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Workshop and Patron in Mughal India: The Freer Rāmāyaṇa and Other Illustrated Manuscripts of 'Abd al-Raḥīm PDF

339 Pages·1999·111.693 MB·English
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Workshop and Patron in Mughal India: The Freer Rāmāyaṇa and Other Illustrated Manuscripts of 'Abd al-Raḥīm Author(s): John Seyller Source: Artibus Asiae. Supplementum, Vol. 42, Workshop and Patron in Mughal India: The Freer Rāmāyaṇa and Other Illustrated Manuscripts of 'Abd al-Raḥīm (1999), pp. 2-7+9-63+65- 249+251-291+293-339+341-344 Published by: Artibus Asiae Publishers Stable URL: http://www.jstor.org/stable/1522711 . Accessed: 05/07/2013 17:19 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . Artibus Asiae Publishers is collaborating with JSTOR to digitize, preserve and extend access to Artibus Asiae. Supplementum. http://www.jstor.org This content downloaded from 128.59.62.83 on Fri, 5 Jul 2013 17:19:48 PM All use subject to JSTOR Terms and Conditions John Seyller Workshop and Patron in Mughal India The FreerR dmdyanaa nd OtherI llustratedM anuscriptso f 'Abda l-Rahkm ARTIBUS ASIAE Publishers,M useumR ietbergZ urich,S witzerland In Associationw ith the FreerG alleryo f Art, SmithsonianI nstitution, Washington D.C. I999 I SupplementuXmL II [42] This content downloaded from 128.59.62.83 on Fri, 5 Jul 2013 17:19:48 PM All use subject to JSTOR Terms and Conditions I^'. . i ;i PCX :'r4 ?1., ... . .:1 This content downloaded from 128.59.62.83 on Fri, 5 Jul 2013 17:19:48 PM All use subject to JSTOR Terms and Conditions Impressum Editing Distribution CoverI llustration ThomasL awton Artibus Asiae Publishers Ramaa nd Laksmanaa ttackT araka. Museum Rietberg Zurich Artist: Mushfiq Layouta nd CoverD esign Gablerstrasse1 5 25.6 x 13.7 cm. ElizabethH efti CH-8002 Zurich (Detail of fig. 40, page 109) Fax (+41) I 202 52 01 ColorS eparations [email protected] Frontispiece Thomas Humm Portraito f'Abd al-Rahim. By Hashim. ca. I626. Printing Freer Gallery of Art 39.50. DruckereiK onstanz Folio 38 x 26 cm, D-Konstanz painting I4.9 x 8.2 cm. (fig. 20, page 49) Copyright ? Publikationsstiftung fur das Museum Rietberg Zurich ISBN 3-907070-90-9 Printed in Germany 4 This content downloaded from 128.59.62.83 on Fri, 5 Jul 2013 17:19:48 PM All use subject to JSTOR Terms and Conditions Table of Contents 9 Introduction 1 13 The Formationa nd Diffusiono f the ImperialM ughal Style 13 TheT hemeos f MughalP ainting 15 TheF ormationof theM ughalS tyle 20 MughalP aintingd uringt heR eignso f Akbara ndJahdngir 22 TheD iffusiono f Paintingi n theI mperiaMl ughalS tyle 24 Thei f98-99 Razmndma 27 OtherP atronsin theI mperiaFl amily 29 ManuscriptIsll ustratefdo r IdentifiablSeu bimperiaPla trons 32 OtherP opularM ughalW orksin theI slamicT radition 33 PopularM ughalW orksin theI ndigenouIsn dianT radition 37 Conclusion I 45 The Lifea nd Libraryo f 'Abd al-Rahim 45 PublicC areer 48 PersonalQ ualities 50 TheL ibraryP ersonnel 54 TheL ibraryH oldings 56 TheL ibrary'Ls ocation III 65 CodicologicalA spects of the FreerR amayana 65 TheP ersianT ext 66 Notationsin theM anuscript 70 Folioa nd PaintingN umbers 73 'Abda l-Rahim'sI nscription 75 TheD ate of theM anuscript IV 81 The Illustrationso f the FreerR ama.yana 81 Introduction 88 CriticalD escriptioonf theI llustrations V 251 Other ManuscriptsI llustratedf or 'Abd al-Rahim 252 TheI 6I6-I7 Razmnama 5 This content downloaded from 128.59.62.83 on Fri, 5 Jul 2013 17:19:48 PM All use subject to JSTOR Terms and Conditions 257 The Laud Rdgamdal 263 The British Library Shahndma 273 The Berlin Khamsa of Amir Khusraw 283 The Timuzrndma VI 293 Border Decorations and Bindings 293 TheC hesteBr eattyL ibraryP anj Ganj ofJ mi 301 The Berlin Khamsao f Amir Khusraw 307 The Laud Rdgamdld 307 Bookbindings VII 313 'Abd al-Rahim as a Patron 323 Appendices 323 A Illustrations of the Jaipur Rdmdyana 328 B British Library Shahndma( Add. 5600) 329 C Staatsbibliothek zu Berlin - Preussischer Kulturbesitz Orientabteilung Khamsa of Amir Khusraw Dihlawi (Ms. Or. I278) 330 D Reconstruction of the Berlin Khamsao