
Image: Leaf number 13 from a dispersed series of the Bhagavata Purana. Krishna slaying the wind demon. Opaque color and gold on paper. Sub-Imperial Mughal style at Bikaner (?), Rajasthan, India, c. 1600 CE. Private Collection, USA.
POSTPONED
We regret to inform you that the seminar series by Dr. Daniel Ehnbom, “Rajput Painting: Concepts and Realities" scheduled from Wednesday, March 11th, 12th, 13th, 14th, & 16th, 2020 at Jnanapravaha, has been postponed due to the Pandemic Corona- virus travel limitations imposed by the US Center for Disease Control.
We will update you with the new dates when they are confirmed.
We apologize for any inconvenience caused.
The serious study of Rajput painting began in the early 20th century with the path breaking work of A K Coomaraswamy (1877-1947) but except for his scholarship it languished until the period after Independence. Then discovery followed discovery and scholars scrambled to establish order in this new visual world. Theories were proposed, promoted, and sometimes abandoned. Questions of the relationship of Rajput painting with Mughal painting were central to its understanding—was it part of a continuum with the Mughal style or was it oppositional? The course surveys the history of the study of Rajput painting and its implications for our understanding today of its many styles.
Day 1:
Session I: Coomaraswamy’s “Main Stream” of Indian Painting and a Ground Level View of the 16th Century
Session II: “True Miniatures”, “Old Fangled Notions”, and The Search for Order in the Post-Independence Study of Indian Painting
Day 2:
Session I: A History of Costume or a History of Painting?
How to look at the Pre-Rajput and Rajput Schools of the 16th and 17th Centuries
Session II: An Embarrassment of Riches: The Post-Independence Discoveries of Rajput Paintings and the Growth of Knowledge
Day 3:
Session I: Simplicity of Narrative(s) in the 16th Century: “Rajput” (And Other) Painting and Embodiments of Stories
Session II: Complexity of Narrative(s) in the 16th Century: “Rajput” (And Other) Painting and Illustrations of Texts
Day 4:
Session I: The “Main Stream” Continues: Overt and Covert Manifestations of CompositionalForms
Session II: The Paradox of the 18th Century: Things Fall Apart and Things Come Together--Political Multiplicity and Aesthetic Convergence
Day 5:
Session I: A Final Flowering and a New Aesthetic Order: Patrons Old and New, Transformed Technologies and another Way of Seeing
Session II: The Market, the Collector, and the Museum: How the Marketplace Inflects “Knowledge”
6:30 - 8:30 PM
Fees
Registrations Closed