u003e Leopold von Orlich's Encounter with the Court Painter of Maharaja Sher Singh\u003c\/td\u003e \u003ctd\u003e 242\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 42\u003c\/td\u003e \u003ctd\u003e Reference to a Local Artist, in the Letters of Emily Eden\u003c\/td\u003e \u003ctd\u003e 243\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 43\u003c\/td\u003e \u003ctd\u003e Paintings of Kangra and Chamba Observed and Described by an Austrian Soldier and Traveller\u003c\/td\u003e \u003ctd\u003e 244\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003ccenter\u003e \u003cb\u003ePART V - ARTISTS AND PATRONS\u003c\/b\u003e\n\u003c\/center\u003e \u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 1\u003c\/td\u003e \u003ctd\u003e Details of Artists and Artisans in the Accounts of the Padmakesara Temple at Konaraka, from the Time of Its Construction\u003c\/td\u003e \u003ctd\u003e 251\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 2\u003c\/td\u003e \u003ctd\u003e A Letter of the Famed Persian Painter Bihzad\u003c\/td\u003e \u003ctd\u003e 255\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 3\u003c\/td\u003e \u003ctd\u003e A Royal Warrant Appointing Bihzad as the Head of the Royal Library of Shah Esma'il\u003c\/td\u003e \u003ctd\u003e 257\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 4\u003c\/td\u003e \u003ctd\u003e Reference to Artists from the Account of Humayun's Reign, in the Words of His Chronicler Bayazid Biyat\u003c\/td\u003e \u003ctd\u003e 259\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 5\u003c\/td\u003e \u003ctd\u003e Abu'l Fazl's Account of the Arts of Writing and Painting as Practised during the Reign of Akbar\u003c\/td\u003e \u003ctd\u003e 261\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 6\u003c\/td\u003e \u003ctd\u003e Badauni's Reference to Two Artists from the Imperial Atelier of Akbar\u003c\/td\u003e \u003ctd\u003e 268\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 7\u003c\/td\u003e \u003ctd\u003e A Selection of References Collected from Different Literary Sources on the Making of the Hamza Nama under the Patronage of Akbar\u003c\/td\u003e \u003ctd\u003e 270\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 8\u003c\/td\u003e \u003ctd\u003e Mir Musavvir's Petition\u003c\/td\u003e \u003ctd\u003e 274\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 9\u003c\/td\u003e \u003ctd\u003e The Painter Keshavadas's Petition\u003c\/td\u003e \u003ctd\u003e 275\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 10\u003c\/td\u003e \u003ctd\u003e A Reference to Farrukh Husain, a Painter at the Court of Ibrahim II Adil Shahi of Bijapur\u003c\/td\u003e \u003ctd\u003e 276\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 11\u003c\/td\u003e \u003ctd\u003e References to the Art of Painting in the Autobiography of the Mughal Emperor Jahangir\u003c\/td\u003e \u003ctd\u003e 277\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 12\u003c\/td\u003e \u003ctd\u003e Jahangir's Interest in Portraiture as Recorded by the Scholar Mutribi\u003c\/td\u003e \u003ctd\u003e 280\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 13\u003c\/td\u003e \u003ctd\u003e Reference to Maharaja Ranjit Singh's Patronage of Painting\u003c\/td\u003e \u003ctd\u003e 282\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 14\u003c\/td\u003e \u003ctd\u003e Instructions Sent by Polier to His Indian Artist Mehrchand\u003c\/td\u003e \u003ctd\u003e 284\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 15\u003c\/td\u003e \u003ctd\u003e Catalogues Maintained by the State of Bikaner: Record of the Contribution of Individual Artists to the Commissioned Manuscripts\u003c\/td\u003e \u003ctd\u003e 287\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 16\u003c\/td\u003e \u003ctd\u003e Painter Shiba's Letter to His Patron, the Maharaja of Kangra\u003c\/td\u003e \u003ctd\u003e 289\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 17\u003c\/td\u003e \u003ctd\u003e Entries Made in Pilgrims' Registers at Haridwar by Members of an Artist Family\u003c\/td\u003e \u003ctd\u003e 291\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 18\u003c\/td\u003e \u003ctd\u003e Petitions Written by Artists, Addressed to Their Patrons\u003c\/td\u003e \u003ctd\u003e 