Soma
Resources => Other Cultures [Public] => Topic started by: Nichi on May 27, 2010, 08:41:40 PM
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(http://www.exoticindiaart.com/persian/fantastic_elephants_pa99.jpg)
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(http://exoticindia.com/mughal/the_bangle_shop_mj18.jpg)
The Bangle Shop
(Think I'd like to go to the Bangle Shop!)
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(http://www.exoticindiaart.com/panels/mughal_pattern_wb87.jpg)
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(http://www.indianminiaturepaintings.co.uk/MD_Natesan.JPG)
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That's a beautiful one V.
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There was no explanation with the painting - it's just entitled "Love's Offering".
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(http://www.indianminiaturepaintings.co.uk/MUHAMMAD_'ALI_ISFAHAN.jpg)
Amorous Couple by MUHAMMAD 'ALI
17th Cent
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(http://www.indianminiaturepaintings.co.uk/mughal-princess-ascetic.JPG)
(http://www.indianminiaturepaintings.co.uk/mughal-princess-ascetic-detail.JPG)
Mughal Princess As Ascetic
17th Cent
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(http://buriedshiva.com.au/vicky/longlife2/ieJaipur_Zenana_chess.jpg)
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(http://buriedshiva.com.au/vicky/longlife2/ieMD_Natesan_2.jpg)
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(http://buriedshiva.com.au/vicky/longlife2/karva_chauth1.jpg)
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(http://buriedshiva.com.au/vicky/ll8/jallandarnathandprincesspadminiflyingoverkingpadamspalace.jpg)
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(http://buriedshiva.com.au/vicky/misc6/abhisarikanayika.jpg)
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(http://buriedshiva.com.au/vicky/misc6/tanpura.jpg)
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(http://buriedshiva.com.au/vicky/misc6/womanwithaflower.jpg)
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(http://buriedshiva.com.au/vicky/misc6/chandbibi.jpg)
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(http://buriedshiva.com.au/vicky/misc6/miskin.jpg)
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(http://buriedshiva.com.au/vicky/misc8/camel.jpg)
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(http://buriedshiva.com.au/vicky/misc9/lakshminarayan.jpg)
Lakshmi Narayan Temple at Orchha
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(http://buriedshiva.com.au/vicky/misc9/orchha.jpg)
Orchha
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(http://farm5.static.flickr.com/4040/4535246577_b35449a19f_z.jpg)
Madurai - Sri Meenakshi Temple Ceiling Painting
Bull or Elephant?
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When I was in this temple, I certainly didn't see this painting, although the temple is huge - I mean huge! - so that is understandable.
Symbolically the elephant is used to represent Buddhism, and i suppose the bull is Hindu, although the usual depiction from the more fundamental Hindu is the lion subduing the elephant. This is probably a more philosophical understanding of the situation which occurred so long ago now.
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When I was in this temple, I certainly didn't see this painting, although the temple is huge - I mean huge! - so that is understandable.
There do appear to be a kazillion paintings in that temple!
(http://farm5.static.flickr.com/4007/4535245493_e0581ae0c2_z.jpg)
(http://farm3.static.flickr.com/2799/4535242889_96c75e348c_z.jpg)
(http://farm5.static.flickr.com/4022/4543366573_763a148fa7_z.jpg)
(http://farm5.static.flickr.com/4008/4535244803_240b347382_z.jpg)
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(http://buriedshiva.com.au/vicky/misc11/suryapuja.jpg)
Surya Puja
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(http://buriedshiva.com.au/vicky/misc12/yogini.jpg)
Yogini
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(http://buriedshiva.com.au/vicky/misc12/yoginimeeting.jpg)
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(http://buriedshiva.com.au/vicky/misc12/chandbibi1780.jpg)
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(http://buriedshiva.com.au/vicky/misc12/chandbibi1800.jpg)
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(http://buriedshiva.com.au/vicky/misc12/ladies.jpg)
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(http://buriedshiva.com.au/vicky/misc12/ladi.jpg)
(Yogini?)
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(http://buriedshiva.com.au/vicky/misc12/fruit.jpg)
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(http://buriedshiva.com.au/vicky/misc12/princesscourt.jpg)
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(http://buriedshiva.com.au/vicky/misc12/textile.jpg)
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(http://buriedshiva.com.au/vicky/misc12/sadhu1.jpg)
(http://buriedshiva.com.au/vicky/misc12/sadhu3.jpg)
(http://buriedshiva.com.au/vicky/misc12/sadhu2.jpg)
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(http://buriedshiva.com.au/vicky/misc15/ladyarrow.jpg)
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(http://buriedshiva.com.au/vicky/misc15/nightride.jpg)
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(http://buriedshiva.com.au/vicky/misc17/fireworks3.jpg)
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(http://buriedshiva.com.au/vicky/misc20/2women.jpg)
This is probably a ragini painting, but I couldn't find info on it.
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(http://buriedshiva.com.au/vicky/misc22/moonlooking.jpg)
Moonlooking
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(http://buriedshiva.com.au/vicky/misc22/lady.jpg)
Probably Gauri Ragini
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(http://buriedshiva.com.au/vicky/misc22/ladyjungle.jpg)
(I'd be fascinated to learn what story this painting depicts, if anyone knows off the top of their head!)
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(http://buriedshiva.com.au/vicky/misc22/womanabducted.jpg)
(Likewise with the story here: "Woman Abducted")
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(http://buriedshiva.com.au/vicky/misc22/2women.jpg)
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(http://buriedshiva.com.au/vicky/misc22/waterpipe.jpg)
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(http://buriedshiva.com.au/vicky/misc15/gaganendranathtagoretagore.jpg)
Tagore by Gaganendranath Tagore
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(http://buriedshiva.com.au/vicky/misc17/women2.jpg)
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(http://buriedshiva.com.au/vicky/misc17/women.jpg)
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(http://buriedshiva.com.au/vicky/misc17/kady10.jpg)
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(http://buriedshiva.com.au/vicky/misc17/ladies33.jpg)
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(http://buriedshiva.com.au/vicky/misc17/ladies.jpg)
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(http://buriedshiva.com.au/vicky/misc17/ladieslocust.jpg)
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(http://buriedshiva.com.au/vicky/misc17/lady2.jpg)
Yogini
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(http://buriedshiva.com.au/vicky/misc17/threemusicians.jpg)
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(http://buriedshiva.com.au/vicky/misc17/musicians.jpg)
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(http://buriedshiva.com.au/vicky/misc17/yogi.jpg)
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These are beautiful Nichi, thanks for finding them and sharing here.
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(http://buriedshiva.com.au/vicky/misc22/2wom17thmughal.jpg)
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(http://buriedshiva.com.au/vicky/misc22/fireworks.jpg)
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(http://buriedshiva.com.au/vicky/misc22/girloldwoman.jpg)
I detect that this is a reference to a myth or story, but haven't yet nailed it.
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(http://buriedshiva.com.au/vicky/misc23/7ascetics.jpg)
7 Ascetics
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(http://buriedshiva.com.au/vicky/misc17/yogi.jpg)
Cranky Moses, this man bears uncanny similarity with Michael! :)
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Cranky Moses, this man bears uncanny similarity with Michael! :)
Yes!! (Though I'm sure M is thinner...) :)
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(http://buriedshiva.com.au/vicky/misc24/yoni.jpg)
Yoni
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(http://buriedshiva.com.au/vicky/misc24/touba.jpg)
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(http://buriedshiva.com.au/vicky/misc24/squ.jpg)
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(http://buriedshiva.com.au/vicky/misc24/yogini.jpg)
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(http://buriedshiva.com.au/vicky/misc24/ragmaybe.jpg)
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(http://buriedshiva.com.au/vicky/misc24/simurgh.jpg)
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(http://buriedshiva.com.au/vicky/misc24/girl.jpg)
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(http://buriedshiva.com.au/vicky/misc24/2women.jpg)
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(http://buriedshiva.com.au/vicky/misc24/lady4.jpg)
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(http://buriedshiva.com.au/vicky/misc25/fireworks18yjmugh.jpg)
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(http://buriedshiva.com.au/vicky/misc25/fireworks1840deccan.jpg)
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(http://buriedshiva.com.au/vicky/misc25/fortunetelling18thmughal.jpg)
"Fortune-telling"
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(http://buriedshiva.com.au/vicky/misc25/girlmugh18th.jpg)
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(http://buriedshiva.com.au/vicky/misc25/girlmugh18th1.jpg)
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(http://buriedshiva.com.au/vicky/misc25/forcefeedmughaliran1700.jpg)
This was called "force-feeding"... I get angry looking at it. No idea what the custom could have been, but the witnesses look unhappy.
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(http://buriedshiva.com.au/vicky/misc25/rivermughal17th.jpg)
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(http://buriedshiva.com.au/vicky/misc25/dervmugh17th.jpg)
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(http://buriedshiva.com.au/vicky/misc25/huqqarajasth.jpg)
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(http://buriedshiva.com.au/vicky/misc25/huqqa18thmugh.jpg)
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(http://buriedshiva.com.au/vicky/misc25/hunt18thmugh.jpg)
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(http://buriedshiva.com.au/vicky/misc25/jinnsmugh16th.jpg)
Jinn
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(http://buriedshiva.com.au/vicky/misc25/ladiesjaipur18th.jpg)
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(http://buriedshiva.com.au/vicky/misc25/ladiesmugh1700.jpg)
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(http://buriedshiva.com.au/vicky/misc25/ladiesmughal18th.jpg)
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(http://buriedshiva.com.au/vicky/misc25/ladytreemigh.jpg)
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beautiful
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(http://buriedshiva.com.au/vicky/misc22/stories.jpg)
Story-telling
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(http://buriedshiva.com.au/vicky/misc24/2girls.jpg)
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(http://buriedshiva.com.au/vicky/misc24/afterbath.jpg)
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(http://buriedshiva.com.au/vicky/misc24/afterbath2.jpg)
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(http://buriedshiva.com.au/vicky/misc24/bath.jpg)
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(http://buriedshiva.com.au/vicky/misc24/lady.jpg)
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(http://buriedshiva.com.au/vicky/misc24/lady2.jpg)
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(http://buriedshiva.com.au/vicky/misc24/lady3.jpg)
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(http://buriedshiva.com.au/vicky/misc24/ladiesandstorm.jpg)
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(http://buriedshiva.com.au/vicky/misc24/hooka.jpg)
A "Company" painting, meaning it was painted for the British
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(http://buriedshiva.com.au/vicky/misc24/kinnari.jpg)
Kinnara and Kinnari
In Buddhist mythology and Hindu mythology, a kinnara is a paradigmatic lover, a celestial musician, half-human and half-horse (India) or half-bird (south-east Asia). Their character is clarified in the Adi parva of the Mahabharata, where they say:
We are everlasting lover and beloved. We never separate. We are eternally husband and wife; never do we become mother and father. No offspring is seen in our lap. We are lover and beloved ever-embracing. In between us we do not permit any third creature demanding affection. Our life is a life of perpetual pleasure.
They are also featured in a number of Buddhist texts, including the Lotus Sutra. An ancient Indian string instrument is known as the Kinnari Veena.
In Southeast Asian mythology, Kinnaris, the female counterpart of Kinnaras, are depicted as half-bird, half-woman creatures. One of the many creatures that inhabit the mythical Himavanta. Kinnaris have the head, torso, and arms of a woman and the wings, tail and feet of a swan. She is renowned for her dance, song and poetry, and is a traditional symbol of feminine beauty, grace and accomplishment. (Wiki)
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(http://buriedshiva.com.au/vicky/misc24/afterbath2.jpg)
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(http://buriedshiva.com.au/vicky/misc25/mendicantmugh18th.jpg)
Mendicant
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(http://buriedshiva.com.au/vicky/misc25/mendicant18th.jpg)
Labeled as "mendicant", but I think it's bangal ragini.
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(http://buriedshiva.com.au/vicky/misc25/mendicant18thraj.jpg)
"Mendicant"
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(http://buriedshiva.com.au/vicky/misc25/modestmughal19th.jpg)
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(http://buriedshiva.com.au/vicky/misc25/pir.jpg)
Visiting a Pir
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(http://buriedshiva.com.au/vicky/misc25/rivermughal17th.jpg)
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(http://buriedshiva.com.au/vicky/misc25/sickman18thmughal.jpg)
Treating a sick man
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(http://buriedshiva.com.au/vicky/misc25/suttee1840sikh.jpg)
suttee......
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(http://buriedshiva.com.au/vicky/misc25/treeqalam.jpg)
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(http://buriedshiva.com.au/vicky/misc25/mendicantmugh18th.jpg)
Mendicant
They are all interesting, but I liked this one immediately.
Suttee - that one is a worry. I don't care how it's noblised, it give me the creeps. It is a very different matter when the gods do it.
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Can't wrap my mind around suttee being nobilized... at all.
