Sachgebiete

Beschreibung:

218 S.; Illustrationen; 26 cm. Goldgeprägter Originalleinenband.

Bemerkung:

Gutes Exemplar. - INHALT : Introducing and summarizing informations --- Introduction --- Miniature paintings in early Indian manuscripts --- The deification of melodies in manuscripts illustrated in the Western style of painting --- Miniature painting during the period of the Mughal dynasty --- The popular Mughal style and its influence on the local Indian schools of painting --- New ways of representing miniatures of musical inspiration --- The relations of miniatures of musical inspiration from Rajasthan and the Deccan to treatises on music from Hanu-mat's school --- Summarizing informations --- The Pahari Ragamala iconography --- The Berlin Pahari Ragamala (Section I): i Framing State of preservation coloration use of gold Partition of the pictorial space; the sky area Scenery in the open countrv Scenery in front of buildings Designs decorating portals and other components of palatial buildings --- The Berlin Pahari Ragamala (Section II): The acting persons Men's garment Women's garment Furniture and utensils Arms and musical instruments Animals --- Provenance and dating of the Berlin Pahari miniatures :: musical inspiration: General remarks on styles within the Pahari miniature painting Berlin miniatures of musical inspiration in varieties of the Basohli style Berlin miniatures of musical inspiration in the Kangra style --- Iconography --- The series of the Ragas Raginis and Ragaputras in --- alphabetical order --- Abhiii Ragini - Agada (Angada) Ragaputra - Andhiydli (Andhryari) Ragini --- - Asavaii Ragini - Bhaizava Raga - Bhaiiavi Ragini - Bhaskaia (Vi-bhasa] Ragaputra - Bhiamaiananda Ragaputra - Campaka Ragaputra - Candia(bitnba) Ragaputra - Candm(kdsa) Ragaputra - Desdkha Ragaputra - Devagandhdii (Gandhari) Ragini - Devagiii Ragini - Dhanasn Ragini - Dipaka Raga - Gajddhaia Ragaputra - Gambbiia Ragaputra - Gauda (Gumda) Ragaputra - Gauda (Gumda-Malara Mallara) Ragaputra - Gauda-Malldn (Gurnda-Malaraki Mallara) Ragini - Gaudi (Gauri) Ragini - Gudaii [Gurndagri Gumdagirika) Ragini - Gnjail (Gurjari) Ragini - Haisa Ragaputra - Hemala Ragaputra --- - Hindola Raga - Jalddhdia (Jalamdhara) Ragaputra - Kdccheli Ragini - Kalinga Ragaputra - Kamala Ragaputra - Kdmodi Ragini - KZnaxa Ragaputra - Kamdti Ragini - Kaumkani (Kurpkum) Ragini o- Kausa Ragaputra Plate A - Kedaia Ragaputra - Khokhaia (Sosara) Ragaputra - Kumbha Ragaputra - Kuntala Ragaputra - Kusuma Ragaputra - Lahula Ragaputra - Lalita Ragaputra - Mddhava Ragaputra - Madhu Ragaputra - Mdlakausa Raga - Mdlava Ragaputra - Mangala Ragaputra - Mdiu Ragaputra - Maydda (Mevada) Ragaputra - Megha Raga - Mistdnga Ragaputra - NaiandTdyana (Natanarayana) - Nata Ragaputra Plate D - Pancama Ragaputra - Vataman)ail Ragini - Punyaki Ragini - Rama Ragaputra - Rdmagin Ragini - Sandehi (Sneha) Ragini - Sankaiabhaiana Ragaputra - Sdianga (Gunasagara) Ragaputra - Saved Ragini - Sindhu (Saindhava) Raga ... (u.v.a.) // ? The works of the Western school have gained considerable importance with regard to the further development of miniature painting in India, in so far as this style of painting has survived the Muslim conquest, and was practised up to the 16th century. Its oldest examples are found in the manuscripts of the religious community of the Jainas of Gujarat. The Western manner of expression is, in essential, linear, and differs strongly from the more plastic style of the Eastern school; it is also highly conventional, and its main features seem hardly to change from the nth to the 14th century. This is supposed to be a consequence of the religious character of this art. The illustration of manuscripts was in fact done not because of pure delight in art, but in order to gain religious merit. In those times, well-to-do laymen engaged scribes and illustrators for the manufacture of copies of important religious texts, which were written with precious materials, provided with decorative frames or borders, and adorned with symbols. Saints and the devotional legends they are the subject of, were reproduced therein in a stereotyped manner. Veritable pictograms for certain objects as river, wood, plants, house, and the like were used by the artists, and even the bodies of human or divine beings were submitted to some sort of ornamentalism. Sometimes, the persons are shown in a strict front view, stereotyped, like heraldic figures,- mostly, however, the bodies are painted in a motionless three-quarterview, occasionally with frontally seen shoulders and side-ward feet. What is most striking, is the representation of heads and faces. The hair and forehead appear in a three-quarterview, but the very pointed and relatively long nose juts out over the outlines of the forehead and cheek, and the lower part of the face with mouth and neck is shown in side-view. A characteristic of this style, lasting for centuries, is the pointedly oval second eye protruding beyond the face, the existence of which is thus rendered doubtless. The charm of the miniatures consists in the bright colours placed directly beside one another. Red, blue, white, green, and black are the main colours. The ample use of gold-leaf raised the value of such pious donations which were intended for respected religious teachers. Several libraries of the Jainas are abundant with that kind of precious manuscripts. Since the replacement of palm leaf manuscripts by those made of paper in the second half of the 14th century, the get-up of the books became still more exuberant; for, now it was possible to enlarge the height of the pages, whilst the oblong shape was preserved; on account of this change in size, the insertion of correspondingly larger illustrations was feasible. ? (Einleitung)