Fifty leaves that form the sumptuous Kevorkian Album, one of the world's greatest assemblages of Mughal art. -- Metropolitan Museum of Art website.

An examination of fifty leaves that form the sumptuous Kevorkian Album, one of the world's great assemblages of Mughal art.

A fascinating study of some of the most remarkable of all albums ever created

Books have been treasured for centuries in the Islamic world, as precious objects worthy of royal admiration. This was especially true in Muslim India, where generations of Mughal emperors commissioned and collected volumes of richly illuminated manuscripts and lavishly illustrated folios. They assembled workshops of the leading artists and calligraphers to produce the books that filled their extensive libraries. Today, those works remain a vibrant part of India's cultural and artistic history in the sixteenth and seventeenth centuries. In this revised and expanded edition of his popular 1981 book, Dr Milo Beach presents the superb collection of Mughal painting in the Freer Gallery of Art. He adds many of the outstanding works that entered the collection with the opening of the Arthur M. Sackler Gallery in 1987. Together, the Freer and Sackler Galleries, the Smithsonian's museums of Asian art, have the distinction of being one of the world's leading repositories of Mughal art. An introductory essay examines the Mughal art of the book and traces the contributions of a succession of rulers in Muslim India. Brief artist biographies and an extensive bibliography complete this updated volume.

This sumptuously illustrated volume examines the impact of Indian art and culture on Rembrandt (1606–1669) in the late 1650s. By pairing Rembrandt’s twenty-two extant drawings of Shah Jahan, Jahangir, Dara Shikoh, and other Mughal courtiers with Mughal paintings of similar compositions, the book critiques the prevailing notion that Rembrandt “brought life” to the static Mughal art. Written by scholars of both Dutch and Indian art, the essays in this volume instead demonstrate how Rembrandt’s contact with Mughal painting inspired him to draw in an entirely new, refined style on Asian paper—an approach that was shaped by the Dutch trade in Asia and prompted by the curiosity of a foreign culture. Seen in this light, Rembrandt’s engagement with India enriches our understanding of collecting in seventeenth-century Amsterdam, the Dutch global economy, and Rembrandt’s artistic self-fashioning. A close examination of the Mughal imperial workshop provides new insights into how Indian paintings came to Europe as well as how Dutch prints were incorporated into Mughal compositions.

During a family trip to China, eleven-year-old Mia Chen and her older brother Jake follow clues and solve riddles in hopes of finding their missing Aunt Lin and, perhaps, a legendary treasure.