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(http://buriedshiva.com.au/vicky/misc17/kadieslotus.jpg)
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(http://buriedshiva.com.au/vicky/misc17/saivaascetics.jpg)
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(http://buriedshiva.com.au/vicky/misc17/lady25.jpg)
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(http://buriedshiva.com.au/vicky/misc17/lovers.jpg)
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(http://buriedshiva.com.au/vicky/misc17/teacher.jpg)
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(http://buriedshiva.com.au/vicky/misc17/visitmullah.jpg)
Visiting the mullah
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(http://buriedshiva.com.au/vicky/misc17/sleep.jpg)
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(http://buriedshiva.com.au/vicky/misc18/girl.jpg)
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(http://buriedshiva.com.au/vicky/misc18/elep.jpg)
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(http://buriedshiva.com.au/vicky/misc23/windpalace.jpg)
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(http://buriedshiva.com.au/vicky/misc6/night.jpg)
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(http://buriedshiva.com.au/vicky/misc27/woman.jpg)
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(http://buriedshiva.com.au/vicky/misc27/womananddeer.jpg)
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(http://buriedshiva.com.au/vicky/misc27/waterpipe.jpg)
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(http://buriedshiva.com.au/vicky/misc27/woman5.jpg)
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(http://buriedshiva.com.au/vicky/misc27/woman2.jpg)
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(http://buriedshiva.com.au/vicky/misc27/woamascetic.jpg)
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(http://buriedshiva.com.au/vicky/misc27/stormwatch.jpg)
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(http://buriedshiva.com.au/vicky/misc27/storm.jpg)
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(http://buriedshiva.com.au/vicky/misc27/simurg.jpg)
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(http://buriedshiva.com.au/vicky/misc27/shringara.jpg)
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(http://buriedshiva.com.au/vicky/misc27/prthuearth.jpg)
Prthu chasing the Earth Goddess
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(http://buriedshiva.com.au/vicky/misc27/pigeonwatching.jpg)
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(http://buriedshiva.com.au/vicky/misc27/naranarayana.jpg)
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(http://buriedshiva.com.au/vicky/misc27/mendicant.jpg)
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(http://buriedshiva.com.au/vicky/misc27/lovers2.jpg)
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(http://buriedshiva.com.au/vicky/misc27/ladywaterpipe.jpg)
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(http://buriedshiva.com.au/vicky/misc27/ladywinecup.jpg)
That swan (?) decanter... :)
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(http://buriedshiva.com.au/vicky/misc27/mishkindrownchinese.jpg)
Just when one begins to conclude that the women in these court paintings were a
highly-pampered class, here is a Mishkin painting of a mughal ruler who found himself
so attracted to a Chinese lady, that he had to drown her.
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(http://buriedshiva.com.au/vicky/misc27/manangels.jpg)
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(http://buriedshiva.com.au/vicky/misc27/ladypigeons.jpg)
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(http://buriedshiva.com.au/vicky/misc27/ladyinwindow.jpg)
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(http://buriedshiva.com.au/vicky/misc27/lady18thmughal.jpg)
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(http://buriedshiva.com.au/vicky/misc27/lady13.jpg)
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(http://buriedshiva.com.au/vicky/misc27/lady15.jpg)
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The frames!
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The frames!
I know! Especially this one..
(http://buriedshiva.com.au/vicky/misc27/lady13.jpg)
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(http://buriedshiva.com.au/vicky/misc27/lady6.jpg)
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(http://buriedshiva.com.au/vicky/misc27/lady5.jpg)
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(http://buriedshiva.com.au/vicky/misc27/lady7.jpg)
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(http://buriedshiva.com.au/vicky/misc27/lady3.jpg)
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(http://buriedshiva.com.au/vicky/misc27/lady2.jpg)
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(http://buriedshiva.com.au/vicky/misc27/ladiespan.jpg)
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(http://buriedshiva.com.au/vicky/misc27/lady.jpg)
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(http://buriedshiva.com.au/vicky/misc27/ladies9.jpg)
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(http://buriedshiva.com.au/vicky/misc27/ladies10.jpg)
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(http://buriedshiva.com.au/vicky/misc27/ladies8.jpg)
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(http://buriedshiva.com.au/vicky/misc27/ladies7.jpg)
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(http://buriedshiva.com.au/vicky/misc27/ladies5.jpg)
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(http://buriedshiva.com.au/vicky/misc27/hermit.jpg)
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Love that last one - it's such a pleasure to come to this folder on a Friday night, when I have the time to relax and enjoy it.
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:) :-*
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(http://buriedshiva.com.au/vicky/misc27/huqqa.jpg)
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(http://buriedshiva.com.au/vicky/misc27/holymen.jpg)
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(http://buriedshiva.com.au/vicky/misc27/dancer.jpg)
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(http://buriedshiva.com.au/vicky/misc27/donkey.jpg)
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(http://buriedshiva.com.au/vicky/misc27/kangraladywriting.jpg)
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(http://buriedshiva.com.au/vicky/misc27/cow2.jpg)
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(http://buriedshiva.com.au/vicky/misc27/cow.jpg)
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(http://buriedshiva.com.au/vicky/misc27/crowaugury.jpg)
"Crow Augury"
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"Crow Augury"
;)
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(http://buriedshiva.com.au/vicky/misc27/2ladies18thmughal.jpg)
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(http://buriedshiva.com.au/vicky/misc27/2ladies1.jpg)
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(http://buriedshiva.com.au/vicky/misc27/2sadhus.jpg)
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(http://buriedshiva.com.au/vicky/misc27/18thprince.jpg)
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(http://buriedshiva.com.au/vicky/misc27/bluebull.jpg)
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(http://buriedshiva.com.au/vicky/misc27/byalake.jpg)
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(http://buriedshiva.com.au/vicky/misc27/darunaandgirl.jpg)
"Daruna and girl" was the title of this, but I've yet to find who or what "daruna" is. It doesn't look like a pleasant tale, whatever it is... But I snagged it, interested in general in the depiction of elderly women in these paintings.
Is she a teacher or caretaker? Is she an accepted elder? Is she just furrowed in the artist's view or is she scolding the girl ... Or is "Daruna" a proper name, as depicted in some story everyone in the day knew? ~17th century.
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I suppose another possibility is that she is actually "he".
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(http://buriedshiva.com.au/vicky/misc27/angelsibrahim.jpg)
Angels and Ibrahim
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(http://buriedshiva.com.au/vicky/misc28/tambura.jpg)
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(http://buriedshiva.com.au/vicky/misc28/simurgh.jpg)
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(http://buriedshiva.com.au/vicky/misc27/byalake.jpg)
I like that one ;)
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(http://buriedshiva.com.au/vicky/misc28/2ladies.jpg)
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(http://buriedshiva.com.au/vicky/misc28/lady.jpg)
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(http://buriedshiva.com.au/vicky/misc28/lady18th.jpg)
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(http://buriedshiva.com.au/assets/crows.jpg)
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(http://buriedshiva.com.au/vicky/misc28/lady.jpg)
This one is so cute.
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(http://buriedshiva.com.au/vicky/misc30/flankedbyfairies.jpg)
Flanked by Fairies
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nice selection V - enjoyed those
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(http://buriedshiva.com.au/vicky/misc30/nagadeva.jpg)
Nagadeva
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(http://buriedshiva.com.au/vicky/misc30/ladybuck.jpg)
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(http://buriedshiva.com.au/vicky/misc30/rulerconsort.jpg)
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(http://buriedshiva.com.au/vicky/misc30/princeandascetic.jpg)
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(http://buriedshiva.com.au/vicky/misc30/nagabhanda.jpg)
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(http://buriedshiva.com.au/vicky/misc30/founderofnaths.jpg)
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(http://buriedshiva.com.au/vicky/misc30/nagadeva.jpg)
Nagadeva
http://priyaiyer.wordpress.com/2010/10/28/vidurashwatha/
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(http://buriedshiva.com.au/vicky/misc30/nagabhanda.jpg)
Now that is getting close. See how the snake's head and tail look like a bird.
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Now that is getting close. See how the snake's head and tail look like a bird.
Yes it does, fascinating!
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(http://buriedshiva.com.au/vicky/misc29/holy.jpg)
Holy man
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(http://buriedshiva.com.au/vicky/misc29/sita.jpg)
Sita's ordeal by fire
(After all she had gone through, when Sita is safely returned to her husband,
her husband makes her go through an ordeal by fire .... to test for her fidelity.
~The Ramayana
Oy.)
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(http://buriedshiva.com.au/vicky/misc28/eleph18th.jpg)
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(http://buriedshiva.com.au/vicky/misc28/ladies17thrajasth.jpg)
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(http://buriedshiva.com.au/vicky/misc28/lady2.jpg)
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(http://buriedshiva.com.au/vicky/misc28/lovers11.jpg)
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(http://buriedshiva.com.au/vicky/misc28/princess19th.jpg)
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I like that one. ;)
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(http://buriedshiva.com.au/vicky/misc29/kartika.jpg)
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(http://buriedshiva.com.au/vicky/misc32/horserider.jpg)
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(http://buriedshiva.com.au/vicky/misc29/wmsimpson1867.jpg)
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(http://buriedshiva.com.au/vicky/misc31/kangra2.jpg)
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(http://buriedshiva.com.au/vicky/misc31/mahlaqabhai.jpg)
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(http://buriedshiva.com.au/vicky/misc32/zeb.jpg)
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(http://buriedshiva.com.au/vicky/misc32/poetinaflowergarden.jpg)
"Poet in a Flower Garden"
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(http://buriedshiva.com.au/vicky/misc32/mother.jpg)
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Great series!
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(http://farm5.static.flickr.com/4087/4838456836_d65423b0df_b.jpg)
Angels bringing food to an ascetic
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(http://farm5.static.flickr.com/4153/4838467234_23a5740e95_b.jpg)
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(http://farm5.static.flickr.com/4088/4838499768_b5d7cb65d9_b.jpg)
5 Siddhas on Pilgrimage to Kailash
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(http://farm5.static.flickr.com/4111/4838486964_c68967f4b3_b.jpg)
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(http://farm5.static.flickr.com/4128/4838522040_9f7b8e8884_b.jpg)
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(http://farm7.static.flickr.com/6078/6125077334_dc5b664001_b.jpg)
6 yogis meditating
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(http://farm7.static.flickr.com/6209/6125051860_2779774f57_b.jpg)
:)
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(http://farm7.static.flickr.com/6197/6124505477_7b5419d6eb_b.jpg)
Circ 1595
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:)
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(http://buriedshiva.com.au/vicky/misc70/yoyo.jpg)
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(http://farm7.static.flickr.com/6200/6125084484_7d2aaef3f0_b.jpg)
"6 demons and 9 gods approach a man while he is sleeping" - from the Bhavagatam Purana
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(http://buriedshiva.com.au/vicky/misc32/poetinaflowergarden.jpg)
"Poet in a Flower Garden"
That looks like me
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That looks like me
It does! :)
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(http://buriedshiva.com.au/vicky/misc32/procession.jpg)
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(http://buriedshiva.com.au/vicky/misc33/fireworks.jpg)
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(http://buriedshiva.com.au/vicky/misc44/yogini.jpg)
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(http://buriedshiva.com.au/vicky/misc55/sageservanttraveller.jpg)
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(http://buriedshiva.com.au/vicky/misc66/2holymen.jpg)
2 Holy Men
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Thank you for posting all these wonderful paintings Vicki, I dont say so -like I know I should.. I enjoy them much.
We should pick one and paint it ourselves..
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We should pick one and paint it ourselves..
Don't know how close I am to painting yet, but, it's an interesting idea! There are many common themes and stagings, that surely could be used - especially in the ragini and nayika paintings.
Todi, Gauri, Gujari, Kakubha, Madhumadhavi, Asavari, and Bangali... all would make interesting subjects for us!
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I think it would be fun to copy any of them.. Im going to keep it in mind ;)
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:) ;) :-*
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The "Ragini" thread is hard to get through if you're seeking concepts. This is because I just posted them, basically, as I found them. I think I'll copy my favorites from them and make individual threads for each Ragini and put them in "Pictures". :)
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(http://buriedshiva.com.au/vicky/misc73/shivadevotee.jpg)
Shiva Devotee
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(http://buriedshiva.com.au/vicky/misc55/lady8.jpg)
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(http://buriedshiva.com.au/vicky/misc55/lady.jpg)
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(http://buriedshiva.com.au/vicky/misc55/lady.jpg)
Like that one.
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Like that one.
why?
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why?
How does one explain?
Yesterday we were reading about rasa in Indian music. It became quite complex, this whole issue of how and why we feel about artistic expression.
First you have the artist's primary expression. This is split into two: one is the obvious, stated expression, which is what the artist does - the technical details and the intended mood. The second is the suggested expression, which is what is implied behind or above the obvious - a feeling that is not depicted anywhere, but transmits out. This is especially noticeable in poetry, but applies to all artistic works.
When the stated expression is more potent than the suggested, the work is considered of a poorer nature, and when the suggested is greater than the stated, it is considered high quality. This is why some music which I don't like so much, is technically complex but leaves little 'after-glow' or carries no implied message of feeling. I also feel this is what happened to American films, where the technical aspect is so extraordinary and dramatic, it carries you along while watching but when you walk out, it is over - there is little room left for the internal processes to turn on, as everything was brought to the front in an over-obvious way. Nothing is left for the imagination.
