- Hardcover: 304 pages
- Publisher: NIYOGI BOOKS; Reprint edition (11 January 2011)
- Language: English
- ISBN-10: 8189738763
- ISBN-13: 978-8189738761
- Product Dimensions: 24.3 x 2.8 x 30.6 cm
- Average Customer Review: 4 customer reviews
- Amazon Bestsellers Rank: #35,639 in Books (See Top 100 in Books)
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Nainsukh of Guler: A Great Indian Painter from a Small Hill-State Hardcover – 11 Jan 2011
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About the Author
B.N.Goswamy, distinguished art historian, is Professor Emeritus of Art History at the Panjab University, Chandigarh. His work covers a wide range and is regarded, especially in the area of Indian painting, as having influenced much thinking. He has been the recipient of many honours, including the Jawaharlal Nehru Fellowship, the Rietberg Award for Outstanding Research in Art History, the Padma Shri (1998) and the Padma Bhushan (2008) from the President of India. Professor Goswamy has taught, as Visiting Professor, at several universities across the world, among them the Universities of Pennsylvania, Heidelberg, California (at Berkeley and Los Angeles), Texas (at Austin), Zurich, and the ETH (Federal University) at Zurich. He has also been responsible for major exhibitions of Indian art at Paris, San Francisco, Zurich, San Diego, New York and New Delhi. Among his many publications are: Pahari Painting: The Family as the Basis of Style (Marg, Bombay,1968); Painters at the Sikh Court (Wiesbaden, 1975), Essence of Indian Art (San Francisco, 1986); Wonders of a Golden Age: Painting at the Court of the Great Mughals (with E. Fischer, Zurich, 1987); Pahari Masters: Court Painters of Northern India (with E. Fischer; Zurich, 1992); Indian Costumes in the Collection of the Calico Museum of Textiles (Ahmedabad, 1993); Painted Visions: The Goenka Collection of Indian Paintings (New Delhi, 1999); Piety and Splendour: Sikh Heritage in Art (New Delhi, 2000); Domains of Wonder: Selected Masterworks of Indian Painting from the Edwin Binney Collection (with Caron Smith; San Diego, 2005); I See No Stranger: Early Sikh Art and Devotion (with Caron Smith; New York, 2006); The Word is Sacred; Sacred is The Word: The Indian Manuscript Tradition (New Delhi, 2006), and Indian Paintings in the Sarabhai Foundation (Ahmedabad, 2010).
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Goswamy has produced a formidable suggested timeline for an anonymous artist that he admires greatly, even if he doesn’t feel the same intimacy with him as with Nainsukh. In this book, he uses evidence like a line in a bahi of a pandit in Haridwar that records the names of Manaku and two cousins in 1736, along with a simple line- drawn portrait on the page as well as a line from another bahi in 1763 where Nainsukh mentions his brother Manaku as evidence to prove his existence. He’s also unearthed two portraits that he says are Manaku’s – one possibly posthumous, that help narrow down the timelines.
But, what this book actually does is catalogue as much of the artist’s works as Goswamy could locate, so that similar stylistic devices can be seen. There are 15 full paintings and drawings from the Siege of Lanka series (that he worked on, but didn’t complete); 30 from the Gita Govinda series; 58 drawings and paintings from the Bhagavata Purana series; 7 from the Ashwa-Shastra - an unusual series that’s drawn on rough paper and looks at horses ailments, and 5 others. There are also smaller versions of extant works that either weren’t in a condition to be printed or Goswamy couldn’t get permission to print.
This is a lifetime’s work (and the list of people he thanks runs into two pages). Most of these folios aren’t signed, so Goswamy depends on style and topic. He’s helped here by Manaku’s love for dense narration. Manaku produced work after work looking at tiny shifts in action in small cantos from the Ramayan or Gita Govinda – almost as if he doesn’t want the viewer to lose any part of the action. When you look at so many pages from a single folio, it’s easy to see there are similar stylistic devices in different series.
But the most underrated series that Goswamy locates is the Ashwa-shastra. Even though these drawings are produced on coarse paper, there’s a story that Raja Govardhan Chand, who occupied the throne in 1741 – a period that would have overlapped with Manaku, was so fond of a horse that he fought a war with the Governor of Punjab, Adina Beg Khan, over it. Certainly, Manaku’s gorgeous paintings of horses in the Bhagavat Purana and Ashwa-shastra show that his deep study extended beyond the religious.
painting book. And it is not batter then Pahari Masters Court painting book. After all the book is good one . If u have Pahari Masters painting book so u don't bye it .
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