Some Illustrated Valmiki Ramayana Manuscripts

IF 0.4 0 RELIGION
J. Brockington
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引用次数: 0

Abstract

The many manuscripts of the various versions of the Ramayana include a much smaller number of illustrated manuscripts, besides the frequent sets or series illustrating the Rama story (often termed manuscripts, though lacking more than a caption or brief description of the scene depicted). I focus here on a small number of illustrated manuscripts of the Valmuki Ramayana: one datable around 1605–19 in sub-imperial Mughal style commissioned by Bir Singh Deo, one dated between 1649 and 1653 for Jagat Singh of Mewar, and three sets of illustrations which seem intended to form between them a third illustrated manuscript: the small Guler and Mankot Ramayanas and Manaku’s ‘Siege of Lanka’ series, from about 1710 to 1725. The issues that I address are: why were such extensive and expensive manuscripts undertaken, what was the nature of the text copied, and what is the relationship of text to illustration, in terms of how a scene is illustrated and of its correct identification? Exploration of these issues can reveal a significant amount about the patrons, the scribes, the illuminators and the society of the period when such manuscripts were produced.
一些瓦尔米基罗摩衍那手稿插图
各种版本的《罗摩衍那》的许多手稿包括数量少得多的插图手稿,除了说明罗摩故事的频繁场景或系列(通常被称为手稿,尽管缺乏对所描绘场景的说明或简要描述)。我在这里关注的是瓦尔穆基罗摩衍那的少量插图手稿:一份可追溯到1605年至1609年左右,由Bir Singh Deo委托制作,属于次帝国莫卧儿风格,一份日期为1649年至1653年,由Mewar的Jagat Singh绘制,以及三组插图,似乎是为了在它们之间形成第三幅插图手稿:小型的Guler和Mankot Ramayanas以及Manaku的“围攻斯里兰卡”系列,约1710年至1725年。我要解决的问题是:为什么要进行如此广泛和昂贵的手稿,复制的文本的性质是什么,文本与插图的关系是什么,就场景如何被描绘和正确识别而言?对这些问题的探索可以揭示出大量关于这些手稿产生时期的赞助人、抄写员、照明者和社会的信息。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Religions of South Asia
Religions of South Asia Arts and Humanities-Religious Studies
CiteScore
0.10
自引率
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发文量
15
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