I gather all this is called bhava in Indian theory. It forms the aspect of what the artist delivers or intends to deliver.
The second part is the audience response. What feelings and moods the recipient gets from the artistic expression. This is usually different but similar. So for example, a love scene, expressing romantic love, may engender erotic love in the audience, although no actual sexuality is present in the expression.
But sometimes it could be quite different. An older person hearing some children singing nursery rhymes, which is eliciting joy in the children, could elicit sadness and longing in the older person.
This is generally called rasa in the Indian theory, but actually, I think rasa is more closely tied to a spiritual response - when the artist successfully attracts the divine presence intended by the expression, and the listener is then 'transported' to a supra-mundane state, which could be of a number of moods. I don't think rasa is associated with mundane emotions, but that could be because traditionally all Indian art was of a spiritual nature - secular art didn't appear in India till only recently.
Apparently, due to the influence of Islamic poetic sentiment, North Indian classical music moved more into a technical appreciation and away from focus on rasa, but that may be only one person's view - not sure.
So when I view that picture above, it's not anything specifically in the painting that I can identify as to why I like it - it is the suggestive feeling which creates something of a pure and simple mood in me. Personally, I think it's impossible to classify feelings with words - emotions are easier to speak of, but feelings are fine and nebulous.
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why?
why not?
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How does one explain?
Yesterday we were reading about rasa in Indian music. It became quite complex, this whole issue of how and why we feel about artistic expression.
First you have the artist's primary expression. This is split into two: one is the obvious, stated expression, which is what the artist does - the technical details and the intended mood. The second is the suggested expression, which is what is implied behind or above the obvious - a feeling that is not depicted anywhere, but transmits out. This is especially noticeable in poetry, but applies to all artistic works.
When the stated expression is more potent than the suggested, the work is considered of a poorer nature, and when the suggested is greater than the stated, it is considered high quality. This is why some music which I don't like so much, is technically complex but leaves little 'after-glow' or carries no implied message of feeling. I also feel this is what happened to American films, where the technical aspect is so extraordinary and dramatic, it carries you along while watching but when you walk out, it is over - there is little room left for the internal processes to turn on, as everything was brought to the front in an over-obvious way. Nothing is left for the imagination.
I gather all this is called bhava in Indian theory. It forms the aspect of what the artist delivers or intends to deliver.
The second part is the audience response. What feelings and moods the recipient gets from the artistic expression. This is usually different but similar. So for example, a love scene, expressing romantic love, may engender erotic love in the audience, although no actual sexuality is present in the expression.
But sometimes it could be quite different. An older person hearing some children singing nursery rhymes, which is eliciting joy in the children, could elicit sadness and longing in the older person.
This is generally called rasa in the Indian theory, but actually, I think rasa is more closely tied to a spiritual response - when the artist successfully attracts the divine presence intended by the expression, and the listener is then 'transported' to a supra-mundane state, which could be of a number of moods. I don't think rasa is associated with mundane emotions, but that could be because traditionally all Indian art was of a spiritual nature - secular art didn't appear in India till only recently.
Apparently, due to the influence of Islamic poetic sentiment, North Indian classical music moved more into a technical appreciation and away from focus on rasa, but that may be only one person's view - not sure.
So when I view that picture above, it's not anything specifically in the painting that I can identify as to why I like it - it is the suggestive feeling which creates something of a pure and simple mood in me. Personally, I think it's impossible to classify feelings with words - emotions are easier to speak of, but feelings are fine and nebulous.
This was a noble and interesting effort to answer the question, Michael. I'm sure I could never have done so well trying to explain the ineffable. There are so many levels on which the 'recipient' may respond, from the technical to the emotional to the mystical. Sometimes the wisest answer is "I don't know why."
As for the above painting, it is certainly one of the finer paintings in the court-genre. The style is Mughal, and the artistic finesse was one of the best influences of the Mughal emperors: they sometimes painted themselves, but most certainly contracted competent artists. The art was valued.
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I gather all this is called bhava in Indian theory. It forms the aspect of what the artist delivers or intends to deliver.
(I shall be reading up on "bhava"...)
There's an interesting aspect to the artist's intent which I come up against frequently while viewing these paintings. Most of the paintings posted were done in the 17th-19th centuries, before British influence. I believe that viewing them now and viewing them then are probably two very different experiences. Viewing them "then" might very well have been a scandalous thing.
There isn't quite enough information available. Why was the artist painting seems a crucial question: that is, was the artist hired by a wealthy ruler to paint a certain subject, probably for the ruler's palace or for the ruler's private viewing? For example, I feel certain that the painting-in-question was a portrait of the wife of some wealthy benefactor. The artist took no liberties with her allegorically, and did not bring in the nayika and ragini themes. I'll wager that the fabric and whole costume depicted indeed looked like that...
There is a whole dimension socially/sociologically with the paintings, in terms of how they depict the relationships between the men and women. Even the ones which have echoes of eroticism reveal something about how women were viewed then. In so few of them do the women seem to be the poets -- rather, they are the objects, with clear expectations placed upon them. I have mostly omitted the ones I found blatantly offensive, though some of them are in this thread. I'm not talking about nudity: I'm talking about an overbearing dominance of the men.
The reality of the matter, as I understand it, is that respectable women in the culture of 17th-19th century India would never have made themselves available to be painted thusly. In fact, I've seen it written that most all of the paintings are completely the product of the artists' imaginations --- that an artist would never have been permitted to view the women of the court at all. Except in the case of formalized portraits.
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Ultimately, today, we come down to aesthetics. Is the costume appealing - is the fabric appealing? Does it evoke a particular feeling? To me the fabric, for example, is very pretty, but such liking is entirely a subjective matter.
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(http://buriedshiva.com.au/vicky/misc73/deer.jpg)
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I think it would be wrong to presume too much about sexual mores in pre-Islamic India, because, as I understand, it varied considerably across the sub-continent. Take for example the Chandela dynasty, which built the Khajuraho temples. I'm not sure how much is known about them from direct sources, but they certainly displayed a very open celebration of feminine sexuality, and sexuality in general.
The problem is that India today is extremely puritanical, and has been for some time, such that Indian historians would never admit to anything other than their own morals existing at any previous time. When it comes to court ladies being seen by outsiders, I suspect the same rules would apply as did everywhere else in the world. But the women of the upper classes in general, that I'm reluctant to be too convinced about, as India had such diversity.
It often fascinates me, when considering the puritanical cultures attitudes to women, that the men even knew where to put their willy when it came to close encounters.
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Well, I was just reporting what I've seen written many times, about the women of the court not being seen. Who knows if it is true. This is the culture who brought us the Kama Sutra, after all. Someone knew something about sex.... :)
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(http://buriedshiva.com.au/vicky/misc73/torch.jpg)
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(http://buriedshiva.com.au/vicky/misc66/danceseated.jpg)
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(http://buriedshiva.com.au/vicky/misc66/unkragandyogini.jpg)
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(http://buriedshiva.com.au/vicky/misc55/tambura.jpg)
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(http://buriedshiva.com.au/vicky/misc55/ladyvina2.jpg)
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(http://buriedshiva.com.au/vicky/misc55/ladyawaiting.jpg)
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(http://buriedshiva.com.au/vicky/misc45/pigeons.jpg)
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(http://buriedshiva.com.au/vicky/misc66/fireworks.jpg)
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(http://buriedshiva.com.au/vicky/misc45/candle.jpg)
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(http://buriedshiva.com.au/vicky/misc45/candle.jpg)
that's quite pretty
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(http://buriedshiva.com.au/vicky/misc55/lady5.jpg)
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(http://buriedshiva.com.au/vicky/misc55/ladynajar.jpg)
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seems a newish style, that one
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seems a newish style, that one
It's in the same age-range as the others, but you're right: it's different. At the least, the artist is not one of the others we've seen, and I believe there is Persian influence. It will take a while to back-track.
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(http://buriedshiva.com.au/vicky/misc53/stormwatch.jpg)
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(http://buriedshiva.com.au/vicky/misc51/sirhi.jpg)
This painting is entitled "Sirhi", but I can't find a reference to it. The most I see is that in Hindi, "sirhi" means stairs, or the steps/rungs of a ladder. Still, in order to incorporate that definition, it would be useful to recognize the story to which the painting refers. I come up empty on that. But I still thought the painting was cool.
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(http://buriedshiva.com.au/vicky/misc51/storm.jpg)
Watching the storm. I like that there are so many paintings involving storms.
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(http://buriedshiva.com.au/vicky/misc51/villagebeauty.jpg)
"Village Beauty"
A crone above gives Krishna information about the beauty.
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(http://buriedshiva.com.au/vicky/misc51/womanworshipsunbasawan.jpg)
Woman Worships the Sun
Metropolitan Museum of Art
This page once formed part of the Muraqqa-e Gulshan, Tehran, and formerly must have been part of a Mughal album belonging to Akbar and Jahangir. It represents a summation of Basawan’s engagement with European art; he has creatively interpreted borrowed imagery to meet new pictorial objectives. Here, a robed woman raises her clasped hands in veneration of the sun in a gesture performed daily by Hindus. Akbar actively promoted sun-worship as part of his new fusion religion, designating Sunday as a holy day sacred to the sun and, according to his biographer Abu’l Fazl, he had a lexicon of Sanskrit names of the sun recited daily. A drawing attributed to Basawan in the Musée Guimet, Paris, after an untraced allegorical engraving provides the likely intermediary, as is evidenced in the windswept robes, the pitcher, the placement of attendant, and the transformation of a god in clouds into a classic Basawan rock formation with a radiating sun bursting through clouds.
About the Artist
Basawan
Active ca. 1556–1600, at the Mughal court; father of Manohar
Basawan joined Akbar’s atelier at Delhi as a young Hindu recruit and was involved in every major manuscript production throughout his emperor’s reign. Abu’l Fazl recorded that Basawan surpassed all in composition, drawing of features, distribution of colors, and portrait painting, and was even preferred by some to the “first master of the age, Daswanth.” The mature Akbar prized Basawan above all others for his gift of faithful representation and also for advancing the Mughal style. He was a pioneer in responding to and absorbing new pictorial devices from European art; naturalistic portraiture, atmospheric perspective, and a painterly approach to landscape are his hallmarks.
Basawan was already an accomplished painter in the early 1560s, when he participated in the Mughal reworking of the Tutinama manuscript. The Origin of Music demonstrates his talent for portraiture and his ability to render rocks and trees with a naturalism not seen before in subcontinental painting. In addition, Basawan was a key contributor to the monumental Hamzanama series, as a painter of portraits, rocks, and trees, and also as a master of composition. In the folio that portrays a night attack on the camp of Malik Iraj, Basawan’s hand is visible in the rock formations and the densely foliated trees, as a comparison with those motifs in his Khamsa of Amir Khusrow Dihlavi page clearly demonstrates. The composition of this Hamzanama folio has an underlying similarity to an ascribed work by Basawan in the Victoria and Albert’s Akbarnama that shows Akbar witnessing the armed combat of Hindu ascetics, made some twenty years later.
Basawan’s most lasting legacy is the response to European art that he brought to Mughal painting. His ability to grasp the pictorial possibilities of both atmospheric and linear perspective was unmatched. His paintings of the later 1590s are a revolutionary fusion of these European pictorial devices into a newly emerging post-Safavid Mughal style. The vain dervish from an imperial copy of the Baharistan dated 1595 displays Basawan’s gift for theatricality combined with an astonishing ability to capture naturalistic detail, as witnessed in every aspect of this masterpiece, from the figures in conversation to the goats and peacocks that inhabit the setting. Basawan routinely used his signature rocks and trees to create receding intercepting spaces in the European mode. Like all imperial painters of his time, he had access at the court to northern European engravings of Christian subjects and cameo-type portraits, and he drew freely on that imagery. Basawan typically placed his European-inspired figures in a visionary Mughal setting with fantastic rock formations of Iranian derivation.
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(http://buriedshiva.com.au/vicky/misc51/crowkri.jpg)
A crow steals food from young Krishna.
(It could go in the "Krishna" thread, but it was such a joyful painting I feared it would get lost there.)
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(http://buriedshiva.com.au/vicky/misc51/2men.jpg)
The MMoA isn't certain if this painting was Mughal or Persian/Iranian, but on the chance that it was Mughal, I put it here.
~Completely enchanted by this painting: the starry sky! the cat! the doves! the men! the candle!
If your screen can handle the very large, here is a larger version:
http://buriedshiva.com.au/vicky/misc51/2men1.jpg
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Ah, finally another theme is revealed...
Wiki
Tutinama, literal meaning "Tales of a Parrot", is a 14th-century Persian series of 52 stories. An illustrated version containing 250 miniature paintings was commissioned by the Mughal Emperor, Akbar in the later part of the 16th century. The work redacted in 14th century AD in Iran derives from an earlier anthology ‘Seventy Tales of the Parrot’ in Sanskrit compiled under the title Śukasaptati (a part of katha literature) dated to the 12th century AD. In Iran, as in India, parrots (in light of their purported conversational abilities) are popular as storytellers in works of fiction.
