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2 produkter
2 produkter
559 kr
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An in-depth study of the innovation and range of Pahari painting that draws from one of the greatest collections ever assembled Artists in the Pahari kingdoms of India’s northwest Himalayas produced paintings for religious and courtly purposes from the seventeenth through the nineteenth century. Exhibiting vibrant color and containing distinctive cultural and historical content, these works have long attracted collectors from around the world. This lavishly illustrated volume focuses on a singularly brilliant collection—now split among the Cleveland Museum of Art, the Smithsonian’s National Museum of Asian Art, and the Cincinnati Art Museum—assembled from the 1960s to the early 2000s by Catherine Glynn Benkaim, a Pahari paintings scholar, and her husband. Foregrounding recent research and fieldwork, scholars show how intervalley mobility and an ancestral village-based artist culture can explain the surprising range of styles seen in paintings from this dramatic, mountainous region. Essays move beyond problematic court attributions and identifications of Mughal influence to reposition the agency of artists and patrons working in collaboration across boundaries of Pahari kingdoms at the forefront of artistic praxis. Many of these paintings are published here for the first time, along with discussions of their more recent histories, full translations of inscriptions, and the collector’s personal comments on the collecting of Pahari paintings. Distributed for the Cleveland Museum of Art Exhibition Schedule: Cleveland Museum of Art(April 19–August 16, 2026) National Museum of Asian Art, Washington DC(April 18–July 26, 2026) Cincinnati Art Museum(February 6–June 7, 2026)
262 kr
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Focuses on a remarkable, over life-size sculpture of Krishna, an incarnation of Vishnu, in one of the earliest sculptural representations known from Cambodia. The sculpture of Krishna lifting Mount Govardhan is one of the highlights of the Cleveland Museum of Art. Dating from c 600 CE, its story, meanings and depictions in the art of India and Southeast Asia are discussed in this new volume with reference to images of the ideal ruler, protector of the realm, and clan hero. The authors delve into several fascinating aspects behind the sculpture. These include locating the sculpture in the context of the other seven monumental sculptures from the same site, how it would have been dramatically installed in a cave sanctuary amid the delta floodplains, and its connections with the nearby royal center of Angkor Borei. Furthermore, the authors relate the compelling life story of the object from the colonial period to the present day, showing how geo-political and social changes affected the process of conservation and reconstruction. AUTHORS: Sonya Rhie Mace is George P. Bickford Curator of Indian and Southeast Asian Art, Cleveland Museum of Art. Bertrand Porte is sculpture conservator, Ecole francaise d'Extreme - Orient in Phnom Penh. 115 colour illustrations