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080016 PS Case Study II/III: Book Painting in Early Modern India (2021S)

Continuous assessment of course work

Registration/Deregistration

Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).

Details

max. 25 participants
Language: German

Lecturers

Classes (iCal) - next class is marked with N

The course will take place online. Should the health situation change for the better during the semester, the course will be held in a hybrid format.

Thursday 04.03. 09:00 - 10:30 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
Thursday 11.03. 09:00 - 10:30 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
Thursday 18.03. 09:00 - 10:30 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
Thursday 25.03. 09:00 - 10:30 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
Thursday 15.04. 09:00 - 10:30 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
Thursday 22.04. 09:00 - 10:30 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
Thursday 29.04. 09:00 - 10:30 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
Thursday 06.05. 09:00 - 10:30 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
Thursday 20.05. 09:00 - 10:30 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
Thursday 27.05. 09:00 - 10:30 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
Thursday 10.06. 09:00 - 10:30 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
Thursday 17.06. 09:00 - 10:30 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
Thursday 24.06. 09:00 - 10:30 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20

Information

Aims, contents and method of the course

The course provides an introduction to Mughal book painting during the reigns of Akbar (r. 1556-1605), Jahangir (r. 1605-1627) and Shah Jahan (r. 1628-1658). Akbar’s patronage in the area concentrated on illustrated manuscripts. His rule and the history of the Mughal dynasty were given centre stage in copies of the Akbarname (Book of Akbar) and the Baburname (Book of Babur). Translations of Hindu texts into Persian were also initiated during his reign and lavishly illustrated.
Under Jahangir and Shah Jahan, albums became the main focus of patronage and constituted an important tool of imperial self-representation. Albums brought together a great variety of images and calligraphy that were encased in elaborately decorated margins which helped create a cohesive whole. A number of genres gained prominence with the production of albums. These included depictions of fauna and flora and portraits of courtiers and court women. The reception of European engravings that had begun under Akbar had a lasting impact on both manuscript painting and the visual characteristics of Mughal albums.
While a majority of the artworks associated with Mughal painting today were made for the three emperors listed above, other patrons also played a role in shaping the artistic production of the period. Thus, patronage of other members of the court, such as the Rajput nobility, will also be considered. The Rajput chieftains, members of the ruling Hindu caste in north and east India, were integrated into the Mughal Empire’s elite after Akbar’s conquest. They were important patrons for book painting and the fusion of Mughal and Rajput elements in a number of manuscripts executed for Rajput patrons has led to the creation of the scholarly subcategory of Popular Mughal painting. In contrast, the Deccani sultanates ruling over the Deccan Plateau were the Mughal Empire’s main Muslim rivals in the region until the end of the seventeenth century. A brief discussion of book painting sponsored by Deccani sultans will bring the significance of Mughal painting for neighboring states into perspective.

The main aims of the course are:
-to practise presenting one’s research coherently
-to foster critical reading of scholarly literature

Describing, analysing and interpreting art works is practised with the help of short assignments, a presentation and a final paper. By discussing texts together, the class trains critical thinking. At the same time, the course provides students with basic training in research on book painting in Early Modern India.

Assessment and permitted materials

- active participation in class discussions
- 15-minute presentation including a handout
- written assignments and final paper (15.000-20.000 characters for the main text of the paper)
- By enrolling in this course you agree that the written work handed in in moodle be automatically checked for plagiarism by the software Turnitin.

Minimum requirements and assessment criteria

Minimum requirements:
- Attendance is required. A certificate should be sent to the lecturer in case of illness or family emergencies.
- It is a prerequisite that students complete all the partial requirements to pass this course. The final paper must comply with the citation rules of the Institute for Art History.
- Participants are expected to be able to use scholarly literature both in German and in English.
Course assessment:
- active participation in class discussions 15%
- 15-minute presentation and handout 30 %
- written assignments and final paper 55%
Grading scheme for the overall grade for the course:
100 - 87 points = 1, "very good"
86 - 75 points = 2, "good"
74 - 63 points = 3, "satisfactory"
62 - 50 points = 4, "sufficient"
49 - 0 points = 5, "insufficient"
No grade = X, "not graded"

Examination topics

Reading list

Stephan Conermann, Das Mogulreich: Geschichte und Kultur des muslimischen Indien, München 2006.

Jeremiah P. Losty, Mughal India: Art, Culture and Empire: Manuscripts and Paintings in the British Library, London 2012.

Annemarie Schimmel, Im Reich der Großmoguln: Geschichte, Kunst, Kultur, München 2000.

Susan Stronge, Painting for the Mughal Emperor: The Art of the Book 1560 - 1660, London 2002.

Association in the course directory

Last modified: Tu 02.03.2021 15:07