The adventure stories narrated by a parrot, night after night, for 52 successive nights, are moralistic stories to persuade his owner not to commit any adulterous act with any lover, in the absence of her husband. The illustrations embellishing the stories created during Akbar’s reign were created in a span of five years after Akbar ascended the throne, by two Iranian artists named Mir Sayyid Ali and Abdus Samad working in the court of the Mughal Emperor Akbar.
History
The authorship of the text of the Tutinama is credited to Ziya'al-Din Nakhshabi or just Nakhshabi, an ethnic Persian physician and a Sufi saint who had migrated to Badayun, Uttar Pradesh in India in the 14th century, who wrote in the Persian language. He had translated and/or edited a classical Sanskrit version of the stories similar to Tutinama into Persian, around 1335 AD. It is conjectured that this small book of short stories, moralistic in theme, influenced Akbar during his formative years. It is also inferred that since Akbar had a harem (of women siblings, wives and women servants), the moralistic stories had specific orientation towards the control of women.
The two artists Mir Sayyid Ali and Abd al-Samad were invited by Humayun (1530-1540 AD) to teach this art to himself and to his son Akbar. Initially, the artists came to Kabul with Humayun (where he was in exile) and in later years shifted to Delhi when he won back his empire from the Suri Dynasty. The artists then moved to Fatehpur Sikri with the Mughal Emperor Akbar, where a huge workshop of artists were engaged in producing miniatures. This type of painting came to be known as Mughal painting, during Akbar's reign from 1556 to 1605 AD (when under Emperor Akbar’s leadership the Mughal empire became most powerful). Akbar provided personal patronage to promote this form of miniature paintings, not only through Iranian artists but also involved a large number of Indian artists who were also well versed in local styles of such miniature paintings that were produced in the imperial workshops. It thus developed as a unique blend of Indian, Persian and Islamic styles. Most of the paintings are now in the Cleveland Museum of Art; some are also in the British Library. This became the precursor for many more refined forms of Mughal miniature painting portfolios such as the Hamzanama (Adventures of Amir Hamza), Akbarnama (Book of Akbar), Jahangirnama (Tuzk-e-Jahangiri an autobiography of Mughal emperor Jahangir) and so forth, which were created during the reign of subsequent Moghul rulers (16th century to 19th century) as Mughal paintings, but also with distinct Indian, Hindu, Jain and Buddhist influences. The Mughal style covered mainly portraits of Mughal emperors, Queens, court scenes, hunting scenes, special ceremonies, battle scenes, love scenes and various activities of royal rulers. This format of miniatures was also widely adopted by Rajput and Malwa rulers.
Theme of the story
The Parrot addresses Khojasta, a scene from the Tutinama (1556-1565) paintings[12]
The main narrator of the 52 stories of Tutinama is a parrot, who tells stories to his owner, a woman called Khojasta, in order to prevent her from committing any illicit affair while her husband (a merchant by the name Maimunis) is away on business. The merchant had gone on his business trip leaving behind his wife in the company of a mynah and a parrot. The wife strangles the mynah for advising her not to indulge in any illicit affair. The parrot, realising the gravity of the situation, adopts a more indirect approach of narrating fascinating stories over the next fifty-two nights. The stories are narrated every successive night for 52 nights as an entertaining episode to keep Khojasta's attention and distract her from going out.
One story
A particular tale narrated by the parrot to rivet the attention of his mistress, as she is about to leave the house in the night, is also depicted in the 35th to 37th paintings in the illustrated version of the Tutinama. The story related by the parrot is of a Brahmin boy falling in love with a princess, considered a fated (doomed) situation. But a solution to this is provided by a magician friend of the Brahmin in the form of magic beads to help his friend to turn into a beautiful woman to seek entry into the palace to be with his loved one. The magician further facilitates the meeting of his friend with the king’s daughter by telling the King that the girl in question was his daughter-in-law. On seeking entry into the palace the Brahmin discloses his true identity to his adored princess. But a twist is introduced into the tale with the King’s son beholding a beautiful girl (the Brahmin in disguise) while taking bath in a pond falls in love with her. To avoid discovery of his true identity, the Brahmin runs away with the King’s daughter. The magician then appears before the King seeking return of his daughter-in-law. But the King realising the true state of the two missing girls, compensates the magician with rich gifts. The gifts are passed on by the magician to his Brahmin friend and his wife to enable them to lead a happy life. The parrot concludes the narration, towards day break, with the advice to Kojasta that she should also have everything in life including her husband.
(http://upload.wikimedia.org/wikipedia/commons/thumb/0/0f/Indischer_Maler_um_1580_001.jpg/456px-Indischer_Maler_um_1580_001.jpg)
Style of paintings
Mughal Women dancing -Kathak style
It is said that the text of the Tutinama was written in Nasta'liq calligraphy style. But each of the paintings seen in various libraries across the world focus on a single topic or episode of the stories. The straightforwardness of expressions seen in the paintings is attributed to the influence of pre-Mughal paintings. Several portfolios of Tutinama are also stated to be similar to the Malwa manuscripts with illustrations (dated to 1439 AD) but with distinct perfection. The difference is traced to the tasteful colours in Tutinama paintings, which make it rich in colours with graded quality.
The popular dance form of Kathak, considered a combination of Indian and Persian forms, got a medium for display in the paintings of the Tutinama, the Akbarnama and the Tarrikh-e-Khandan-e-Timuria. In these paintings, men and women are shown wearing long flowing robes and high conical caps in standing positions. Even some paintings depicted two different groups of dancers. It is stated that 350 dancers, who were brought to Akbar’s court from Iran by force, probably represented the ancient traditions of dances of Iran. It is inferred that over the years, assimilation of the Persian and the Indian people took place and provided the backdrop for the present Kathak dance style in India.
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(http://buriedshiva.com.au/vicky/misc51/2men.jpg)
gorgeous atmosphere
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(http://buriedshiva.com.au/vicky/misc51/angels.jpg)
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(http://buriedshiva.com.au/vicky/misc51/cook.jpg)
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(http://buriedshiva.com.au/vicky/misc51/dispatch.jpg)
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(http://buriedshiva.com.au/vicky/misc51/lovers.jpg)
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(http://buriedshiva.com.au/vicky/misc57/lovers.jpg)
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(http://buriedshiva.com.au/vicky/misc57/bikaner.jpg)
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(http://buriedshiva.com.au/vicky/misc57/ladycrane.jpg)
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(http://buriedshiva.com.au/vicky/misc73/akbarandascetic.jpg)
Akbar and Ascetic
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(http://buriedshiva.com.au/vicky/misc73/assembly.jpg)
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(http://buriedshiva.com.au/vicky/misc57/ladycrane.jpg)
That's a beautiful scene
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(http://buriedshiva.com.au/vicky/misc68/vina16th.jpg)
"Persian" style 16th century
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(http://buriedshiva.com.au/vicky/misc68/sultan.jpg)
Unknown Sultan
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(http://buriedshiva.com.au/vicky/misc73/3musos.jpg)
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(http://buriedshiva.com.au/vicky/misc73/angels.jpg)
Angels caring for an ascetic
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(http://buriedshiva.com.au/vicky/misc73/angelsvisit.jpg)
An explanation wasn't offered with this miniature, but it would be interesting to learn. There are 2 sleeping women - one appears to be on the floor, another in bed. Is the one on the floor a servant, or is there some meaning about the physical (the floor) vs. the ethereal (the one dreaming in bed?) And why so many angels?
Or, has the woman in bed died, and the other woman is a servant/attendant?
Are they both the same woman?
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(http://buriedshiva.com.au/vicky/misc73/angel.jpg)
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(http://buriedshiva.com.au/vicky/misc73/woman.jpg)
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(http://buriedshiva.com.au/vicky/misc73/unkrag5.jpg)
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(http://buriedshiva.com.au/vicky/misc68/lady1761.jpg)
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(http://buriedshiva.com.au/vicky/misc28/shringara.jpg)
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Very enjoyable V, esp in the light of so much public awareness being drawn to the plight of women in India recently.
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Very enjoyable V, esp in the light of so much public awareness being drawn to the plight of women in India recently.
I wonder if their plight began back when these paintings were made! (Generally, the 17th-19th centuries.)
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Not sure about that, but the recent trouble began in the last few years when women had the effrontery to believe they could behave with the same freedom as men.
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(http://buriedshiva.com.au/vicky/misc57/7headedhorse.jpg)
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(http://buriedshiva.com.au/vicky/misc57/henna.jpg)
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(http://buriedshiva.com.au/vicky/misc57/henna2.jpg)
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(http://buriedshiva.com.au/vicky/misc57/pilgtimsdepart.jpg)
Pilgrims departing the monastery
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(http://buriedshiva.com.au/vicky/misc57/lady2.jpg)
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(http://buriedshiva.com.au/vicky/misc57/unk.jpg)
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(http://buriedshiva.com.au/vicky/misc57/pilgtimsdepart.jpg)
Pilgrims departing the monastery
I dig that one.
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(http://buriedshiva.com.au/vicky/misc57/henna.jpg)
far out!
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(http://buriedshiva.com.au/vicky/misc45/bhang.jpg)
Bhang
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(http://buriedshiva.com.au/vicky/misc45/unk.jpg)
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(http://buriedshiva.com.au/vicky/misc45/water.jpg)
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(http://buriedshiva.com.au/vicky/misc17/davidcharmingbirdsandbeasts.jpg)
David Charming Birds and Beasts
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(http://farm4.staticflickr.com/3275/2924508386_acfc815c32_b.jpg)
Akbar and the Ascetic
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(http://farm4.staticflickr.com/3416/3226689716_d4498bcd82_o.jpg)
Visiting the Yogini
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(http://upload.wikimedia.org/wikipedia/commons/1/15/Brooklyn_Museum_-_Seated_Princess_with_Attendant_and_Lion.jpg)
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(http://upload.wikimedia.org/wikipedia/commons/3/3e/Brooklyn_Museum_-_Yogini_in_a_Landscape.jpg)
Yogini
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(https://scontent-b-ord.xx.fbcdn.net/hphotos-frc3/q77/s720x720/1383184_10151948449996675_2098798187_n.jpg)
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(https://scontent-b-iad.xx.fbcdn.net/hphotos-prn2/t1.0-9/q73/s720x720/1925276_10152288154936675_333416466_n.jpg)
An ascetic, probably Vasishtha, with a rudrakshamala (rosary) in his hand, sits on a tiger skin in a pavilion with a carefully rendered roof supported by slender pillars. His knees are held in place by a yogapatta (band tied around the knees). He wears a russet dhoti and ornaments made of rudraksha beads. His hair, piled up on his head, partly flows loosely over his shoulders. A stick, on which his begging bowl and a piece of cloth are tied, leans against one of the pillars of the pavilion. Just outside the building is a pot, the spout of which is decorated with leaves. At the centre of the drawing is the parijata tree, its crown an imaginative juxtaposition of different flowering and fruiting trees. To the far right is the cow of plenty, Surabhi, with the head of a woman with a plait, her long neck covered with necklaces of varied designs. On her head, her two horns are capped with decorative sheaths and she wears a crown; anklets adorn her hooves. The foreground is enlivened by diminutive trees and tufts of grass.
Gouache painting on paper from a portfolio of sixty-three paintings of deities and daily life.
Tamil Nadu
Company School
1820 (circa)
British Museum
https://www.facebook.com/pages/Rare-Book-Society-of-India/196174216674
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(https://scontent-a-ord.xx.fbcdn.net/hphotos-prn1/t1.0-9/1001897_703580999685899_4913645_n.jpg)
Shaivite yogini blessing a new-born
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:)
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(https://fbcdn-sphotos-d-a.akamaihd.net/hphotos-ak-xpa1/t1.0-9/10438192_880523068628966_6958496535587114006_n.jpg)
Vasudeo Kamath contemporary
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(https://fbcdn-sphotos-f-a.akamaihd.net/hphotos-ak-xfa1/t1.0-9/p403x403/1005572_270682393072257_460392488_n.jpg)
Mahaveer Swami
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(https://fbcdn-sphotos-b-a.akamaihd.net/hphotos-ak-xpa1/v/t1.0-9/1501759_10152123193641675_702781030_n.jpg?oh=722d5c494c5be1f192a7d03798073eb0&oe=5481C14A&__gda__=1416671121_3d28b589cad305f76240b90cbb3dab62)
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(https://fbcdn-sphotos-b-a.akamaihd.net/hphotos-ak-xpa1/t1.0-9/1454668_10152096483096675_264131950_n.jpg)
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(https://fbcdn-sphotos-d-a.akamaihd.net/hphotos-ak-xap1/t1.0-9/1514616_10152096450436675_1012735614_n.jpg)
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(https://fbcdn-sphotos-c-a.akamaihd.net/hphotos-ak-xfp1/t1.0-9/1471380_10152098367866675_2137850969_n.jpg)
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(https://fbcdn-sphotos-g-a.akamaihd.net/hphotos-ak-xpa1/t1.0-9/1898093_10152292229636675_157646100_n.jpg)
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(https://fbcdn-sphotos-d-a.akamaihd.net/hphotos-ak-xpf1/v/t1.0-9/10441320_643192355772071_5987645332564199905_n.jpg?oh=69b14995bc10e8016ef7941e07725b16&oe=54D077A1&__gda__=1418362571_2fa90cbde68104d02d726019091fdce0)
Waswo X. Waswo, Rajesh Soni, and R. Vijay in Udaipur, India - contemporary
(on the ethics of photography)
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(http://imageweb-cdn.magnoliasoft.net/britishlibrary/supersize/e50002-84.jpg)
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(http://web.williams.edu/wcma/modules/indian/art/91_15_53.jpg)
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(https://fbcdn-sphotos-a-a.akamaihd.net/hphotos-ak-xpa1/v/t1.0-9/971552_10151601402318759_1314210449_n.jpg?oh=9bc0b39b760937c607274a7648e1da52&oe=54BFA450&__gda__=1420476299_8fe6ea7e3c5bfa3f4a8ab9aa6c1dba08)
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(https://s-media-cache-ak0.pinimg.com/736x/e4/0e/be/e40ebea83e752ac5bd02789823093254.jpg)
Ladies of the Zenana on a Roof Terrace. Attributed to Ruknuddin (ca.1650-97)
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(https://s-media-cache-ak0.pinimg.com/736x/ed/89/96/ed89964603bf6587beedc71f6fe71c51.jpg)
Lion at Rest. Illustrated single work. Date: ca. 1585, period of Akbar. Geography: India. Culture: Islamic. Medium: Ink, opaque watercolor, silver, and gold on paper. www.metmuseum.org
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good pieces - love the lion
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(https://s-media-cache-ak0.pinimg.com/736x/52/c4/6d/52c46d6549df0b76a0a316fdb3b66381.jpg)
Page From a Kedara Kalpa Series: Five Celestial Sages in Barren, Icy Heights
1800 - 1820.