293\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 19\u003c\/td\u003e \u003ctd\u003e Details of the Construction of a Temple Commissioned by the Maharani of Marwar: Details on the Artisans and Labourers\u003c\/td\u003e \u003ctd\u003e 296\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 20\u003c\/td\u003e \u003ctd\u003e Records Relating to the Craftsmen Employed by the Jagannath Temple at Puri\u003c\/td\u003e \u003ctd\u003e 298\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 21\u003c\/td\u003e \u003ctd\u003e Donations by Artisans and Craftsmen Recorded in Inscriptions at the Sanchi Stupa\u003c\/td\u003e \u003ctd\u003e 303\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 22\u003c\/td\u003e \u003ctd\u003e Two Inscriptions from the Bharhut Stupa Record the Donations Made by a Stone Worker and a Sculptor\u003c\/td\u003e \u003ctd\u003e 304\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 23\u003c\/td\u003e \u003ctd\u003e Donation by an Artisan to a Stupa at Jaggayapeta in the Andhra Region\u003c\/td\u003e \u003ctd\u003e 305\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 24\u003c\/td\u003e \u003ctd\u003e Votive Inscriptions from the Amravati Stupa\u003c\/td\u003e \u003ctd\u003e 306\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 25\u003c\/td\u003e \u003ctd\u003e Record of the Donations Received in the Kanheri Caves of Maharashtra\u003c\/td\u003e \u003ctd\u003e 307\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 26\u003c\/td\u003e \u003ctd\u003e The Migration of a Guild of Weavers from Gujarat to Madhya Pradesh Recorded in an Inscription\u003c\/td\u003e \u003ctd\u003e 308\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 27\u003c\/td\u003e \u003ctd\u003e A Brief Inscription from Ajanta Containing the Name of an Artist Apprentice\u003c\/td\u003e \u003ctd\u003e 312\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 28\u003c\/td\u003e \u003ctd\u003e Extracts from an Inscription Recording the Employment of Different Artists and Craftsmen at the Rajarajeshwara Temple in Tanjavur\u003c\/td\u003e \u003ctd\u003e 313\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 29\u003c\/td\u003e \u003ctd\u003e Deopara Stone Inscription Signed by the Sculptor\u003c\/td\u003e \u003ctd\u003e 315\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 30\u003c\/td\u003e \u003ctd\u003e Inscriptions from a Hoysala Temple at Belur Record the Names of the Sculptors\u003c\/td\u003e \u003ctd\u003e 316\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 31\u003c\/td\u003e \u003ctd\u003e An Engraver's Signature in an Inscription from Silimpur, West Bengal\u003c\/td\u003e \u003ctd\u003e 319\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 32\u003c\/td\u003e \u003ctd\u003e Names of Artisans, Stone Cutters, and Labourers Documented in Inscriptions Found at Radhanpur, Gujarat\u003c\/td\u003e \u003ctd\u003e 320\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 33\u003c\/td\u003e \u003ctd\u003e The Colophon of an Early Kalpasutra Manuscript\u003c\/td\u003e \u003ctd\u003e 322\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 34\u003c\/td\u003e \u003ctd\u003e The Colophon of a Fifteenth-century Vasanta- Vilasa Scroll\u003c\/td\u003e \u003ctd\u003e 323\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 35\u003c\/td\u003e \u003ctd\u003e Important Information Extracted from the Colophon of a Manuscript from Jaunpur\u003c\/td\u003e \u003ctd\u003e 324\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 36\u003c\/td\u003e \u003ctd\u003e Inscriptions in the Hands of Akbar, Jahangir, and Shah Jahan on an Album of Persian Poetry\u003c\/td\u003e \u003ctd\u003e 325\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 37\u003c\/td\u003e \u003ctd\u003e A Detailed Colophon of a Devi Mahatmya Manuscript from the Pahari Region\u003c\/td\u003e \u003ctd\u003e 328\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 38\u003c\/td\u003e \u003ctd\u003e Name of the Scribe Recorded in the Colophon of a Deval Rani Khizr Khan Manuscript\u003c\/td\u003e \u003ctd\u003e 329\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 39\u003c\/td\u003e \u003ctd\u003e Colophon of an Illustrated Anwar-i-Suhailli Manuscript\u003c\/td\u003e \u003ctd\u003e 330\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 