f Amir Khusraw 332 E Chester Beatty Library Panj Ganj (Ms. 20) 333 Bibliography 337 Glossary 341 Index 6 This content downloaded from 128.59.62.83 on Fri, 5 Jul 2013 17:19:48 PM All use subject to JSTOR Terms and Conditions Acknowledgments This study grew out of my Ph.D. dissertation,w hich I wrote at HarvardU ni- versityu ndert he supervisiono f PramodC handraO, leg Grabar,a nd Wheeler Thackston,J r. JoannaW illiams of the Universityo f CaliforniaB, erkeley,i ni- tially suggested the Rdmdyanaas a topic of study. I am gratefulf or theirg uid- ancea nd unwaverings upport. Many friends and colleagues have assisted me in countless ways. Milo Beach,J eremiahL osty, and Oleg Grabarr eade arlyv ersionso f the text. Milo Beach also made available the unparalleled facilities and photographic archiveso f the FreerG alleryo f Art, and offeredt o supply a numbero f pho- tographst o the publication.T homasL entzw as most helpful in making final arrangementsfo r publication.E berhardF ischero f the MuseumR ietbergw as an enthusiastics upportero f the project,a nd generouslya greedt o underwrite much of the expenseo f the book. I also wish to thank Martin Amt, Craig Korr,J im Smith, and Martha Smith of the FreerG alleryo f Art and the ArthurM . SacklerG allery;C arolyn Kane,M arieL ukensS wietochowski,D aniel Walkero f the MetropolitanM u- seum of Art; and Ralph and CatherineB enkaim.I n England,I am gratefult o HenryG insburg,J eremiahL osty,N orahT itley, andM uhammadI saW aley of the British Library;W illiam Robinson of Christie's;M argaretE rskinea nd MarcusF rasero f Sotheby's;L indaL each;a nd MarkZ ebrowski.I n Germany, Dr. Schubarth-Engelschalfl,o rmerd irectoro f the Deutsche Staatsbibliothek, and Dr. Hartmut-OrtwinF eistel of the Staatsbibliothekz u Berlin, madep os- siblet he studya ndr eproductiono f the Khamsao fAmir KhusrawJ. anC hapman, Anna Contadini, Wilfrid Lockwood,a nd Michael Ryan kindly assisted me during my many visits to the ChesterB eatty Library,D ublin. In India, A.A. Arshizadaho f the RampurR azaL ibraryA, .K. Bedaro f the KhudabakhshL i- brary,a nd RahmatA li Khano f the SalarJ ung Museumg rantedm e the privi- lege of working with the treasureso f their institutions. Travels upportw as providedi n part by the National Endowmentf or the Humanities, American Institute of Indian Studies, and the University of Vermont.A stipend from the MilliardM eiss PublicationF und of the College Art Associationw as vital to the publication. I am deeplyg ratefult o ThomasL awton,w ho enhancedt he bookw ith his thoughtfula nd meticulouse diting. His graciousa ndp ersistents upporto f the projectw as crucialt o making this publicationa reality.E lizabethH efti took greatc aret o maket he volumea s handsomea s possible.F inally,I wish to thank my wife, Anna, for her patiencea nd encouragement. 7 This content downloaded from 128.59.62.83 on Fri, 5 Jul 2013 17:19:48 PM All use subject to JSTOR Terms and Conditions Introduction The first mention in the West of the Ramdyana manuscript now in the Freer Gallery of Art appears in a slender sale catalogue of the collection of Colonel Henry Bathhurst Hanna (I839-1914) published in 1890.' The dated label of a Delhi bookbinder, Nizam ul Huq, affixed to the inside of the manuscript's modern cover makes it likely that Hanna purchased the Raimayanam anuscript in I886 or shortly before. The Rdmaiyanaw as unquestionably the centerpiece of a collection of manuscripts and paintings assembled during Hanna's tour of thirty years in India.2 European travellers and collectors had no opportunity to see original imperial manuscripts in this era, and they routinely trumpeted their newfound treasures with rather more enthusiasm than knowledge. Hanna offered a typically exalted view of the Raimadyancal,a iming that The book contains 129 full-page miniatures, exquisitely drawn and illu- minated in the highest style of Persian art, far superior to anything in the keeping of the British Museum, or the South Kensington Museum, or amongst the Oriental manuscripts in India House. The Emperor Akbar's, Shahjahan's, and Shah Alam's seals are affixed to the first and last pages. The work and the paintings are signed by the artists. The Jeypore Razm Nama, which is a little larger, cost Akbar more than ?40,000. This great work, like the Jeypore Razm Nama, was probably stolen from the palace at Agra when the Jats plundered that city in the eighteenth century.3 Elsewhere in the catalogue, Hanna erroneously wrote that the artists of his manuscript were listed in the A'n-i Akbar?