東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

The emperor's eye and the painter's ...

Rice, Yael.

FindBook

Google Book

Amazon

博客來

The emperor's eye and the painter's brush: The rise of the Mughal court artist, c. 1546--1627.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The emperor's eye and the painter's brush: The rise of the Mughal court artist, c. 1546--1627./
作者:	Rice, Yael.
面頁冊數:	356 p.
附註:	Source: Dissertation Abstracts International, Volume: 73-06, Section: A, page: 1962.
Contained By:	Dissertation Abstracts International73-06A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3497961
ISBN:	9781267200099

The emperor's eye and the painter's brush: The rise of the Mughal court artist, c. 1546--1627.
Rice, Yael.

The emperor's eye and the painter's brush: The rise of the Mughal court artist, c. 1546--1627. - 356 p.

Source: Dissertation Abstracts International, Volume: 73-06, Section: A, page: 1962.

Thesis (Ph.D.)--University of Pennsylvania, 2011.

This item is not available from ProQuest Dissertations & Theses.

Even though the biographies and stylistic hands of individual Mughal court painters have been a central focus of scholarship over the last several decades, the idea of the emperor as the source and impetus for creative production has remained largely unquestioned. This dissertation challenges this notion by showing that paintings produced in the Mughal imperial atelier between circa 1546 and 1627, a period defined by the artistic materials themselves rather than by regnal dates, constitute the very means by which artists sought to improve their station and advance their profession at court. The royal patron is not removed entirely from the picture, but painters instead are brought to the fore and their status as imperial servants---whose standings in the imperial administration were seldom secure and often in flux---is integrally woven into the analysis of their artistic practices and works. By viewing a complex array of materials, including portraits, depictions of royal dreams, and the inscriptions that cover and are paired with these works, through this lens, a new conception of Mughal court painting comes into focus. Rather than a locus of the emperors' desires and psychologies, as this corpus of works has traditionally been viewed, it becomes clear that Mughal imperial painting is the very vehicle through which court painters demonstrated their artistic aptitude, performed and entertained, recorded (or, more accurately, imagined) imperial optical and visionary experiences, and, most importantly, expressed their loyalty and devotion to their royal patrons. In this way, Mughal imperial painting can be said to speak as much (or more so) to the aspirations and ambitions of court artists than to those of the emperors.

ISBN: 9781267200099Subjects--Topical Terms:

2122701
Art history.

The emperor's eye and the painter's brush: The rise of the Mughal court artist, c. 1546--1627.
LDR:02725nmm a2200289 4500 001 2076683
005 20161104141154.5
008 170521s2011 ||||||||||||||||| ||eng d
020 $a 9781267200099
035 $a (MiAaPQ)AAI3497961
035 $a AAI3497961
040 $a MiAaPQ $c MiAaPQ
100 1 $a Rice, Yael. $3 3192159
245 1 4 $a The emperor's eye and the painter's brush: The rise of the Mughal court artist, c. 1546--1627.
300 $a 356 p.
500 $a Source: Dissertation Abstracts International, Volume: 73-06, Section: A, page: 1962.
500 $a Adviser: Renata Holod.
502 $a Thesis (Ph.D.)--University of Pennsylvania, 2011.
506 $a This item is not available from ProQuest Dissertations & Theses.
520 $a Even though the biographies and stylistic hands of individual Mughal court painters have been a central focus of scholarship over the last several decades, the idea of the emperor as the source and impetus for creative production has remained largely unquestioned. This dissertation challenges this notion by showing that paintings produced in the Mughal imperial atelier between circa 1546 and 1627, a period defined by the artistic materials themselves rather than by regnal dates, constitute the very means by which artists sought to improve their station and advance their profession at court. The royal patron is not removed entirely from the picture, but painters instead are brought to the fore and their status as imperial servants---whose standings in the imperial administration were seldom secure and often in flux---is integrally woven into the analysis of their artistic practices and works. By viewing a complex array of materials, including portraits, depictions of royal dreams, and the inscriptions that cover and are paired with these works, through this lens, a new conception of Mughal court painting comes into focus. Rather than a locus of the emperors' desires and psychologies, as this corpus of works has traditionally been viewed, it becomes clear that Mughal imperial painting is the very vehicle through which court painters demonstrated their artistic aptitude, performed and entertained, recorded (or, more accurately, imagined) imperial optical and visionary experiences, and, most importantly, expressed their loyalty and devotion to their royal patrons. In this way, Mughal imperial painting can be said to speak as much (or more so) to the aspirations and ambitions of court artists than to those of the emperors.
590 $a School code: 0175.
650 4 $a Art history. $3 2122701
650 4 $a South Asian studies. $3 3172880
690 $a 0377
690 $a 0638
710 2 $a University of Pennsylvania. $3 1017401
773 0 $t Dissertation Abstracts International $g 73-06A.
790 $a 0175
791 $a Ph.D.
792 $a 2011
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3497961