40\u003c\/td\u003e \u003ctd\u003e The Detailed Colophon of a Ramayana Manuscript Commissioned by the Khan-i-Khanan Abdul Rahim\u003c\/td\u003e \u003ctd\u003e 331\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 41\u003c\/td\u003e \u003ctd\u003e Names of Artists, Place, and Date of Creation, from the Colophon of a Ragamala Series from 1591 CE\u003c\/td\u003e \u003ctd\u003e 333\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 42\u003c\/td\u003e \u003ctd\u003e A Colophon from a Manuscript of the Anwar-i-Suhailli, Completed at Lahore\u003c\/td\u003e \u003ctd\u003e 334\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 43\u003c\/td\u003e \u003ctd\u003e The Colophon of a Lavishly Illuminated Manuscript of the Khamsah of Amir Khusrau\u003c\/td\u003e \u003ctd\u003e 335\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 44\u003c\/td\u003e \u003ctd\u003e The Colophon of a Nafahat al- Uns Written by Abdul Rahim during the Reign of Akbar, at Agra\u003c\/td\u003e \u003ctd\u003e 336\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 45\u003c\/td\u003e \u003ctd\u003e An Inscription by Jahangir in an Illustrated Ramayana Manuscript of the Imperial Mughal Library\u003c\/td\u003e \u003ctd\u003e 337\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 46\u003c\/td\u003e \u003ctd\u003e The Colophon from a Bustan Manuscript Written at Agra\u003c\/td\u003e \u003ctd\u003e 338\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 47\u003c\/td\u003e \u003ctd\u003e The Colophon from an Illustrated Vijnaptipatra Scroll\u003c\/td\u003e \u003ctd\u003e 339\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 48\u003c\/td\u003e \u003ctd\u003e The Colophon from a Ragamala Series\u003c\/td\u003e \u003ctd\u003e 341\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 49\u003c\/td\u003e \u003ctd\u003e The Colophon from a Gulistan Manuscript, Written by Ruknuddin Mas'ud, a Poet and Physician of the Mughal Court\u003c\/td\u003e \u003ctd\u003e 342\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 50\u003c\/td\u003e \u003ctd\u003e The Colophon of a Ragamala Manuscript Illustrated by the Eminent Mewar Painter Sahibdin\u003c\/td\u003e \u003ctd\u003e 343\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 51\u003c\/td\u003e \u003ctd\u003e Three Sectional Colophons from a Manuscript Containing Three Different Texts\u003c\/td\u003e \u003ctd\u003e 344\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 52\u003c\/td\u003e \u003ctd\u003e The Colophon of a Basholi Rasamanjari Series from 1695 CE\u003c\/td\u003e \u003ctd\u003e 346\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 53\u003c\/td\u003e \u003ctd\u003e An Inscription from a Painting of Lakshmi-Narayan from the Reign of Karan Singh of Bikaner\u003c\/td\u003e \u003ctd\u003e 347\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 54\u003c\/td\u003e \u003ctd\u003e The Colophon of a Ragamala Manuscript Painted at Amber in 1709 CE\u003c\/td\u003e \u003ctd\u003e 348\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 55\u003c\/td\u003e \u003ctd\u003e Three Colophons from Manuscripts Produced during the Reign of Maharana Sangram Singh of Mewar\u003c\/td\u003e \u003ctd\u003e 349\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 56\u003c\/td\u003e \u003ctd\u003e Different Interpretations and Translations of the Colophon of a Pahari Gita-Govinda Series, Attributed to the Artist Manaku\u003c\/td\u003e \u003ctd\u003e 350\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 57\u003c\/td\u003e \u003ctd\u003e The Colophon of a Madhu-Malati Manuscript from Kulu\u003c\/td\u003e \u003ctd\u003e 352\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 58\u003c\/td\u003e \u003ctd\u003e The Colophon of a Series of Ramayana Drawings, Written by the Pandit Who Collaborated with the Artist\u003c\/td\u003e \u003ctd\u003e 353\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003ccenter\u003e \u003cb\u003ePART VI - EARLY ART HISTORICAL WRITINGS \u003c\/b\u003e\n\u003c\/center\u003e \u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003ccenter\u003e (The excerpts that appear in this part are taken from the following works)\u003c\/center\u003e \u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 1\u003c\/td\u003e \u003ctd\u003e Ram