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Indian Painting B.A. II

Indian Painting B.A. II. Dr. O. P. Parameswaran, Assistant Professor, Department of Fine Arts, Post Graduate Govt. College for Girls, Sector-11, Chandigarh. Nimat Nama (Book of Delicacies) early 16th Century.

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Indian Painting B.A. II

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  1. Indian PaintingB.A. II Dr. O. P. Parameswaran, Assistant Professor, Department of Fine Arts, Post Graduate Govt. College for Girls, Sector-11, Chandigarh.

  2. Nimat Nama (Book of Delicacies)early 16th Century

  3. The styles of paintings that flourished in the Pre- Mughal courts of the Muslim Sultanates have a precarious chronology. • The period was characterized by intense religious fervour expressed in passionate devotionalism.

  4. It witnessed the intermingling of two cultural sensibilities, the indigenous and the Islamic which was reflected vividly not only in painting but in architecture , music and literature. • Following up the existing norms of manuscript illumination the painters techniques, source of inspiration and level of talent were disparate.

  5. Although short lived , these styles played an important role in the emergence of the Mughal idiom in Akbar’s imperial atelier. • The first notable Sultanate paintings illustrate a Nimat Nama (Book of Delicacies), a cookery book produced in Mandu in the first years of the sixteenth century.

  6. These paintings were done in the Turkoman style of Shiraz and Heart. • All the fifty miniatures of Nimat Nama, document various shades of epicurean delight.

  7. They were commissioned by Ghiyath –al- Din Khilji of Malva, (who ruled from 1469 to 1500) and by his son Nasir-ad- Din Khilji during his eleven year rein (1500-11

  8. Characteristics: • Chinese foliated clouds , rounded hillocks, sumptuously painted tapestry of foliage and well constructed tanks with lotuses and birds, create the ideal background for the leisurely activities engaging the ruler.

  9. He is the only man to be portrayed in the entire manuscripts. • All the other, are large –eyed ladies of the seraglio weaving Persian gowns and turbans, or dressed up richly patterned ghaghras (skirts) and transparent odhanis (wimples).

  10. Art Historians are of the opinion that an traveling Persian painter was assisted by an Indian apprentice, eager to intimate his master’s studied refinement of the Heart school.

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