This book presents the Persian Baburnama, a key primary source and the earliest record of Babur’s memoirs. The authoritative translation uses paintings from the original work and draws on contemporary texts of the period to delve into the history of the legendary Mughal ruler. It provides a fresh treatment to the source material and highlights vivid accounts of the historical events of the time. The paintings are divided thematically, offering a unique and rare perspective into the Mughal world. Accompanied by a detailed Introduction, the volume also touches upon narrative art and analyses the influence of European Renaissance art on Mughal painting. With over 150 Mughal paintings and illustrations in colour, this volume will be an important sourcebook for scholars and researchers of Medieval Indian, especially Mughal, history, and art historians, as well as connoisseurs of art and the general reader.

This book presents the Persian Baburnama, a key primary source and the earliest record of Babur’s memoirs. The authoritative translation uses paintings from the original work and draws on contemporary texts of the period to delve into the history of the legendary Mughal ruler. It provides a fresh treatment to the source material and highlights vivid accounts of the historical events of the time. The paintings are divided thematically, offering a unique and rare perspective into the Mughal world. Accompanied by a detailed Introduction, the volume also touches upon narrative art and analyses the influence of European Renaissance art on Mughal painting. With over 150 Mughal paintings and illustrations in colour, this volume will be an important sourcebook for scholars and researchers of Medieval Indian, especially Mughal, history, and art historians, as well as connoisseurs of art and the general reader.

Both an official chronicle and the highly personal memoir of the emperor Babur (1483–1530), The Baburnama presents a vivid and extraordinarily detailed picture of life in Afghanistan, Pakistan, and India during the late-fifteenth and early-sixteenth centuries. Babur’s honest and intimate chronicle is the first autobiography in Islamic literature, written at a time when there was no historical precedent for a personal narrative—now in a sparkling new translation by Islamic scholar Wheeler Thackston. This Modern Library Paperback Classics edition includes notes, indices, maps, and illustrations. From the Trade Paperback edition.

At twelve, he was King of Fergana. At fifteen, he was King of Samarkand. And at nineteen, he was King of Exactly Nowhere. This is the story of Babur, the first Mughal emperor of Hindustan. It is based on the Babur Nama, in which Babur writes about the events in his life, and of the people and things he loved or hated. Descended from two legendary conquerors, Chenghis Khan and Amir Temur, Babur spent much of early life losing kingdoms, wandering through the Uzbek mountains and almost living the life of a vagabond. This is the story of the strange and wonderful things the future brought to him. Lavishly illustrated in Mughal miniature style paintings, this action-packed tale of this legend, king and adventurer will fascinate children and their parents alike.

The culmination of a two-part project, this volume takes an extended look at recent, important acquisitions by the Art Institute of Chicago's departments of American Arts, Architecture, Asian Art, European Painting, and Prints and Drawings. Bringing the museum's collecting activities into wide public view, it showcases over forty notable works handpicked by Art Institute curators and the museum's director and president, James N. Wood. Together with its companion issue, which was published in Fall 2003, this publication explores art works acquired between 1992 and 2003, years that have brought significant additions to every area of the Art Institute's holdings. This volume surveys an impressive array of objects, including a glittering Empire card table from early nineteenth-century New York; a fragment of Frank Lloyd Wright's Imperial Hotel, Tokyo (1923); and important paintings and works on paper by artists as diverse as Lee Krasner, Edvard Munch, Ni Zan, and Rembrandt van Rijn. Illuminated by striking, full-colour reproductions and a lively, accessible text, this is an indispensable guide to the newest and finest the Art Institute has to offer.

A comprehensive collection of Mughal Natural History drawings, centred on the art of Ustad Mansur with current scientific information. Includes rare Mansur paintings from Russia and Tehran. Imaginary Birds, showcasing the artist's imagination beyond the representation of realism in nature. The Mughals combined their love of nature with their love and patronage of art. By Akbar's reign the master artists of his atelier were producing hundreds of paintings of birds and animals with great accuracy and suavity for manuscripts of animal fables and adventures for the Emperor. Natural history drawing reached its highest point during the reign of Akbar's son Jahangir whose atelier most notably illustrated the Baburnama, Jahangir's great grandfather's treatises celebrated as the first systematic account of Indian flora and fauna. Among the various master artists of Akbar and Jahangir's ateliers, none are more important than Ustad Mansur who painted many images of rare and unusual birds, animals, and flowers for Jahangir. Mughal Natural History Drawings and Ustad Mansur presents these images with their correct scientific identification and other relevant details.

This companion is the first global, comprehensive text to explicate, theorize, and propose decolonial methodologies for art historians, museum professionals, artists, and other visual culture scholars, teachers, and practitioners. Art history as a discipline and its corollary institutions - the museum, the art market - are not only products of colonial legacies but active agents in the consolidation of empire and the construction of the West. The Routledge Companion to Decolonizing Art History joins the growing critical discourse around the decolonial through an assessment of how art history may be rethought and mobilized in the service of justice - racial, gender, social, environmental, restorative, and more. This book draws attention to the work of artists, art historians, and scholars in related fields who have been engaging with disrupting master narratives and forging new directions, often within a hostile academy or an indifferent art world. The volume unpacks the assumptions projected onto objects of art and visual culture and the discourse that contains them. It equally addresses the manifold complexities around representation as visual and discursive praxis through a range of epistemologies and metaphors originated outside or against the logic of modernity. This companion is organized into four thematic sections: Being and Doing, Learning and Listening, Sensing and Seeing, and Living and Loving. The book will be of interest to scholars working in art history, visual culture, museum studies, race and ethnic studies, cultural studies, disability studies, and women’s, gender, and sexuality studies.