Notes

Court Paintings of India
Table of Contents
0 Preface & Acknowledgements
1 Introduction
2 Techniques and Practices
3 The Visual Revolution
4 Mughal Paintings
5 Deccani Paintings
6 Rajput Paintings in the Plains
7 Rajput Painting in the Hills
8 Notes
List of Illustrations
Bibliography
Index

• 1 Bernier, pp. 254-255.
• 2 Ikram, p. 238.
• 3 For the first interpretation see B.N. Goswamy, "The Artist Ranjha and A Dated Set of Ramayana Drawings," Chhavi (Banaras, 1971), pp. 224-231; for a new interpretation, see D.C. Bhattacharyya, "The Artist of the So-called 'Ranjha Ramayana' Drawings," Asiatic Society Monthly Bulletin, VIII, 3 (March, 1979), pp. 16-17.
• 4 Bernier, p. 258.
• 5 E.H. Gombrich, Ideals and Idols (Oxford, 1979), p. 80.
• 6 Bernier, p. 228.
• 7 Ibid.
• 8 For a study based on interviews with a twentieth century artist who painted in the Mughal tradition, see M. Chandra, 1949; for a more recent scientific analysis, see Johnson.
• 9 Johnson, p. 141.
• 10 Ibid., p. 144.
• 11 Johnson, p. 143.
• 12 From the Manaqib, as quoted in F.R. Martin, p. 103.
• 13 Ibid., pp. 103-104.
• 14 Werner Hoffman, "Rembrandt and Asia" in The Selective Eye (New York, 1956-57).
• 15 M. Levey, High Renaissance (Harmondsworth, 1975), p. 65.
• 16 Skelton 1970, p. 43.
• 17 Read develops the idea of aesthetic consciousness in his Icon and Idea (New York, 1965).
• 18 Levey, Op. cit., p. 166.
• 19 I have misplaced the reference for the quotation.
• 20 Akbarnama, 3:651
• 21 See Pramod Chandra 1976 for the latest discussion on the
  origins of Mughal painting.
• 22 Beach 1981, p. 166.
• 23 As quoted by Beach 1981, p. 24.
• 24 Ibid., p. 10.
• 25 For the other version, see H. Suleiman, Miniatures of Babur-nama (Tashkent, 1972), p1. 49 and p. 147, where the full description of the accident is quoted from the text. Two other versions of the double page composition reproduced here as Pl. 8 also occur in the Moscow Baburnama (ibid., pls. 87-88), where the scene is identified as "Poisoned Babur feels Sick" and "Babur's suite hastens to congratulate him on his recovery.
• 26 F. Guerreiro, Jahangir and the Jesuits. Translated by C.H. Payne. (London, 1930), p. 63.
• 27 See Beach 1981, pp. 215, 218, 221, 225.
• 28 Ibid., p. 19.
• 29 Beach 1978, p. 119.
• 30 Several of the Mughal paintings in this book are from a single album. Many of the pictures are often inscribed both in Persian and Nagari-the latter always on the mount.
• 31 Falk and Archer, p. 404. Indeed, Babur in Hashim's portrait holds a book as he does in M32. Thus, both these portraits could have been rendered by Hashim.
• 32 See Binney 1973, p. 86; Falk and Archer, p. 407, no. 97 and p. 412, no. 108.
• 33 Falk and Archer, p. 417, no. 138; and Binney 1973, pp.91-95, no. 696.
• 34 R. Skelton, "A Decorative Motif in Mughal Art," in Pal 1972, pp. 147-52.
• 35 Ibid., p. 152.
• 36 H.M. Elliot, The History of India as Told by its own Historians (Calcutta, 1959), pp. 61-62.
• 37 Ibid., p. 87.
• 38 Ibid.
• 39 Das 1978, p. 197.
• 40 Welch 1978, p. 91.
• 41 By Eric Schroeder, as quoted in B.W. Robinson, Persian Drawings (Boston, Toronto, 1965).
• 42 Das 1974.
• 43 As quoted in Beach 1981, p. 156.
• 44 Gascoigne, p. 192.
• 45 Beach 1981.
• 46 Binney 1972 for a fine discussion of later Mughal pictures, which need to be studied further.
• 47 Radhey Shyam, The Kingdom of Ahmadnagar (Delhi:1966), p. 391.
• 48 For a slightly more elaborate version of the same subject see Waldschmidt 1975, p. 369, fig. 129.
• 49 History of Indian and Indonesian Art (New York, 1965), p. 128.
• 50 For a Udaipur version of the same subject identified by an Inscription see Topsfield, pp. 52-53, no. 45. The iconography, however, is close to that of the Saindhavi or Bhairavi Ragini.
• 51 See Topsfield for discussion about Bagta.
• 52 E. Dickinson, "The Way of Pleasure: the Kishangarh Paintings," Marg, vol. 3, no. 4, p. 31.
• 53 For almost an identical picture see, In the Image of Man (London, 1982), p. 85, no. 157.
• 54 See note 52.
• 55 AK. Coomaraswamy, Catalogue of the Indian Collections in the Museum of Fine Arts, Boston Pt. 5, Rajput Painting (Cambridge, Mass., 1926), p. 75.
• 56 L. Nathan, The Transport of Love (Berkeley, 1976), p. 71.
• 57 Ibid., p. 73
• 58 As quoted by Topsfield, p. 10.
• 59 Translated by A.K. Coomaraswamy.
• 60 This manuscript is in the Simla Museum and one folio was recently published in In The Image of Man, p. 219, no. 448.
• 61 The Los Angeles County Museum of Art has recently acquired a number of pages of a Vaishnava manuscript that may have been rendered in Chamba around 1625.
• 62 Archer 1973, vol. 2, p1. 169, nos. 1 and 2.
• 63 Most historical information about Pahari rulers is gleaned from Archer's monumental work referred to in note 62.
• 64 I believe the expression was used by Sherman Lee.
• 65 Archer 1973, vol. 2, p. 290, no. 25 (iii).
• 66 Ibid., p.27, 11 (ii).
• 67 Ibid., p. 27, 11(i).
• 68 Coomaraswamy 1916, p. 7.
• 69 This and the following quotations in this paragraph are from Archer 1957.
• 70 D. Bhattacharya, trans. and W.G. Archer, ed. Love Songs of Vidyapati (New York, 1970), p. 82.
• 71 Archer 1973, vol. 2, p. 115, no. 59.*