Persian Artists in Mughal India: Influences and Transformations

Soucek, Priscilla P.

doi:10.2307/1523102

Cited by 7 publications

(3 citation statements)

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“…Those artists were invited to join the Mughal emperor's entourage at a time when the Safavid court had become puritanical because of political changes. The problem of attributing some of these textiles comes from the constant cultural exchanges between the two imperial courts for at least two centuries [5].…”

Section: Background/introductionmentioning

confidence: 99%

Analysis of natural dyes and metal threads used in 16th -18th century Persian/Safavid and Indian/Mughal velvets by HPLC-PDA and SEM-EDS to investigate the system to differentiate velvets of these two cultures

2015

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Introduction: Analyses of natural dyes and the metal of the metal-wrapping threads used in 16 th -18 th century Persian/Safavid and Indian/Mughal period velvets were performed on these textiles in the collection of The Metropolitan Museum of Art. The purpose was to determine whether velvets from the two cultures, which have shown problems in the past with attribution based on historical and iconographical studies, could be more precisely differentiated with the additional evidence from identification of their natural dyes and metals along with information of weaving techniques. Dyes and metal of the metal-wrapped threads from fifteen Persian velvets and six Indian velvets were analyzed by high performance liquid chromatography with photo diode array detector and by scanning electron microscopy with energy dispersive X-ray spectrometry respectively. Results: There seem to be types of dyes which specifically characterize the velvets of each culture, as well as types of dyes commonly found in velvets of both cultures. Dyes typical of Persian velvets are cochineal and yellow larkspur, while lac and turmeric are characteristic of Indian velvets. The dyes commonly found are a combination of yellow larkspur and indigo dye in green, as well as safflower, indigo dye, soluble redwoods, and tannin dye. There were exceptions however. Because of those exceptions, examining the range of dyes used in the velvets would be important in differentiating the velvets. Metal used for wrapping the threads was in all cases found to be silver of fairly high purity, the majority of which had been gilded. The silver from Persia metal threads showed very slightly higher copper content, while Indian threads showed nearly pure silver. This is the first extensive comparative study of dyes and metal threads of Safavid and Mughal velvets: the first evidence of yellow larkspur being the most used yellow dye in Persia, and of the possible differences in the two cultures' metal threads.

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Section: Background/introductionmentioning

confidence: 99%

Analysis of natural dyes and metal threads used in 16th -18th century Persian/Safavid and Indian/Mughal velvets by HPLC-PDA and SEM-EDS to investigate the system to differentiate velvets of these two cultures

2015

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“…Furthermore, the Persian language was used by the Mughals to establish their empire in India. Persian functioned as the official language of governance in Mughal courts, and the Mughals also embraced Persian law and the Persian religion (Islam) 47 .…”

Section: Persian Influence and Mughal Architecture: Discussionmentioning

confidence: 99%

Characteristics of Islamic Calligraphy: Nasta‘liq, Persian Calligraphy Influences on Mughal Architecture of 17th Century

Zahra

SHAHIR

2023

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The investigation on Islamic calligraphy, particularly Nasta‘liq calligraphy, mainly focuses only on the history of calligraphy, calligraphers’ biographies, and calligraphy’s origins and training. No significant or pervasive research has been done on the identity or characteristics of the calligraphy forms and their traditional principles. Fewer studies have examined the visual character of calligraphy academically or considered it a research subject in its own right. Moreover, the Persian influence on Mughal architectural calligraphy faces a recognition gap and there is a need for more academic documentation. These are the particulars that this research aims to address. The research focuses on the characteristics and prominent features of Persian calligraphy, especially Naskh and Nasta‘liq writing styles of Persian origin. The study also dwells on the Persian calligraphy influences on the mosque architecture of the Mughal era. This research explored the physicality and intellectual characteristics of the Mughal calligraphy visuals. Two art theories—instrumentalism and formalism—are combined as a research method.

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“…For recent studies on the development of the secular sciences in pre-Mughal times, e.g., during the Delhi Sultanate (1206-1526), see Siddiqui (2012), Ray (2019), andHabib (2022). 2 See, inter alia, Anooshahr (2017) (on Humāyūn), Wink (2012) (on Akbar), Balabanlilar (2020) (on Jahāngīr), Calabria (2018) (on Šāh Jahān), Gandhi (2020) (on Dārā Šikūh), Lefèvre (2014) (on ʿAbd al-Raḥīm Ḫān-i Ḫānān), and more expansively, see Ojha (1961), Sahay (1968), Soucek (1987), Kozlowski (1995), andTruschke (2016) for larger discussions on Mughal patronage. Also see Sharma (2009), Busch (2010;2011), Kinra (2015), and Sharma (2017) for studies on the literary arts in early modern India, especially, on the Mughal patronage of vernacular and Persianate poetry, and Orsini and Schofield (2015), Koch and Anooshahr (2019), and Truschke (2021) for essays on the Mughal milieu rendered through imperial iconography and subaltern narratives.…”

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confidence: 99%

Calendars, Compliments, and Computations

Misra,

Arzoumanov

2023

Hist. Sci. South Asia

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Various studies in recent times have shown how sociohistorical proclivities played an important role in the acceptance or rejection of cross-cultural ideas in Mughal scientific discourses. The cultural patronage of the Mughal courts financed the production and propagation of certain scientific texts deemed intellectually and politically expedient. Among such texts were two seventeenth-century astronomical table-texts, Mullā Farīd's Persian Zīj-i Šāh Jahānī and its Sanskrit translation in Nityānanda's Siddhāntasindhu, both produced at the court of the Mughal Emperor Šāh Jahān. In this paper, we present, for the very first time, a comparative survey of the canon (text) of these two works to reveal the intimacy between the translated Sanskrit and its Persian original. The paper includes brief biographies of both astronomers, a summary of the salient features of the canons, a description of the manuscripts utilised and our transcription and transliteration schemes, along with a detailed comparison of the individual chapters in these canons. We also provide separate appendices with discussions on select aspects from these chapters. We note that this paper forms the first part in a two-part study, with a second forthcoming paper surveying the tables in these two texts (accompanied with mathematical annotations).

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Persian Artists in Mughal India: Influences and Transformations

Cited by 7 publications

References 0 publications

Analysis of natural dyes and metal threads used in 16th -18th century Persian/Safavid and Indian/Mughal velvets by HPLC-PDA and SEM-EDS to investigate the system to differentiate velvets of these two cultures

Analysis of natural dyes and metal threads used in 16th -18th century Persian/Safavid and Indian/Mughal velvets by HPLC-PDA and SEM-EDS to investigate the system to differentiate velvets of these two cultures

Characteristics of Islamic Calligraphy: Nasta‘liq, Persian Calligraphy Influences on Mughal Architecture of 17th Century

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