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Pearls of the Parrot of India
Amir Khusraw Dihlawi (1253-1325) was one of the most famous Mughal poets of the Indian subcontinent and the self-styled Parrot of India. His Pearls of poetry are seen here in his Khamsa, one of the most admired texts in the Islamic world. This copy marks the culmination of the development of the deluxe Mughal manuscript in the 1590s. The writing of the Walters Khamsa fell to the most highly esteemed calligrapher of the day, Muhammad Jusayn al-Kashmiri, then at the zenith of his career. The Khamsa must have been understood at several different levels at the Mughal court. For some, it was a stellar work of literature. Others undoubtedly saw the manuscript as a repository of visual art, captivated by the sophistication of the calligraphy and the brilliance of the paintings. Still others found this book a bibliographic gem, a precious object to hold and behold.
The Millennial Sovereign
"This book brings into dialogue two major fields of scholarship that are rarely studied together: sacred kingship and sainthood in Islam. In doing so, it offers an original perspective on both. In historical terms, the foucs here is on the Mughal empire in sixteenth-century India and its antecedents and parallels in Timurid Central Asia and Safavid Iran."--Introduction, p. [1].
Divine Pleasures
As one of the finest holdings of Indian art in the West, the Kronos Collections are particularly distinguished for paintings made between the sixteenth and early nineteenth centuries for the Indian royal courts in Rajasthan and the Punjab Hills. These outstanding works, many of which are published and illustrated here for the first time, are characterized by their brilliant colors and vivid, powerful depictions of scenes from Hindu epics, mystical legends, and courtly life. They also present a new way of seeking the divine through a form of personal devotion—known as bhakti—that had permeated India’s Hindu community. While explaining the gods, demons, lovers, fantastical creatures, and...
The Reserve Marine
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A Secret Garden
Danielle Porret’s passion for Asian art and for Indian painting in particular was inflamed when she attended classes on Asian mythology during her studies at Geneva University. It intensified further when in 1966 she visited an exhibition in London of Indian paintings collected by Mildred and William Archer, curators of Indian art at the British India office and the Victoria & Albert Museum respectively. A conference interpreter by profession, Porret began to study the collections of Asian art at London’s great museums and the technique of paper restoration. And she started to buy Indian paintings herself. Danielle Porret’s collection comprises outstanding works spanning seven centurie...
Roma in the Medieval Islamic World
"The recorded history of gypsy communities in Europe begins with the arrival of the Roma in the fourteenth century, although genetic and linguistic evidence demonstrates that this group left northwest India sometime before the seventh. Remarkably, this leaves a 700-year unexplored void as the communities migrated across the Middle East. The main problem facing historians studying so-called gypsies and gypsy-like communities is a linguistic one - namely not knowing how to identify or recognise them in the medieval Arabic and Persian sources. Drawing on ground-breaking linguistic research, Kristina Richardson here demonstrates that the Banu Sasan - literally 'from the tribe of Sasan' and commo...
Iran and the Deccan
In the early 1400s, Iranian elites began migrating to the Deccan plateau of southern India. Lured to the region for many reasons, these poets, traders, statesmen, and artists of all kinds left an indelible mark on the Islamic sultanates that ruled the Deccan until the late seventeenth century. The result was the creation of a robust transregional Persianate network linking such distant cities as Bidar and Shiraz, Bijapur and Isfahan, and Golconda and Mashhad. Iran and the Deccan explores the circulation of art, culture, and talent between Iran and the Deccan over a three-hundred-year period. Its interdisciplinary contributions consider the factors that prompted migration, the physical and intellectual poles of connectivity between the two regions, and processes of adaptation and response. Placing the Deccan at the center of Indo-Persian and early modern global history, Iran and the Deccan reveals how mobility, liminality, and cultural translation nuance the traditional methods and boundaries of the humanities.
The Ramayana of Hamida Banu Begum
The inner workings of a Mughal-era painting studio and its interpretation of The Ramayana The influence of the beloved Indian epic poem The Ramayanais global. Translated into Persian from Sanskrit and illustrated with 56 paintings, the manuscript presented here is a remarkable example of its impact.
If All the World Were Paper
How do writing and literacy reshape the ways a language and its literature are imagined? If All the World Were Paper explores this question in the context of Hindi, the most widely spoken language in Southern Asia and the fourth most widely spoken language in the world today. Emerging onto the literary scene of India in the mid-fourteenth century, the vernacular of Hindi quickly acquired a place alongside “classical” languages like Sanskrit and Persian as a medium of literature and scholarship. The material and social processes through which it came to be written down and the particular form that it took—as illustrated storybooks, loose-leaf textbooks, personal notebooks, and holy scri...