Raz, An Essay on the Architecture of the Hindus\u003c\/td\u003e \u003ctd\u003e 357\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 2\u003c\/td\u003e \u003ctd\u003e B.H. Baden-Powell, Handbook of the Manufactures and Arts of the Punjab\u003c\/td\u003e \u003ctd\u003e 359\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 3\u003c\/td\u003e \u003ctd\u003e George C.M. Birdwood, The Industrial Arts of India\u003c\/td\u003e \u003ctd\u003e 363\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 4\u003c\/td\u003e \u003ctd\u003e Alexander Cunningham, Book of Indian Eras\u003c\/td\u003e \u003ctd\u003e 365\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 5\u003c\/td\u003e \u003ctd\u003e T.H. Hendley, Memorials of the Jeypore Exhibition 1883\u003c\/td\u003e \u003ctd\u003e 369\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 6\u003c\/td\u003e \u003ctd\u003e The Parable of Indian Art'\u003c\/td\u003e \u003ctd\u003e 373\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 7\u003c\/td\u003e \u003ctd\u003e T.N. Mukharji, Art-Manufactures of India\u003c\/td\u003e \u003ctd\u003e 377\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 8\u003c\/td\u003e \u003ctd\u003e Albert Grunwedel, Buddhist Art in India\u003c\/td\u003e \u003ctd\u003e 380\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 9\u003c\/td\u003e \u003ctd\u003e Edmund W. Smith, 'Wall Paintings Recently Found in the Khwabgah Fathpur Sikri, Near Agra'\u003c\/td\u003e \u003ctd\u003e 383\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 10\u003c\/td\u003e \u003ctd\u003e George Watt, Indian Art at Delhi 1903\u003c\/td\u003e \u003ctd\u003e 390\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 11\u003c\/td\u003e \u003ctd\u003e J.L. Kipling, The Beast and Man in India\u003c\/td\u003e \u003ctd\u003e 392\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 12\u003c\/td\u003e \u003ctd\u003e A.K. Coomaraswamy, The Indian Craftsman\u003c\/td\u003e \u003ctd\u003e 396\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 13\u003c\/td\u003e \u003ctd\u003e J. Ph. Vogel, Catalogue of the Bhuri Singh Museum at Chamba\u003c\/td\u003e \u003ctd\u003e 400\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 14\u003c\/td\u003e \u003ctd\u003e James Fergusson, History of Indian and Eastern Architecture\u003c\/td\u003e \u003ctd\u003e 403\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 15\u003c\/td\u003e \u003ctd\u003e Christiana J. Herringham, 'The Frescos of Ajanta'\u003c\/td\u003e \u003ctd\u003e 406\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 16\u003c\/td\u003e \u003ctd\u003e Defects in Indian Art Ware'\u003c\/td\u003e \u003ctd\u003e 410\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 17\u003c\/td\u003e \u003ctd\u003e Festival of Empire and Imperial Exhibition'\u003c\/td\u003e \u003ctd\u003e 415\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 18\u003c\/td\u003e \u003ctd\u003e A.K. Coomaraswamy, 'The Modern School of Indian Painting'\u003c\/td\u003e \u003ctd\u003e 418\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 19\u003c\/td\u003e \u003ctd\u003e E.V. Havell, The Ideals of Indian Art\u003c\/td\u003e \u003ctd\u003e 422\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 20\u003c\/td\u003e \u003ctd\u003e A.K. Coomaraswamy, The Eight Nayikas'\u003c\/td\u003e \u003ctd\u003e 424\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 21\u003c\/td\u003e \u003ctd\u003e T.A. Gopinath Rao, Elements of Hindu Iconography\u003c\/td\u003e \u003ctd\u003e 427\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 22\u003c\/td\u003e \u003ctd\u003e Abanindranath Tagore, Some Notes on Indian Artistic Anatomy\u003c\/td\u003e \u003ctd\u003e 430\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 23\u003c\/td\u003e \u003ctd\u003e The Editor, 'Note on Previous Copyings of the Frescoes'\u003c\/td\u003e \u003ctd\u003e 432\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 24\u003c\/td\u003e \u003ctd\u003e Laurence Binyon, 'The Place of Ajanta Paintings in Eastern Art'\u003c\/td\u003e \u003ctd\u003e 434\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 25\u003c\/td\u003e \u003ctd\u003e George C.M. Birdwood, Sva\u003c\/td\u003e \u003ctd\u003e 436\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 26\u003c\/td\u003e \u003ctd\u003e A.K. Coomaraswamy, Rajput Painting\u003c\/td\u003e \u003ctd\u003e 438\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 27\u003c\/td\u003e \u003ctd\u003e A.K. Coomaraswamy, The Dance of Shiva\u003c\/td\u003e \u003ctd\u003e 443\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 28\u003c\/td\u003e \u003ctd\u003e John Marshall, A Guide to Taxila\u003c\/td\u003e \u003ctd\u003e 451\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 29\u003c\/td\u003e \u003ctd\u003e M. Auguste Rodin, 'The Dance o fShiva'\u003c\/td\u003e \u003ctd\u003e 456\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 30\u003c\/td\u003e \u003ctd\u003e Laurence Binyon, The Court Painters of the Grand Moguls\u003c\/td\u003e \u003ctd\u003e 459\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 31\u003c\/td\u003e \u003ctd\u003e L.D. Swamikannu Pillai, An Indian Ephemeris AD 700 to AD 1799\u003c\/td\u003e \u003ctd\u003e 462\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 32\u003c\/td\u003e \u003ctd\u003e Rabindranath Tagore, 'The Creative Ideal'\u003c\/td\u003e \u003ctd\u003e 465\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 33\u003c\/td\u003e \u003ctd\u003e Percy Brown, Indian Painting under the Mughals, AD 1550 to AD 1750\u003c\/td\u003e \u003ctd\u003e 470\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 34\u003c\/td\u003e \u003ctd\u003e A.K. Coomaraswamy, Catalogue of the Indian Collections in the Museum of Fine Arts, Boston\u003c\/td\u003e \u003ctd\u003e 480\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 35\u003c\/td\u003e \u003ctd\u003e Ernst Kuhnel and Herman Goetz, Indian Book Painting\u003c\/td\u003e \u003ctd\u003e 484\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 36\u003c\/td\u003e \u003ctd\u003e N.C. Mehta, Studies in Indian Painting\u003c\/td\u003e \u003ctd\u003e 490\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 37\u003c\/td\u003e \u003ctd\u003e Ivan Stchoukine, La Peinture Indienne a l'Epoque des Grands Moghols\u003c\/td\u003e \u003ctd\u003e 493\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 38\u003c\/td\u003e \u003ctd\u003e Vincent A. Smith, A History of Fine Art in India and Ceylon\u003c\/td\u003e \u003ctd\u003e 496\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 39\u003c\/td\u003e \u003ctd\u003e J.c. French, Himalayan Art\u003c\/td\u003e \u003ctd\u003e 499\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 40\u003c\/td\u003e \u003ctd\u003e Muhammad Sana-ullah, 'Notes and Analyses'\u003c\/td\u003e \u003ctd\u003e 509\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 41\u003c\/td\u003e \u003ctd\u003e Heinrich Zimmer, 'Some Aspects of Time in Indian Art'\u003c\/td\u003e \u003ctd\u003e 514\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 42\u003c\/td\u003e \u003ctd\u003e E.J.H. Mackay, 'Further Excavations at Mohenjo-Daro'\u003c\/td\u003e \u003ctd\u003e 516\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 43\u003c\/td\u003e \u003ctd\u003e Stella Kramrisch, The Hindu Temple\u003c\/td\u003e \u003ctd\u003e 524\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Bibliography\u003c\/td\u003e \u003ctd\u003e 529\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e About the Editor\u003c\/td\u003e \u003ctd\u003e 537\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003e \u003c\/p\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah703a.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah703b.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah703c.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah703d.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah703e.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah703f.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah703g.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah703h.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah703i.jpg\"\u003e\n\u003c\/center\u003e\n\u003c\/div\u003e","brand":"Occultnthings","offers":[{"title":"Default Title","offer_id":44646262604077,"sku":"NAH703","price":87.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2094\/2117\/products\/nah703.jpg?v=1677935709","url":"https:\/\/occultnthings.com\/products\/oxford-readings-in-indian-art-nah703","provider":"Occult-N-Things","version":"1.0","type":"link"}