( Annals of Akbar) and that the I69 miniatures of the Jaipur Razmndma( Book of Wars) were by the same artists.4 Hanna also maintained that his copy of the Ramayana was commissioned by Akbar (reigned 1556-I605), who, he believed, must have spent at least ?20,000 to have it produced.5 This grandiose estimation must have made the purchase of the manu- script on October 24, I907, by the Detroit industrialist Charles Lang Freer (I854-1919) for ?I,ooo seem quite a bargain.6 A I916 inventory list for the new museum that would bear Freer's name places the insurance value of the man- uscript at $Io,ooo, twice that of the purchase price. At the same time, the number of miniatures listed as being in the manuscript quietly increased to 130, a correction of Hanna's earlier mistabulation. Though Vincent Smith (1848-I920) had seen only a few of Hanna's paint- ings in reproduction, he extolled their merit in a brief article in I9I0, but re- 9 This content downloaded from 128.59.62.83 on Fri, 5 Jul 2013 17:19:48 PM All use subject to JSTOR Terms and Conditions spondedt o Hanna'sb oastfulc laims by stating that the DaraS hikuha ndJ ohn- son Albums in the India OfficeL ibraryw, hich he had examined,w ere at least as good as any Mughal painting in Hanna'sc ollection.7S mith also lamented that the Rdamyanam anuscripth ad not been purchasedb y a museum in Eng- land or India, despite Hanna'sl ow asking price. Notwithstanding a gradual increasei n the interest in Indian painting over the next four decades, the FreerR damyaznar emainedu nnoticed by the scholarlyw orld until I96I, when RichardE ttinghausen( I906-79), curatoro f Islamica rta t the FreerG allery,r eproducedt wo of its finestp aintingsi n a slen- der but seriousp icture book of Indianp aintings.8H is two entriesd rew atten- tion to the flyleafn ote written by the Khankhanano r commander-in-chieof f the Mughal armies, 'Abd al-Rahim, who supplied a starting date of A.H. 996/A.D. I587-88 and a completion date of I007/I598-99. Disregarding Hanna's exuberant claims that the manuscript belonged to Akbar himself, Ettinghausen used the evidence of the flyleaf note to assert that the Freer man- uscript was commissioned by 'Abd al-Rahim Khankhanan as a direct copy of the imperial Ramayana manuscript. Ettinghausen reasoned further that since the imperialm anuscriptw ould not havel eft the capital,w hich at this time was Lahore,t he copy must haveb eenp roduceda t the capitala s well; hence,h e dis- missed the relevanceo f the Khankhanan'as ssignmentst o variousp rovinceso f the empire in determining the provenanceo f the manuscript.L isting twelve artistsw hose namesw ere ascribedo n fifty paintings, Ettinghausenn oted that their names did not appear among the seventeen imperial artists mentioned in the A'in-i Akbari, and concluded that they must have constituted a workshop separatef rom the imperial atelier. Each of the ascribed miniatures in the Rdmdyanan amed a single artist, a fact which led Ettinghausen to differentiate the working method of this independentw orkshopf rom that of the imperial atelier, which generally assigned two or more artists to each illustration. Ettinghausen's observations on the art historical issues presented by 'Abd al-Rahim'sc opy of the Ramayanah ave serveda s the basis for all subse- quent discussion of the manuscript.9T he most substantive work on the Ramaya.nat o follow was the I98I exhibition catalogue of the Freer Gallery's collection of Indian painting, The ImperialI mage,i n which Milo Beach repro- duced twenty-two pages and the flyleaf along with comparative paintings from a few other manuscripts associated with the Khankhanan.'