Indian, Punjab Hills, Guler 19th century
http://vmfa.museum/collections/art/page-kedara-kalpa-series-five-celestial-sages-barren-icy-heights/
This is intriguing to me. What are they doing there? Is it about Kailash and Shiva? ~Will see if I can learn more.
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(https://s-media-cache-ak0.pinimg.com/736x/da/83/be/da83be4963fa646f54c2206bb3b192b6.jpg)
Woman Raising Her Hands Towards the Sun ca. 1650 - 1660. Indian, Deccan, Andhra Pradesh, Golconda 17th century.
(Appears Persian-style to me.)
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(https://s-media-cache-ak0.pinimg.com/736x/e1/fa/40/e1fa40d15130b22b65d3d952e9141b07.jpg)
A Prince and attendant visiting holymen, with calligraphy signed by Almas, India, Mughal, 17th century
Best view - http://www.sothebys.com/content/dam/stb/lots/L13/L13223/187L13223_74BZL.jpg
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(https://s-media-cache-ak0.pinimg.com/736x/20/10/5f/20105f7677d1f0381202df662182578e.jpg)
The Practice of Yoga, folio 5, from Sidh Siddhant Padhati, 1824 CE, attributed to the 'Muslim Artist' aka Bulaki. Mehrangarh Museum Trust, Jodhpur, Rajasthan. "A Nath Yogi Practicing Yoga (Pranayama)". Maharaja Man Singh of Jodhpur was an ardent devotee of the Nath sect. During his reign, exquisite paintings of Naths were produced. Master Artists worked hard for the Maharaja, who was mad in devotion to his Guru Jalladharnathji. Freer & Sackler Galleries exhibited these paintings (in collaboration with Dr. Karni Singh Jasol, Director, Mehrangarh Museum) under the exhibition "Garden & Cosmos: The Royal Paintings of Jodhpur".
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(http://collections.lacma.org/sites/default/files/remote_images/piction/ma-31966910-O3.jpg)
Plato as a Musician
India, Mughal Empire, circa 1600; border: Iran, Qajar, 19th century
http://collections.lacma.org/sites/default/files/remote_images/piction/ma-31966910-O3.jpg
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(https://s-media-cache-ak0.pinimg.com/736x/08/d6/59/08d659de62db6c682573d0fe6f4236bb.jpg)
Musician and Tree
(data unknown)
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May have posted this before, but encountered it again this morning. Such an awesome painting. Be sure to click on the link as well for a larger image.
(https://s-media-cache-ak0.pinimg.com/736x/8c/1b/22/8c1b2269e84b7e077748ef9a118454c8.jpg)
Durer’s image ‘Melencolia I” was distributed widely, and travelled as far away as India, where the Mughal miniaturist Farrukh Beg referenced the work in his 1615 miniature The Old Sufi.
http://40.media.tumblr.com/tumblr_m4zkukfVHr1qahuhjo1_1280.jpg
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(http://buriedshiva.com.au/vicky/misc73/deer.jpg)
That is something.
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That is something.
Just saddens me to report that it's a detail of this painting: https://www.royalcollection.org.uk/collection/1005025-ah/shah-jahan-hunting
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(http://eprints.soas.ac.uk/17966/2/images/yogic/fig1.jpg)
Mughals visiting a sadhu-encampment.
http://eprints.soas.ac.uk/17966/2/yogic-identities.asp
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(https://s-media-cache-ak0.pinimg.com/736x/e0/c7/81/e0c781dd11447542cb63a7d779f7f312.jpg)
Tree Worship. India, Rajasthan, Kota, circa 1730-1750
So far, I can't find any real information about this, but I'm looking.
http://collections.lacma.org/sites/default/files/remote_images/piction/ma-31384168-O3.jpg
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(https://s-media-cache-ak0.pinimg.com/736x/eb/4e/8a/eb4e8a6b1b2581788fc1f3370628a79a.jpg)
India, Karnataka, Bijapur, ca. 1603–4
Yogini with Mynah: Surrounded by surreally surging hillocks and hugely blooming flowers, a yogini stands quite still, almost spellbound, though her gold sashes furl and the delicate tendrils of hair around her tilted head quiver. Impossibly elongated, she has the ash-covered skin and the dreadlock (jata) topknot of female ascetics associated with the deity Shiva. The visionary painting was created at the Islamic court of Bijapur, where yoginis were understood as agents of supernatural power.
http://www.asia.si.edu/explore/yoga/images/hotspots/T0002527b.jpg
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(http://buriedshiva.com.au/vicky/misc68/sultan.jpg)
Unknown Sultan
This painting is so beautiful. Why oh why didn't I post the source.
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(https://s-media-cache-ak0.pinimg.com/736x/0a/a5/9a/0aa59ae7e53a799c64d49549180b37bb.jpg)
An Illustration from the Bhagavata Purana: The Gopis gather on the banks of the Yamuna in anticipation of Krishna's arrival, while a small group breaks away to convey the news of Krishna's coming to Radha who is seated within a pavilion at left. Celestials shower petals from their abode in the clouds upon the scene below. circa 1690-1700 India, Bikaner.
http://www.sothebys.com/content/dam/stb/lots/N08/N08418/N08418-223-lr-1.jpg
Open attachment for best view.
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:)
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(https://s-media-cache-ak0.pinimg.com/736x/b3/bd/1d/b3bd1d7b4c379e37fae16b9071f940f6.jpg)
“A Female Hermit is Entertained by a Musician” India; beginning of the 18th century A holy woman – perhaps a Sufi, perhaps a Hindu yogi – is listening attentively to another woman playing the zither. The painting is from the late Mughal period, when night scenes were especially popular.
http://www.davidmus.dk/files/7/1/2563/Yogini.jpg
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(https://s-media-cache-ak0.pinimg.com/736x/2d/c5/28/2dc52868d71f77da6ffde36a7463e2c3.jpg)
Radha and Krishna are pictured in their bedchamber whose adjoining terrace opens out into a lotus pond with distant hills visible in the background. School of Sajnu. Opaque watercolor heightened with gold on paper. circa 1790-1800, India, Kangra.
Per Sotheby's: Sajnu was an artist who originally hailed from Kangra, but later migrated to the court of Raja Isvari Sen (r. 1788-1826), the ruler of Mandi. Sajnu was a master of the stylistic conventions of the Kangra Valley. His lyrical works are characterised by their exceptionally delicate treatment of facial features, an extensive use of white and a preoccupation with geometric compositional devices, all seen in the present work.
W. G. Archer comments that in some cases Sajnu's jagged angular rhythms violate realism for geometric drama (W. G. Archer, Indian Paintings from the Punjab Hills, Vol. 1, 1973, p. 316). This is manifest in the plethora of canted forms cascading through the picture plane and even in the exaggerated crook of Krishna's arm within which Radha rests.
Best view in the attachment!
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(https://s-media-cache-ak0.pinimg.com/736x/0f/60/7e/0f607e477fe3f1e627221611f8630643.jpg)
By the Light of the Moon and Fireworks, attributed to both Bhavanidas and Nihal Chand, the two leading artists at Kishangarh, 1825-50. "A gathering of the uninformed, wine-drinking, restless ones" inscribed on reverse.
Per Sotheby's: "This remarkable miniature, notable for its painterly refinement as well as its arresting subject matter, has been attributed to both Bhavanidas and Nihal Chand, the two leading artists at Kishangarh in the second quarter of the 18th century.
The subject matter, described by Haidar as "a riotous scene of debauchery on a terrace" and "a tour de force of humorous painting" (Haidar 2000, p.85), is enigmatically orgiastic and comically intriguing. Welch notes that "the satire, broad humour and sexual expliciteness .... in this nocturnal gambol... are blended with such masterful sleight of hand that viewers respond not to the painting's "depravity" but to its delicacy of handling" (Welch 1985, p.372).
In the catalogue of the 1985 exhibition India, Art and Culture 1300-1900 Welch discussed its attribution as follows:
"This miniature, with its biting, Goyaesque grotesquerie and savage humour, must have been painted at a time when Sawant Singh had turned against the mundane and yet could be amused by the recollection of evil. His remarkably creative collaboration with his major artist, Nihal Chand, to whom we assign this picture on the basis of inscribed works, produced some of the most perfervidly dreamlike - at times nightmarish - pictures in all of Indian art" (p.372)
Navina Haidar, writing 15 years later, discusses the themes of satire and humour running through this picture, before suggesting an attribution to Bhavanidas:
" The subject matter of this picture makes it unique; no other work depicting such exuberant and explicit intemperance is known from Kishangarh. The highly skilled quality of the painting, particularly the delicate detailing, use of gold, shading and colouring, show this to be the work of a superior artist. This technical finesse along with the imaginative characterization of the figures suggests that the artist was again Bhavanidas, who must have executed it in circa 1740. This painting reveals curious insights into the psychology of the artist and his patron, both of whom must have shared a complex, subtle and sardonically humorous perception of the world" (Haidar 2000, p.87).
One aspect that has not so far been commented upon is the spectacular light show and firework display in the background. Even the boats on the river are lit, perhaps acting as floating firework platforms. This aspect perhaps indicates that the scene on the terrace is taking place during Diwali, although this festival is more usually known for its calm and family-orientated celebrations.
Bhavanidas was a master at the Mughal court who arrived in Kishangarh in 1719 during the reign of Raja Rai Singh (r. 1706-1748). Several works have been attributed to Bhavanidas during his years at the Mughal court and after his arrival in Kishangarh (see Falk 1992; Leach 1995, vol.I, no.4.7, col.pl.74, p.489, Haidar 2000), and he is considered to have been enormously influential in the development of the Kishangarh atelier and style. Falk notes that "his powers of emotional expression, satire and caricature were beyond the reach of other Rajput artists" (Falk 1992) perhaps supporting Haidar's later attribution of the present work to Bhavanidas. A selective list of works painted by Bhavanidas at Kishangarh is given in Falk 1992.
Nihal Chand was the master artist of the mid 18th century who is said to have developed the distinctive elongated figures and features and intense lyrical, sensuous mood that became known as the "Kishangarh Style". He was influenced by his older colleague Bhavanidas and became the leading artist under the patronage of Savant Singh (r.1748-64) both before and after he succeeded his father as Raja in 1748.
For discussions of the Kishangarh School and the artists Bhavanidas and Nihalchand, see Dickinson and Khandalavala 1959; Randhawa and Galbraith 1968, pp.101-109; Randhawa and Randhawa 1980; Falk 1992; Ahluwalia 2008, pp.106-111"
http://www.sothebys.com/en/auctions/ecatalogue/2011/c-welch-part-ii-l11228/lot.20.html
Best view in attachments.
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(By the way, per the above, which attachment do you like better? The first or second one?)
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moonlit top
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(https://s-media-cache-ak0.pinimg.com/736x/0a/a5/9a/0aa59ae7e53a799c64d49549180b37bb.jpg)
An Illustration from the Bhagavata Purana: The Gopis gather on the banks of the Yamuna in anticipation of Krishna's arrival, while a small group breaks away to convey the news of Krishna's coming to Radha who is seated within a pavilion at left. Celestials shower petals from their abode in the clouds upon the scene below. circa 1690-1700 India, Bikaner.
http://www.sothebys.com/content/dam/stb/lots/N08/N08418/N08418-223-lr-1.jpg
Open attachment for best view.
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(https://s-media-cache-ak0.pinimg.com/736x/b1/12/21/b11221faea5bb0ce3f6e2e4489d026e4.jpg)
Oil painting, Dutch Bengal School, early 20th century. Early Bengal oils were usually left unsigned by the artists who were either European painters working in India or Indian miniature artists working with oil in the European manner.
The gathering of the deities and their vehicles around the brothers Krishna and Balarama to pay their respects to the divine pair as the duo play in the forests of Vrindavana with their companions. Yashoda stands to Krishna's left offering him food; the story reveals that when Lord Krishna opens his mouth one will see the whole universe inside.
The best views are in the attachment and here:
http://www.sothebys.com/content/dam/stb/lots/L09/L09724/L09724-33-lr-1.jpg
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(https://s-media-cache-ak0.pinimg.com/736x/8c/68/26/8c682683caa8c1be29a5ca285e0b8b6f.jpg)
Celebrating Holi, Awadh, c.1760-1764.
Per Sotheby's: Welch described: "Holi was once an exclusively Hindu celebration of spring, a saturnalia when high (and low) spirits could be released ecstatically. Perhaps because this was such fun, & because the Mughals, including the emperors, married Rajput girls, the Mughals also celebrated it. If at first it was an abandoned, chaotic, fertility festival, it became increasingly ritualized as patterns of behaviour changed. Here, Holi can be recognized by the red powder & liquid, made from tesu blossoms, which was tossed and jetted by spray guns resembling hypodermic needles. The effect on spotless white clothing must have been the dhobi's nightmare, but it was a delight to the less compulsively tidy."
Further discussion here: http://www.sothebys.com/en/auctions/ecatalogue/2011/c-welch-part-ii-l11228/lot.110.html
Best view in the attachment.
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(https://s-media-cache-ak0.pinimg.com/736x/3c/f5/36/3cf5366473bc952385d8ad1fcff520b9.jpg)
An Illustration from the Harivamsa: The Gods join Krishna and his companions as they play Divine Music on the banks of the Yamuna. Opaque watercolor heightened with gold on paper. circa 1820. India, Kangra or Guler
Best view is in the attachment - open and enlarge.
Many of the characters have been labeled - in Sanskrit.
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(http://buriedshiva.com.au/vicky/misc68/sultan.jpg)
Unknown Sultan
I finally found the identity of this fellow, officially.
Sultan Khwaja Ibrahim Adham in a landscape with four angels and a dog. Creation Date: ca. 1750. Edwin Binney 3rd Collection, The San Diego Museum of Art.
https://en.wikipedia.org/wiki/Ibrahim_ibn_Adham
Wiki: Ibrahim ibn Adham (إبراهيم بن أدهم); c. 718 – c. 782 / AH c. 100 – c. 165[1]) is one of the most prominent of the early ascetic Sufi saints.
The story of his conversion is one of the most celebrated in Sufi legend, as that of a prince renouncing his throne and choosing asceticism closely echoing the legend of Gautama Buddha. Sufi tradition ascribes to Ibrahim countless acts of righteousness, and his humble lifestyle, which contrasted sharply with his early life as the king of Balkh (itself an earlier center of Buddhism). As recounted by Abu Nu'aym, Ibrahim emphasized the importance of stillness and meditation for asceticism. Rumi extensively described the legend of Ibrahim in his Masnavi.
Also, from the Philadelphia Museum, in describing one of the many other paintings of him: "Sultan Ibrahim ibn-Adham was a very wealthy Muslim king who ruled in the eighth century. According to tradition, Ibrahim awoke one night to find strangers searching for a camel on his palace roof. When he inquired why they were looking in such an unlikely place, they replied that any king who tried to find God in a palace was equally foolish. Reflecting on this revelation and other mystical experiences, Ibrahim gave up his throne to live in the forest as a dervish, or Muslim ascetic. Here, four angels present Ibrahim with meals in covered dishes. The angels' assistance suggests divine recognition, a testimonial to the virtues of the ascetic lifestyle."
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(https://s-media-cache-ak0.pinimg.com/736x/3d/1d/85/3d1d85d7ddf71cc65b30824b8fb1844c.jpg)
"Fairies Descend to the Chamber of Prince Manohar", Folio from a Gulshan-i 'Ishq (Rose Garden of Love). Object Name: Folio from an illustrated manuscript. Date: ca. 1700. Geography: India, Deccan. Culture: Islamic. Medium: Ink, opaque watercolor, gold, and silver on paper.
Met Museum: The Gulshan-i 'Ishq tells the complicated tale of several pairs of lovers. Starting with King Bikram and his wife, who cannot conceive until Bikram completes a journey of self-discovery, it continues with the adventures of their son, Prince Manohar, who, with another prince, rescues two kidnapped princesses. Here, fairies, drawn by the moonlight reflecting from the white palace in which Prince Manohar sleeps, descend to his bedchamber. They decide to transport him with his bed to his beloved, Princess Madhumalati, for whom he pines.
Best view here (click and enlarge): http://images.metmuseum.org/CRDImages/is/original/DP335166.jpg
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A word about Indian paintings.
The presentation here is really quite auspicious and lucky. It's certainly as close as I, for one, am going to get. As I understand it, seeing these paintings in India itself is next to impossible, for a variety of reasons.
For one, they were plundered in their day and the 2 or 3 centuries thereafter, by European collectors. Therefore, they sit now in private collections and museums around the world. India itself is now aware that they lost some of their heritage, and apparently attempts are being made to retrieve them in India. There was a much-touted auction administered by Christie's (one of the big auction-houses) in India last year, and what was sold went for fortunes! (Likewise, auctions in the US and UK sell these paintings for unfathomable amounts.)
For another, private collection in India is a double-edged sword, for the government has claims to confiscate. Then, one art critic wrote, the Indian government does not make the paintings available on an ongoing basis for public viewing. So they always remain in a mystery-status.
(I will add that the Indian resources on the Internet are the worst for seeing the paintings clearly. They post tiny images, and very few of them - quite frustrating.)
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(https://s-media-cache-ak0.pinimg.com/564x/20/16/2d/20162d2ca9b8571490585372524732d4.jpg)
This painting depicts a group of Akali Sikhs on the march and was painted in the Panjab around 1860. The word Akali means a devotee of Akal, the Timeless One (God), and refers to wandering bands of religious zealots who dressed in blue and often carried several steel chakras (quoits) around their tall cotton turbans; they were also known as Nihangs, from the Persian nahang (crocodile), which means one who has nothing and is free from anxiety and care.
Best view in attachment:
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(https://s-media-cache-ak0.pinimg.com/564x/57/71/78/577178505cfdbaa71042c596e0812af2.jpg)
Love. A lady with a go-between on a terrace. Pahari School, Kangra Style. Date 1800 (circa). Painted in: Panjab Hills
I'm not so sure it's as innocent as all that. Seems to be more than a 'message' being given, since the elderly one is pointing her finger at the younger one, in a scolding/chiding fashion.
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(https://s-media-cache-ak0.pinimg.com/564x/b0/e5/00/b0e50017b0d539674bd427db17026f79.jpg)
Noblewoman holding a Calf in a Cypress Garden. ca. 1700-50. Bidar, India Deccan
(Just love her.)
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And say
I love you beautiful sister
I'm sorry
I care for you better than my own heart
For you the world
And beyond
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Thank you for creating this beautiful space and being
A wonderful curator
Nurturer and sharer of wisdom
And I have enjoyed knowing you very much
Lovely Vicki
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I wouldn't mind at all if anyone weighed in on this painting.
(https://s-media-cache-ak0.pinimg.com/564x/13/ab/6c/13ab6c3a8cb702e3fde08a0263bb7c01.jpg)
Youth in European clothing and a young woman with her duenna. On paper. Mughal Style. Culture/period Islamic. Date 1700 (circa), India.
It looks to me like this young woman is being forcibly presented to the European man (Portugese?). The duenna is standing in restraint mode, left hand clasping the young one's left arm, right foot wedged in the center of the young one's feet. Almost looks to me as if the young one is about to be thrown on the bed.
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(https://s-media-cache-ak0.pinimg.com/564x/a6/7b/72/a67b72c68d2f6889f196c246004a6c3d.jpg)
A duenna and a young woman. Company School, Lucknow, ca.1815 - ca. 1820.
I search for info on the duenna. Some sources say she was simply the most elderly and reliable of the servants. Some call her a governess. Sometimes she is presented as a helpful confidante, yet sometimes, as in this painting, she appears to have been an oppressive influence.
http://media.vam.ac.uk/collections/img/2011/ET/2011ET9989_2500.jpg
She isn't unique to Indian culture.
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(https://s-media-cache-ak0.pinimg.com/564x/0f/c6/6c/0fc66c23b1a02e4bddfac83b8dcc30d2.jpg)
An Idealized Beauty, Holding Musical Clappers. Date: ca. 1760–1800. Geography: Jaipur, Rajasthan. From "Divine Pleasures: Painting from India's Rajput Courts—The Kronos Collections" exhibition at The Met
http://www.metmuseum.org/exhibitions/view?exhibitionId=%7B02cef407-c9f9-4ddc-a43d-547eed945478%7D&oid=690274&pkgids=360&pg=1&rpp=4&pos=1&ft=*
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No other way to do justice to this painting than to give you its link:
https://chawedrosin.files.wordpress.com/2009/03/sage-markandeyas-ashram.jpg
Sage Makandeya’s Ashram , attributed to the “Darga Master”. 17th-18th century, from the "Garden and Cosmos" exhibition.
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(https://s-media-cache-ak0.pinimg.com/564x/41/91/33/4191330ec1c5d6fffecbfb227764e626.jpg)
The maharajas of Mughal, Bhavnagar, Mewar, Kota, and many other kingdoms and empires on the subcontinent of India throughout history followed the same rajadharma (the king’s way) which prescribed that any ruler must support religion – the very foundation of his power; protect his subjects with military strength & diplomacy; conduct state affairs with an assembly of nobles; keep law & order in place, marry polygamously & for political reasons, and patronize arts & crafts.
Date/place of origin unknown.
The best version is here: http://3.bp.blogspot.com/-LEswX1KV12A/TqBrPRuXBfI/AAAAAAAAFck/FX_W8qEkZ0E/s1600/2.%2BAAM%2BMaharaja%2B13.jpg
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"Bahram Gur Sees a Herd of Deer Mesmerized by Dilaram's Music", Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi, poet. Attributed to Miskin (active ca. 1570–1604). c.1597–98. Islamic. Trimmed/enhanced.
Enlarged view. http://images.metmuseum.org/CRDImages/is/original/DP120803.jpg
Best in attachment.
I'm very enamored with the idea of playing music or singing for the critters.
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A lady feeding a group of deer, accompanied by an attendant waving a morchal. Nurpur, second half of the 19th Century
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"A mother is applying tika on her forehead and the child is holding the mirror and helping her. Kangra painting of Raja Sansarchand period, 1800 AD." ~Daljeet Kaur
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Marriage procession through the bazaar at night preceded by an elephant and fireworks. Tanjore, c.1830.
Better view at the link or in the attachment (click and enlarge): http://media.vam.ac.uk/collections/img/2011/EU/2011EU1068_2500.jpg
(So detailed!)
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Large Clive Album, youth with buck on lead, opaque watercolour and gold on paper, Mughal, first half 18th century
Click and enlarge either the attachment or this link: http://media.vam.ac.uk/collections/img/2013/GJ/2013GJ0265_2500.jpg
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(https://s-media-cache-ak0.pinimg.com/564x/46/fd/68/46fd68cc499f8b1a55e393ae3dc3f373.jpg)
Large Clive Album, old woman, opaque watercolour and gold on paper, Mughal, ca. 1760
Click and enlarge either the attachment or this link: http://media.vam.ac.uk/collections/img/2013/GJ/2013GJ0361_2500.jpg
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A dancing-girl. Lucknow. Date ca.1815 - ca. 1820
The shoes!!
For best view, click and enlarge attachment or this link: http://media.vam.ac.uk/collections/img/2011/ET/2011ET9992_2500.jpg
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Jehovah appearing to a Saint, opaque watercolour and gold on paper, Mughal or Deccani, ca. 1760
Click and enlarge the attachment or this link for best view: http://media.vam.ac.uk/collections/img/2013/GD/2013GD6823_2500.jpg
I've seen a lot of Mary, Jesus, and nativity scenes, but never a depiction like this in the Indian Paintings before. It must have been commissioned by someone in the Akbar lineage, fond that they were of expanding their horizons into comparative religions.
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Shuja' al-Daula, Nawab of Oudh, holding court during Holi, by Gobind Singh Shauquin, Lucknow, circa 1760
Click and enlarge attachment for best view.
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Asaf al-Daula, Nawab of Oudh, celebrating the spring festival of Holi with the ladies of his court, attributable to Mir Kalan Khan, Lucknow, circa 1775
Click and enlarge attachment for best view. Detail is visible in attachment.
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Detail of the following:
This detail of a scroll painting probably painted in Mysore in about 1860 shows Krishnaraja Wadiyar, Raja of Mysore (r.1799-1868) on an elephant leading a religious procession in honour of the god Shiva. (He was formerly misidentified as Raja Sarabhoji of Tanjore (1777-1832) British military commanders are also shown.