?I n relating the stories of the Ramdyana illustrations, comparing a single example of the differentn arrativea nds tylistic concernso f the illustrationso f'Abd al-Rahim's copy with those of the imperial manuscript, and summarizing all that was known of the artists in 'Abd al-Rahim's atelier, Beach raised many of the is- sues explored in this study. About that time I began to lay the groundwork for a comprehensive study of the manuscript,w hich becamet he focus of my doctorald issertation. In so doing, I was fortunatee nough to discovera numbero f new dates in the manuscript, some of which I published in I985 as part of my study of imperial 10 This content downloaded from 128.59.62.83 on Fri, 5 Jul 2013 17:19:48 PM All use subject to JSTOR Terms and Conditions and subimperialM ughal copies of the Razmndmat,h e Persiant ranslationo f the MahdbhharataM."o re recently, others have used the illustrations of the Freerm anuscriptt o gracea lavishlyp roducedr etelling of the Radmdayawnitah a devotionalo rientationw hich blissfully ignores the historicald imensionso f the manuscripta nd its Persiant ext.12 Hidden within the Rdmdyanam anuscripta re innumerablet raceso f the processesb y which the book came into its originala nd presents tate. Our task as historiansi s to uncovera ndd eciphert hesec luesa s best we can.A ccordingly, in addition to developing the contextual aspects of 'Abd al-Rahim's Rd- mdyanaI, havef ollowedt he lead of L.M.J.D elaissei n undertakinga n "archae- ological"s tudy of the manuscript- an approachs till rarelya pplied to Asian manuscripts- and havem eticulouslye xaminedt he FreerR dmadyanasa a n ob- ject, poring overe verya specto f the manuscripti n an effortt o understandt he impact of contemporaryp ainters,s cribes,a nd ownersu pon the book.13T his kind of investigationh as the obviousb enefito f making one veryf amiliarw ith the manuscript,s o that hitherto undetectedo r neglected ascriptions,l abels, and dates seem to leap out from the folios. Our experienceo f the Rdmdyanias enricheda s we come to understandt he subtletieso f the creativea ndp ragmatic decisionsi nvolved in the compositiona nd writing of its text, and the formu- lation and executiono f the imageryo f its many illustrations.W e cannoth ope to recreatef ully the conditionsu nderw hich the manuscriptw as initially pro- duced and used, but at the very least we will become more awareo f our own historicala nd aesthetica ssumptionsa s we comparet hem to the responseso f the privileged few who recordedt heir impressionso f the manuscripta nd its artistsi n earliert imes. The focus upon the FreerR dmdyanaa nd other manuscriptsa ssociated with 'Abd al-Rahim introducest hree majori ssues of Indian painting. First, the manuscriptsa ssociatedw ith this high-rankingn oble constitute the most coherentc orpuso f Mughalp ainting producedf or a patrono utside the imper- ial family. This allows us to assesst he role of artistsd ismissedb y the imperial atelieri n the creationo f a transitionals tyle of Indianp ainting, broadlyc alled PopularM ughal painting, which ultimately disseminatedM ughal concepts and forms to regional schools of painting in India. Second,t he avowedr ela- tionship between the imperial manuscript of the Rdmdyanaa nd 'Abd al- Rahim'sc opy, separatedb y only a decade,p resentsa n opportunityt o examine how a group of artistso utside the imperiala telier respondedt o the existence of a specific imperial model. Finally, the extensive written and visual docu- mentationf or the paintingsp roducedb y 'Abd al-Rahim'sa telieri nvites com- parisont o the imperialw orkshop.L imited to a single patron,a periodo f some thirty years,a nd only a handfulo f manuscripts,t his body of materiala ffords an ideal test caset o interpretv ariationsi n the style of painting. In short,w hat meaning did the subject matter and style of these manuscripti llustrations hold for this seventeenth-centuryp atrona nd his artists? 11 This content downloaded from 128.59.62.83 on Fri, 5 Jul 2013 17:19:48 PM All use subject to JSTOR Terms and Conditions

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