From left to right:-
http://media.vam.ac.uk/collections/img/2009/CB/2009CB8425_2500.jpg
http://media.vam.ac.uk/collections/img/2009/CB/2009CB8426_2500.jpg
Krishnaraja Wadiyar is preceded by dancing-girls, musicians, chauri-bearers and men carrying illuminations and letting of fireworks.
The Raja is followed by the British Resident, Colonel Mark Cubbon, and two Indian military commanders on horseback, elephants with kettledrums, horsemen and a great crowd with illuminations.
A wooden platform bearing an image of Shiva on a prancing horse under a canopy, followed by a crowd with dancing-girls and musicians. Four temple cars dragged by ropes bearing images of Durga on a lion, Shiva on Nandi, Shiva on an elephant and Shiva on a horse. Dancing girls and men with fireworks may also be seen. Shiva is carried in an elaborate gold and red carved car drawn by four small red horses.
It is notable that the howdah and the headdress of the elephant are all adorned with tiger stripes of the characteristic form associated with the personal possessions of Tipu Sultan. Following the defeat and death of Tipu Sultan after the Siege of Seringapatam in 1799, his treasury was seized by the British Prize Agents. The British installed the five-year old Krishnaraja Wodeyar III as Maharaja of Mysore, returning the territory to Hindu rule. They gave the young ruler some of Tipu Sultan's possessions, almost certainly including elephant howdahs and accoutrements. ~V&A Museum
Click and enlarge attachment or link for best view: http://media.vam.ac.uk/collections/img/2009/CB/2009CB8423_2500.jpg
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(Love the procession paintings.)
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Delhi Gate, Agra Fort, Delhi, ca.1836
Click/enlarge attachment or link for best view: http://media.vam.ac.uk/collections/img/2011/EX/2011EX3596_2500.jpg
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(http://museumsofindia.gov.in/repository/file/im_kol/im_kol-R-638-S-145-15195/im_kol-R-638-S-145-15195_01_h.jpg)
Young Jahangir and Jodh Bai standing under a kadam tree holding two birds (Bulbul)
http://museumsofindia.gov.in/repository/file/im_kol/im_kol-R-638-S-145-15195/im_kol-R-638-S-145-15195_01_h.jpg
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4 Moods of Women's Solitude, Mughal, Yr. Unk
https://pbs.twimg.com/media/DBIEiY4U0AAkQvW.jpg
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Dancing in the zenana - data unk.
https://pbs.twimg.com/media/C3QNkd9UEAAd6SU?format=jpg&name=large
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Love all that gold..
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A lady of the court, by an unknown artist from Agra or Burhanpur, India, 1630-33. - British Library
http://blogs.bl.uk/.a/6a00d8341c464853ef01bb09a19fd9970d-pi
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A lady of the court, by an unknown artist from Agra or Burhanpur, India, 1630-33. - British Library
http://blogs.bl.uk/.a/6a00d8341c464853ef01b7c8fe7ed7970b-pi
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Large Clive Album, dancing sarangi player, ink, watercolour and gold on paper, Mughal, first half 18th century
Either click/enlarge the attachment or the following link for best view:
http://media.vam.ac.uk/collections/img/2013/GJ/2013GJ0279_2500.jpg
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Large Clive Album, wrestler stretching bow, opaque watercolour and gold on paper, Mughal, first half 18th century
Click/enlarge attachment or this link for best view:
http://media.vam.ac.uk/collections/img/2013/GJ/2013GJ0264_2500.jpg
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(https://pbs.twimg.com/media/DDS0hHhXcAU9G3G.jpg)
Dara Shukoh Hunts Nilgai. Payag, 1640. St. Petersburg Album. Freer-Sackler Galleries.
https://pbs.twimg.com/media/DDS0hHhXcAU9G3G.jpg
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(https://pbs.twimg.com/media/DDj1HmpXgAESoPj.jpg)
No data whatsoever on this image. I just thought it was bold and very cool.
https://pbs.twimg.com/media/DDj1HmpXgAESoPj.jpg
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(https://pbs.twimg.com/media/DEZ3fC5XoAA7_cM.jpg)
Gulab Bai and band sing Holi bhajans for Mohammad Shah Rangila by Bhupal Singh, Delhi, 1738 Douce Album. Now in the Bodleian
https://pbs.twimg.com/media/DEZ3fC5XoAA7_cM.jpg
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Lady in prayer, probably taken from a European original, opaque watercolour on paper, Mughal, 18th century
Click/enlarge: http://media.vam.ac.uk/collections/img/2013/GD/2013GD6674_2500.jpg
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(https://s-media-cache-ak0.pinimg.com/564x/ae/66/d5/ae66d54c5e0bfd122e3873728883b34d.jpg)
Women in a Garden on a Moonlit Night. Ink and watercolor on paper, India, 1744, RISD Museum, ... a woman sings to entertain a young princess and her nurses on a marble terrace against a bright evening lit by the moon; The scene takes place in the intimate setting of the zenana, or women’s quarters, of the palace. The artist’s delicate brushwork is characteristic of this period of Mughal court.
http://desimonewayland.tumblr.com/post/158366449533/women-in-a-garden-on-a-moonlit-night-1744-india
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(https://pbs.twimg.com/media/DGvBcNfUAAAlFeD.jpg)
(Data not provided.)
https://pbs.twimg.com/media/DGvBcNfUAAAlFeD.jpg
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That's a very pretty one.
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Linga Puja. Mihr Chand. Lucknow, 1775. Staatliche Museen zu Berlin.
https://pbs.twimg.com/media/DKNiTBWVAAAqboG.jpg
(This may be an encore posting - stumbled into it tonight and was reminded how pretty it was.)
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The Durga Puja Being Celebrated on the River Hugli, Calcutta, 1875 by George Gidley Palmer (1830–1905)
https://pbs.twimg.com/media/DK4vLSWXcAADVVV.jpg
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Solomon Receives a Message from the Hoopoe, Mughal, second half 17th century, with calligraphy by the royal scribe Abd al-Rahim Anbarin Qalam
Click/enlarge attachment for best view.
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Study of a Gingi Vulture, Company painting, Calcutta, c.1803
Click/enlarge attachment for best view.
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A female guard with a spear. From an album containing fifty-three drawings depicting occupations, Lucknow, c.1815-20..
Click/enlarge attachment
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'A female chobdarin or usher. Noordanee Begnee' Inscribed: From an album containing fifty-three drawings depicting occupations, Lucknow, c.1815-20..
Click/enlarge attachment.
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Charles Robertson's 'Bazaar gossip' c1886.
https://pbs.twimg.com/media/DLvcfTIVYAAjJFf.jpg
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Some very fine paintings there Vicki.
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Mythological Bird. 1750. Deccan? Rijksmuseum.
https://pbs.twimg.com/media/DO4eNShVwAEXF2z.jpg
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(https://pbs.twimg.com/media/DOXJKtTVwAACikm.jpg)
Prince Khurram Saves Raja Anup Singh. Balchand. Padshahnama, 1610. Royal Collection.
https://pbs.twimg.com/media/DOXJKtTVwAACikm.jpg
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Even though they are very popular in the art world, I tend to avoid, and certainly avoid posting, hunting paintings. But the above painting was so vibrant, especially per its use of gold, I couldn't resist it.
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Farrukh Siyyar and his Rastafarian Horse, c1720, Collection of Archibald Swinton.
https://pbs.twimg.com/media/C2E3fxqWgAATjJM.jpg
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Indra consults Sage Brihaspati. Purkhu of Kangra. 1810. Govt. Museum & Art Gallery, Chandigarh.
https://pbs.twimg.com/media/C4wNtncUcAAUZQm.jpg
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(https://pbs.twimg.com/media/C6za4pWU4AA77Ea.jpg)
Recueil de peintures et de calligraphies des meilleurs artistes de la Perse et de l'Inde
https://pbs.twimg.com/media/C6za4pWU4AA77Ea.jpg
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(https://pbs.twimg.com/media/C6ywJp1WsAE_PL2.jpg)
Holi festival: cross-dressing, music & squirting coloured pigments. Lucknow painting, 19th century.
https://pbs.twimg.com/media/C6ywJp1WsAE_PL2.jpg
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Indian demons attacking a fort defended by European troops, 1791
https://pbs.twimg.com/media/C1bD2u8XUAAa-DH.jpg
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(https://pbs.twimg.com/media/C_kBMCGUwAAg27r.jpg)
Nadira Banu Begum was a Mughal Princess and Dara Shikoh's wife.
https://pbs.twimg.com/media/C_kBMCGUwAAg27r.jpg
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William Fraser's 'wife' Amiban. Fraser Album. Delhi, 1815. David Collection.
https://pbs.twimg.com/media/C_6WsecXYAAkCAH.jpg
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Villagers of Rania. Fraser's 'wife' Amiban on left. Fraser Album. Delhi, 1815. David Collection.
https://pbs.twimg.com/media/C_6WiLsXkAM_eRv.jpg
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Jahangir Receives Prince Khurram after the Mewar Campaign. Abid, 1656. Padshahnama. Royal Colln.
Anything from the Padshahnama is exquisite.
https://pbs.twimg.com/media/DC-H1CGXcAE-hxo.jpg
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Artist Marianne North born in 1830, painted as she travelled across South Asia in 1870s. 'Street of Cheetahs'
https://pbs.twimg.com/media/DM96tA-WkAAHkiT.jpg
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17th century Mughal flower studies
https://pbs.twimg.com/media/DFvlVtsXYAEr0Ty.jpg
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Mischievous monkeys in a banyan tree, c.1820, Lucknow
https://pbs.twimg.com/media/C4QTD3jXUAEIbct.jpg
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(https://i.pinimg.com/originals/fc/0c/d2/fc0cd223e527cb5cc4f1e115d5c80a60.jpg)
19th century composite
https://i.pinimg.com/originals/fc/0c/d2/fc0cd223e527cb5cc4f1e115d5c80a60.jpg
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Love this one
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Kantha, unknown, early 20th-century, Bangladesh. Museum © Victoria and Albert Museum, London
https://pbs.twimg.com/media/DQrY2UOWsAEaK0z.jpg
Article on Kantha: https://www.vam.ac.uk/articles/kantha-a-south-asian-quilting-tradition?utm_source=twitter&utm_medium=social&utm_campaign=digital&utm_content=kantha
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Mother & Child wit a White Cat by Manoharor Basawan. San Diego Museum
https://pbs.twimg.com/media/B5sV2ejCAAAxf54.jpg
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(https://pbs.twimg.com/media/DSlP8v0UMAEgkmX.jpg)
The Huqqah Smoker. Lucknow, 1775. Christie's.
https://pbs.twimg.com/media/DSlP8v0UMAEgkmX.jpg
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Ladies Chess. Mandi, 1810. Rijksmuseum.
https://pbs.twimg.com/media/DTJVQWuXcAEBgSD.jpg
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(https://pbs.twimg.com/media/DTgyr1sV4AA2o_M.jpg)
Lady with Pomegranate. Bundi, 19th century.
https://pbs.twimg.com/media/DTgyr1sV4AA2o_M.jpg
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(https://pbs.twimg.com/media/DUF41fQXcAATCXx.jpg)
Mischievous squirrels in a plane (chenar) tree by Abul Hassan, c1610.
https://pbs.twimg.com/media/DUF41fQXcAATCXx.jpg
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(https://pbs.twimg.com/media/DUmoJBOVAAI9tcX.jpg)
The Stallion from Mecca. Mir Ibrahim. Mughal, 17th century. Bibliothèque Nationale de France.
https://pbs.twimg.com/media/DUmoJBOVAAI9tcX.jpg
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(https://pbs.twimg.com/media/DVR9xKmWkAAGCIG.jpg)
Jesus and Samaritan women at the well. From foundation custodia Mirat Al quds. Year not noted. (17th cent?)
I often read that Akbar wished to see paintings involving the Christian stories.
https://pbs.twimg.com/media/DVR9xKmWkAAGCIG.jpg
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(https://pbs.twimg.com/media/DVgoFr_U0AEXyac.jpg)
Aerial photograph of Sun Temple, Modhera(Gujarat) Patron: King Bhimadeva
https://pbs.twimg.com/media/DVgoFr_U0AEXyac.jpg
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Looks like a pleasant place.
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Maharana Fateh Singh's hunting party crossing a river in flood. Opaque watercolour on paper, by Shivalal (signed). Udaipur, Rajasthan, 1893. The City Palace Museum. Image source: Wonder of the Age: Master Painters of India, 1100–1900 Guy, John,& Jorrit Britschgi (2011), page 199
https://pbs.twimg.com/media/DWhFa83XcAAAQw7.jpg
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(https://pbs.twimg.com/media/DWxKlaxVwAASpei.jpg)
The Night Visit. Provincial Mughal. Late 18th Century.
https://pbs.twimg.com/media/DWxKlaxVwAASpei.jpg
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(https://pbs.twimg.com/media/DYBGv-XXkAIG_uN.jpg)
Sakunavali series from Mewar
(What sort of critter is this?)
https://pbs.twimg.com/media/DYBGv-XXkAIG_uN.jpg
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(https://pbs.twimg.com/media/DY6lS9hXcAEzpC5.jpg)
AN ILLUSTRATION TO THE MAHABHARATA
India, Punjab Hills, Mandi, circa 1830
https://pbs.twimg.com/media/DY6lS9hXcAEzpC5.jpg
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(https://pbs.twimg.com/media/C3d0OVDUcAA_9nO.jpg)
The Carriage of Prince Mirza Babur. Fraser album artist. Delhi, 1815.
https://pbs.twimg.com/media/C3d0OVDUcAA_9nO.jpg
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Gate of Serai Chandpore. Rohilla District. Thomas Daniell. 1790.
https://pbs.twimg.com/media/DaRFBEmXcAEkIbg.jpg
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(https://pbs.twimg.com/media/DaQAvMlUMAA4ZiL.jpg)
Mughal period - no other data
https://pbs.twimg.com/media/DaQAvMlUMAA4ZiL.jpg
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(https://pbs.twimg.com/media/DacKqi0XUAAA_xC.jpg)
The Story of the King who fell from his horse and dislocated his head from Sadi’s Bustan. Copy dated 1757 at Delhi (IO Islamic 1779, f47v)
Kinda gruesome, but I admired the craftsmanship.
https://pbs.twimg.com/media/DacKqi0XUAAA_xC.jpg
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(https://pbs.twimg.com/media/DafXwK9X4AEUf4D.jpg)
A pet dog sits by a Raja who is listening to musicians on a terrace. Gouache c. 1800 by Svarup Ram
https://pbs.twimg.com/media/DafXwK9X4AEUf4D.jpg
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(https://pbs.twimg.com/media/DA8G_QJXsAIlCAJ.jpg)
Zebra (c.1621) by Ustad Mansur (Mughal,17th century)
https://pbs.twimg.com/media/DA8G_QJXsAIlCAJ.jpg
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(https://pbs.twimg.com/media/CmIspKuUYAA0f6n.jpg)
Ustad Mansur, Mughal. c.1695
https://pbs.twimg.com/media/CmIspKuUYAA0f6n.jpg
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(https://pbs.twimg.com/media/DbLSNV0VMAEsupE.jpg)
Salim Album: Nobleman Saying His Rosary Beneath a Tree
https://pbs.twimg.com/media/DbLSNV0VMAEsupE.jpg
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(https://pbs.twimg.com/media/DZoIaaMVAAEePHO.jpg)
The Chess Players. Eastern India. Early 19th century. Circle of Arthur William Devis. Christie's.
https://pbs.twimg.com/media/DZoIaaMVAAEePHO.jpg
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Nice series here Vicki.
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(https://pbs.twimg.com/media/DEmQt2IUMAAOn3E.jpg)
No data given.
https://pbs.twimg.com/media/DEmQt2IUMAAOn3E.jpg
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(https://pbs.twimg.com/media/C_NdiReXcAEIi6z.jpg)
Intricately carved model of a Hindu chariot was made in 18th-century India. Over 2 metres tall! http://ow.ly/DvAD30bsxXa
https://pbs.twimg.com/media/C_NdiReXcAEIi6z.jpg
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(https://pbs.twimg.com/media/DEE9g0-XUAEakpA.jpg)
Data not noted. Probably Mughal.
https://pbs.twimg.com/media/DEE9g0-XUAEakpA.jpg
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(https://pbs.twimg.com/media/C3cUpA-VcAUR0RB.jpg)
Lady in European dress. No data given.
https://pbs.twimg.com/media/C3cUpA-VcAUR0RB.jpg
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(https://pbs.twimg.com/media/DCdB2a4XsAAkk6g.jpg)
Gathering of ladies.
No data given.
https://pbs.twimg.com/media/DCdB2a4XsAAkk6g.jpg
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(https://pbs.twimg.com/media/DDg5qF6UIAA1Hez.jpg)
Ladies listening to music. No data given.
https://pbs.twimg.com/media/DDg5qF6UIAA1Hez.jpg
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(https://pbs.twimg.com/media/DEu41GDW0AEdFPJ.jpg)
A Festive Gathering, Company School, Patna or Murshidabad, early 19th century
https://pbs.twimg.com/media/DEu41GDW0AEdFPJ.jpg
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(https://pbs.twimg.com/media/C9bJH2JUMAA-wSh.jpg)
Women hunters. No data given.
https://pbs.twimg.com/media/C9bJH2JUMAA-wSh.jpg
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(https://pbs.twimg.com/media/C7Bckn6UwAAnZET.jpg)
"Luring a peacock". No data given, and I believe this is a Nayika image.
https://pbs.twimg.com/media/C7Bckn6UwAAnZET.jpg
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Lovely series...
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(https://pbs.twimg.com/media/Dees_IhW0AE0W_r.jpg)
Th Fairy Princess Bakawali riding on a chariot drawn by tigers and a Jackal Gouache and gold on paper Provincial Mughal, Hyderabad, Deccan, c 1780 (The Fairy Princess from the 1712 or 1722 romance Gul-e-Bakawali by Sheikh Izzatullah)
https://pbs.twimg.com/media/Dees_IhW0AE0W_r.jpg
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(https://pbs.twimg.com/media/DDRGS8KUQAE4QZQ.jpg)
Prayers In Mosque, 1871, oil on canvas By Jean-Léon Gérôme
https://pbs.twimg.com/media/DDRGS8KUQAE4QZQ.jpg
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(https://pbs.twimg.com/media/Dey9hB0W4AEKQed.jpg)
From a 16th century volume of dream-interpretation.
https://pbs.twimg.com/media/Dey9hB0W4AEKQed.jpg
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(https://pbs.twimg.com/media/DBNqBjpUAAA4QjV.jpg)
Mughal butterfly, c.1605
https://pbs.twimg.com/media/DBNqBjpUAAA4QjV.jpg
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This one is a real beauty
(https://pbs.twimg.com/media/DDRGS8KUQAE4QZQ.jpg)
Prayers In Mosque, 1871, oil on canvas By Jean-Léon Gérôme
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This one is a real beauty
I agree!
https://en.wikipedia.org/wiki/Orientalism
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(https://pbs.twimg.com/media/CHlldx5VEAAKR2b.jpg)
Europeans Al Fresco. Mir Kalan Khan. Lucknow, 1770.
https://pbs.twimg.com/media/CHlldx5VEAAKR2b.jpg
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(https://pbs.twimg.com/media/CzM1f0uUcAUnQYv.jpg)
The Serpent Snare. Nāga-pāśa, weapon of Indrajit. Rāmāyaṇa. Udaipur, 18th Century
https://pbs.twimg.com/media/CzM1f0uUcAUnQYv.jpg
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(https://pbs.twimg.com/media/CEc12nSUIAAcT5F.jpg)
Sea Serpent Swallows Ship. Deccan. Bijapur, 1670. Aga Khan Museum.
https://pbs.twimg.com/media/CEc12nSUIAAcT5F.jpg
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(https://pbs.twimg.com/media/DkKXqJ7W0AEDMae.jpg)
Kangra painting from a Harivamsa series.
It looks like Krishna there, but I'm not sure.
https://pbs.twimg.com/media/DkKXqJ7W0AEDMae.jpg
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(https://pbs.twimg.com/media/C2LmuWZUoAAxzCd.jpg)
Horse and Syce. Shaikh Muhammad Amir of Karayya. Calcutta, 1842.
https://pbs.twimg.com/media/C2LmuWZUoAAxzCd.jpg
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(http://www-img.fitzmuseum.cam.ac.uk/img/pdp/pdp2/PD.78-1948.jpg)
Nilgai, Mughal, c.1630-40
http://www-img.fitzmuseum.cam.ac.uk/img/pdp/pdp2/PD.78-1948.jpg
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(https://pbs.twimg.com/media/DqHZofxVAAIw9nM.jpg)
Plate XI from James Baillie Fraser's Views in the Himala Mountains (1820) shows the Hindu pilgrimage site of Gangotri, the source of Ganges.
https://pbs.twimg.com/media/DqHZofxVAAIw9nM.jpg
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(https://pbs.twimg.com/media/DqJ-wsHU4AAzsVN.jpg)
The Night Tryst. Kota, late 18th Century. Bonham's.
https://pbs.twimg.com/media/DqJ-wsHU4AAzsVN.jpg
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(https://pbs.twimg.com/media/DqzE1r9U4AEApax.jpg)
The Elephantine Elopement. Provincial Mughal, Late 18th Century.
https://pbs.twimg.com/media/DqzE1r9U4AEApax.jpg
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(https://pbs.twimg.com/media/DrCnL5iUwAAACIY.jpg)
Skirmish at the Shrine. Follower of Mir Kalan Khan. Oudh, 1760.
https://pbs.twimg.com/media/DrCnL5iUwAAACIY.jpg
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(https://pbs.twimg.com/media/CEDSH-SUUAEXbX3.jpg)
Jahangir Converses with Gosāīṅ Jadrūp. Jahangirnama. 1620.
https://pbs.twimg.com/media/CEDSH-SUUAEXbX3.jpg
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(https://pbs.twimg.com/media/Dq-7B2jWoAAgC1F.jpg)
Akbar Mounting his Horse; from the Chester Beatty Akbar Nama,1605-1607.
https://pbs.twimg.com/media/Dq-7B2jWoAAgC1F.jpg
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(https://pbs.twimg.com/media/Dq9jgSqU0AAcwXm.jpg)
Mrigank* and the Hermit. Folio from the Persian translation of the Dvadasa Bhava; Sanskrit original apparently lost. Commissioned by Prince Salim, the future Jahangir. Allahabad, 1605
*Mrigank -- a Sanskrit name for a boy meaning moon.
https://pbs.twimg.com/media/Dq9jgSqU0AAcwXm.jpg
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(https://pbs.twimg.com/media/Dou9q7yW4AEQRtW.jpg)
Painting by Farrukh chela from Gulshan album
(I don't know who the main character is, but the painting was so impressive.)
https://pbs.twimg.com/media/Dou9q7yW4AEQRtW.jpg
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(https://pbs.twimg.com/media/DrpI7bKUwAEUwoP.jpg)
Ghulam Murtaza Khan (?). Mirza Jahangir, eldest son of Akbar II, c1805?
https://pbs.twimg.com/media/DrpI7bKUwAEUwoP.jpg
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(https://pbs.twimg.com/media/Dwt7vKjWoAAU80c.jpg)
The Hoopoe. Opaque watercolour and gold on paper. Unknown artist. Jahangir period India, Mughal, circa 1610
https://pbs.twimg.com/media/Dwt7vKjWoAAU80c.jpg
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(https://pbs.twimg.com/media/Dw0Sxx_WsAQxo3_.jpg)
Melancholic Woman missing her lover & Attendant consoles her,a cat at the feet & poetry book accompanies Mughal, C 1590, Attributed to Kesava & Basawan
https://pbs.twimg.com/media/Dw0Sxx_WsAQxo3_.jpg
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(https://i.pinimg.com/564x/40/de/1e/40de1e4f35b92e56b83ddf60446f5e9c.jpg)
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(https://i.pinimg.com/564x/8b/15/2a/8b152aabce2c60fd4d4637191eb7c04d.jpg)
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(https://i.pinimg.com/564x/58/ca/1f/58ca1fa8989e1286a8ae219310cda7ff.jpg)
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(https://i.pinimg.com/736x/24/42/4e/24424ede5b336aa57d44e1c706ee60c9.jpg)
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(https://i.pinimg.com/564x/74/08/56/740856146bf33623c6ccda2d81b4ad98.jpg)
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(https://i.pinimg.com/564x/f1/18/5b/f1185b4398c5392c394071f2f9bb0baa.jpg)
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(https://i.pinimg.com/564x/ce/8d/06/ce8d066de72ccd58d284591adf3c03d3.jpg)
(https://i.pinimg.com/564x/a2/dd/d4/a2ddd43a920070401c2d608ae810d302.jpg)
(https://i.pinimg.com/564x/97/ae/d6/97aed61e93c375331eb5741179a2e0e9.jpg)
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(https://i.pinimg.com/564x/59/e4/2a/59e42a42bf79b927f0291c0af28f5254.jpg)
(https://i.pinimg.com/736x/dc/ae/d6/dcaed67abbc222c4f336e64b920ad40c.jpg)
(https://i.pinimg.com/enabled/564x/cb/06/76/cb06767667c2d92e39253a6b58f2562e.jpg)
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(https://i.pinimg.com/enabled/564x/e6/6b/43/e66b43578759ccdbeb26a02f374fc4d2.jpg)
(https://i.pinimg.com/736x/12/d5/ca/12d5ca397cd19779e2bc680f7d80ece6.jpg)
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(https://i.pinimg.com/736x/69/5a/ae/695aaeffe65f1c4db66f9ee2b5a867e2.jpg)
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(https://i.pinimg.com/736x/1e/e9/bb/1ee9bb7a23aee6504646e632e905645d.jpg)
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(https://i.pinimg.com/736x/55/96/7a/55967a6566b22ad24136c28034887517.jpg)